DOCSLIB.ORG

Universiw Micrwilms International 300 N, Zeeb Road Ann Arbor, Ml 48106

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Universiw Micrwilms International 300 N, Zeeb Road Ann Arbor, Ml 48106 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have Indistinct print. In all cases the best available copy has been filmed. UniversiW Micrwilms International 300 N, Zeeb Road Ann Arbor, Ml 48106 8324890 Lambert, Jam es William MULTIPLE PERCUSSION PERFORMANCE PROBLEMS AS ILLUSTRATED IN FIVE DIFFERENT WORKS COMPOSED BY STOCKHAUSEN, SMITH BRINDLE, COLGRASS, DAHL, AND KRAFT BETWEEN 1959 AND 1967 The University of Oklahoma D.M.A. 1983 University Microfilms I ntern&tionel 300 N. zeeb Road, Ann Arbor, Ml 48106 Copyright 1983 by Lambert, James William All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V 1. Glossy photographs or pages. 2. Colored illustrations, paper or print______ 3. Photographs with dark background ______ 4. Illustrations are poor copy_______ 5. Pages with black marks, not original copy. 6. Print shows throug h as there is text on both sides of page. 7. Indistinct, broken or small print on several pages 8. Print exceeds margin requirements ______ 9. Tightly bound copy with print lost in spine____ 10. Computer printout pages with indistinct print. 11. P age(s)____________ lacking when material received, and not available from school or author. 12. P age(s)____________ seem to be missing in numbering only as text follows. 13. Two pages numbered ____________ . Text follows. 14. Curling and wrinkled pages ______ 15. Other______________________________ :__________________________________________ University Microfilms International THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MULTIPLE PERCUSSION PERFORMANCE PROBLEMS AS ILLUSTRATED IN FIVE DIFFERENT WORKS COMPOSED BY STOCKHAUSEN, SMITH BRINDLE, COLGRASS, DAHL, AND KRAFT BETWEEN 1959 AND 1967 A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By JAMES WILLIAM LAMBERT Norman, Oklahoma 1983 MULTIPLE PERCUSSION PERFORMANCE PROBLEMS AS ILLUSTRATED IN FIVE DIFFERENT WORKS COMPOSED BV STOCKHAUSEN, SMITH BRINDLE, COLGRASS, DAHL, AND KRAFT BETWEEN 1959 AND 1967 A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC Dr. Richard C. Gipson, Ma^or Professor and Document Advisor Dr. Irvin L. Wagner, Program Adv isor Dr. Eug Enrico Professor Michael Hennagin Dr. Jerry Neal Smi :h / Dr. jàmes J. Yoch © 1 9 8 3 JAMES WILLIAM LAMBERT ALL RIGHTS RESERVED SPECIAL ACKNOWLEDGEMENT Permission to reprint excerpts from Suite for Percussion by William Kraft in this document has been received from Belwin-Mills Publishing Company, New York, New York. University Microfilms International may supply single copies of this document upon demand (which include Mr. Kraft’s Suite for Percussion; additional permissions for the remaining excerpts have been acknowledged earlier in this document). All excerpts from William Kraft's Suite for Percussion are: Copyright (5) 1963 by Mills Music, Inc. Used with permission. All Rights Reserved. ABSTRACT MULTIPLE PERCUSSION PERFORMANCE PROBLEMS AS ILLUSTRATED IN FD/E DIFFERENT WORKS COMPOSED BY STOCKHAUSEN, SMITH BRINDLE, COLGRASS, DAHL, AND KRAFT BETWEEN 1959 AND 1967 BY; JAMES WILLIAM LAMBERT MAJOR PROFESSOR: RICHARD C. GIPSON, D.Ed. This document concerns itself with the identification and cross­ relationship of three categories of performance problems related to multiple percussion performance: (1) notation; (2) instrument placement; (3) movement. These problems are illustrated through the works of Karlheinz Stockhausen (Nr. 9 Zyklus), Reginald Smith Brindle (Orion M. 42), Michael Colgrass (Fantasy Variations), Ingolf Dahl (Duetttno Concertante), and William Kraft (Suite for Percussion) in the time frame of 1959 to 1967. Generative and significant twentiety century multiple percussion compositions which preceded these works (prior to 1959) are discussed, and the necessity for a systematic process of performance preparation to such multiple percussion compositions is apparent. The selection of these five works were chosen to illustrate a diversity of the number of performers and consequent percussion instruments involved. In addition, these works reflect the use of the following formats: (1) unaccompanied multiple percussion solo; (2) concerto with percussion ensemble accompan- Iment; (3) percussion ensemble; (4) multiple percussion with another Instrument. Their stylistic Identities Illuminate the differences among the five selected composers. The diversity of sounds in these works is compounded by each composer's choice of Instruments, of notation, of instrument placement, and of the conscious or subconscious visual impact on the audience. This document describes the factors that combine to make multiple percussion compositions a continuing musical challenge within a systemlzed, developmental learning process. ACKNOWLEDGEMENTS A debt of gratitude is owed to the five composers whose multiple percussion compositions served as primary sources for this document: Karlheinz Stockhausen; Reginald Smith Brindle; Michael Colgrass; William Kraft; and Ingolf Dahl. Especially I want to thank William Kraft whose genius in music is only matched by his genuinely warm personality. The author expresses appreciation for the kind permission granted by: (1) European American Music Distributors Corporation, sole U.S. agent for Universal Edition, for the use of eycerpts from Nr. 9 Zyklus by Karlheinz Stockhausen in Figures 1-8, 16 and appendix 1. (2) Henrichsen Edition, Peters Edition Limited, London, for the use of excerpts from Orion M. 42 by Reginald Smith Brindle in Figures 9-15, 17, and appendix 2. (3) Music for Percussion, Inc. to use excerpts from Fantasy Variations by Michael Colgrass in Figure 18 and appendices 3-5. (4) William Kraft to use excerpts from his Suite for Percussion in Figures 26 and 31, and appendices 6-16. (5) Alexander Broude, Inc. to use excerpts from Duettino Concertante by Ingolf Dahl in Figure 19, 24, 25, 28, 29, 30 and 32, and appendix 17. I also appreciate the cooperation and support of my graduate music committee at the University of Oklahoma: Dr. Richard Gipson, major professor; Dr. Eugene Enrico; Dr. Irvin Wagner; Professor Michael Hennagin; Dr. Jerry Neil Smith; and Dr. James Yoch. In particular I want to thank Dr. Gipson for the extra time which he freely gave in guiding and coordi- nating this project to its completion. Gratitude is also expressed to Jean Spray for her typing of and technical assistance for this document. Finally, words cannot express my appreciation and love for my parents, Clifford Louis and Voyce Olive Lambert— particularly my mother, who started my music career at the age of four in her piano studio. They have remained my constant supporters. An equal debt of gratitude, com­ panionship, and love is expressed for Doris Lynn Reed Lambert, my friend and wife, who sang and played piano and percussion at all four of my graduate recitals as well as proofread this document. I dedicate this document to my parents and my wife. TABLE OF CONTENTS Page LIST OF FIGURES ...................................................... x Chapter I. GENERAL DESCRIPTION OF MULTIPLE PERCUSSION WORKS COMPOSED BETWEEN 1959-1967 ................................... 1 II. PERFORMANCE PROBLEMS ASSOCIATED WITH THE NOTATION OF MULTIPLE PERCUSSION SOLOS ................................. 15 III. INTERPRETATION OF MULTIPLE PERCUSSION INSTRUMENT PLACEMENT ... 27 IV, PROBLEMS OF MOVEMENT ASSOCIATED WITH MULTIPLE PERCUSSION WORKS ............................................. 37 V. SUMMARY ....................................................... 44 BIBLIOGRAPHY .......................................................... 46 APPENDICES ...........................................................
Load more

Recommended publications
  • Karlheinz Stockhausen: Works for Ensemble English
    composed 137 works for ensemble (2 players or more) from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0 ] 2268-1813; e-mail [email protected]) www.stockhausen.org Karlheinz Stockhausen Works for ensemble (2 players or more) (Among these works for more than 18 players which are usu al ly not per formed by orches tras, but rath er by cham ber ensem bles such as the Lon don Sin fo niet ta , the Ensem ble Inter con tem po rain , the Asko Ensem ble , or Ensem ble Mod ern .) All works which were composed until 1969 (work numbers ¿ to 29) are pub lished by Uni ver sal Edi tion in Vien na, with the excep tion of ETUDE, Elec tron ic STUD IES I and II, GESANG DER JÜNGLINGE , KON TAKTE, MOMENTE, and HYM NEN , which are pub lished since 1993 by the Stock hau sen -Ver lag , and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Start ing with work num ber 30, all com po si tions are pub lished by the Stock hau sen -Ver lag , Ket ten berg 15, 51515 Kürten, Ger ma ny, and may be ordered di rect ly. [9 ’21”] = dura tion of 9 min utes and 21 sec onds (dura tions with min utes and sec onds: CD dura tions of the Com plete Edi tion ).
    [Show full text]
  • Carey Easily Beats Durye a GOP Takes Comptroller; Drops Attny
    Carey Easily Beats Durye a GOP Takes Comptroller; Drops Attny. Gen. New York (AP)- by 56 percent to 44 Governor Hugh Carey percent. won a big re-election Republican Edward victory over challenger Regan, the Erie County Perry Duryea, the Montauk executive, appeared to have Assemblyman, yesterday, upset New York City defeating Republican efforts comptroller Harrison to turn the balloting into a Goldin in the race for state referendum over the death comptroller. Goldin led in penalty. New York City but trailed He hailed the large voter badly in the rest of the turnout across the state, state. and said that "this goes (See stories, page 7) against all the experts, who On the slate with Carey said there would be as the Democratic indifference, apathy and a candidate for lieutenant low vote." governor was Secretary of Duryea conceded just State Mario Cuomo; before midnight and said he Duryea's running mate on had sent a telegram to the Republican ticket was Carey, "I wish you well." United States With 42 percent of the Representative Bruce state's election districts Caputo of Yonkers. counted, it was Carey 56 Carey, a liberal by percent and Duryea 44 instinct, made fiscal 3 b ull kpv!rcAnnp nf hlr prlcnllt. otU.L)LercentD t AJLyLJ,,, oXV0uy l ·rpetr.int. county, Suffolk, opted for administration and his him by an overwhelming campaign stance. In the past 43,000 vote margin. two years he signed into law The voting produced the the first significant state tax ouster of one major figure cuts in 20 years, and he in state politics - Assembly boasted about a rate of Speaker Stanley Steingut, a growth in the state's budget Democrat, who lost in his which he said was well Brooklyn district.
    [Show full text]
  • Music You Know & Schubert
    CONCERT PROGRAM Friday, April 29, 2016, 8:00pm MUSIC YOU KNOW: STORYTELLING David Robertson, conductor Celeste Golden Boyer, violin BERNSTEIN Candide Overture (1956) (1918-1990) PONCHIELLI Dance of the Hours from La Gioconda (1876) (1834-1886) VITALI/ Chaconne in G minor for Violin and Orchestra (ca. 1705/1911) orch. Charlier (1663-1745) Celeste Golden Boyer, violin INTERMISSION HUMPERDINCK Prelude to Hänsel und Gretel (1893) (1854-1921) DUKAS The Sorcerer’s Apprentice (1897) (1865-1935) STEFAN FREUND Cyrillic Dreams (2009) (b. 1974) David Halen, violin Alison Harney, violin Jonathan Chu, viola Daniel Lee, cello WAGNER/ Ride of the Valkyries from Die Walküre (1856) arr. Hutschenruyter (1813-1883) 23 ACKNOWLEDGMENTS This concert is part of the Wells Fargo Advisors Orchestral Series. This concert is part of the Whitaker Foundation Music You Know Series. This concert is supported by University College at Washington University. David Robertson is the Beofor Music Director and Conductor. The concert of Friday, April 29, is underwritten in part by a generous gift from Mr. and Mrs. Andrew C. Taylor. The concert of Friday, April 29, is the Joanne and Joel Iskiwitch Concert. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of the Delmar Gardens Family and are located at the Customer Service table in the foyer. 24 A FEW THINGS YOU MIGHT NOT KNOW ABOUT MUSIC YOU KNOW BY EDDIE SILVA For those of you who stayed up late to watch The Dick Cavett Show on TV, you may recognize Leonard Bernstein’s Candide Overture as the theme song played by the band led by Bobby Rosengarden.
    [Show full text]
  • Programmheft Und Die Konzerteinführung Gehören Zu Den Ergebnissen Dieser Arbeit
    © Stockhausen-Archiv Ensemble Earquake Oboe..................................Margarita Souka Violoncello.........................Claudia Cecchinato Klarinette...........................Man-Chi Chan Fagott................................Berenike Mosler Violine.................................Anna Teigelack Tuba...................................Sandro Hartung Flöte...................................Samantha Arbogast Posaune.............................Daniil Gorokhov (a.G.) Viola...................................Tom Congdon Trompete...........................Jonas Heinzelmann Kontrabass.........................Marian Kushniryk Horn...................................Lukas Kuhn Schlagzeug........................Nadine Baert Klangregie.........................Selim M’rad Caspar Ernst Ernst-Lukas Kuhlmann Tutor...................................Orlando Boeck Musikalische Leitung.........Kathinka Pasveer Gesamtleitung...................Merve Kazokoğlu Was bedeutete „Neue Musik“ für Karlheinz Stockhausen? Ganz und gar optimistisch, neugierig und kosmopolitisch scheint Stockhausens Musik – und nicht mehr in den engen Grenzen europä- ischer Musikästhetik verstehbar. Zwar war Stockhausen selbst ein Teil der westdeutschen musikalischen Avantgarde nach 1945 und prägte daher zahlreiche Neuerungen der hiesigen damaligen Musikgeschich- te, – hier sind serielle Techniken ebenso wie die künstliche Tonerzeu- gung mit Studiotechnik erwähnenswert, – endgültig verpflichtet bliebt er jedoch keinem der dort erprobten Ansätze und verband die gewon- nenen Anregungen
    [Show full text]
  • S P O È Me E Lectronique
    Densil Cabrera S o u n d S p a c e a n d E d g a r d V a r è s e ’ s P o è m e E l e c t r o n i q u e Master of Arts 1994 University of Technology, Sydney C E R T I F I C A T E I certify that this thesis has not already been submitted for any degree and is not being submitted as part of candidature for any other degree. I also certify that the thesis has been written by me and that any help that I have received in preparing this thesis, and all sources used, have been acknowledged in this thesis. Signature of Candidate i A c k n o w l e d g m e n t s The author acknowledges the specific assistance of the following people in the preparation of this thesis: Martin Harrison for supervision; Greg Schiemer for support in the early stages of research; Elizabeth Francis and Peter Keller for allowing the use of facilities at the University of New South Wales’ Infant Research Centre for the production of the Appendix; Joe Wolfe and Emery Schubert; Roberta Lukes for her correspondence; Kirsten Harley and Greg Walkerden for proof reading. The author also acknowledges an award from the University of Technology, Sydney Vice- Chancellor’s Postgraduate Student Conference Fund in 1992. ii T a b l e o f C o n t e n t s I n t r o d u c t i o n The Philips Pavilion and Poème Electronique Approaches C h a p t e r 1 - S o u n d i n t h e W a l l s Architecture, Music: A Lineage Music-Architecture: Hyperbolic Paraboloids Crystal Sculpture Domestic Images of Sound in Space Sound, Space, Surface C h a p t e r 2 - H y p e r b o l i c P a r a b o l o i d s A
    [Show full text]
  • Crossing Central Europe
    CROSSING CENTRAL EUROPE Continuities and Transformations, 1900 and 2000 Crossing Central Europe Continuities and Transformations, 1900 and 2000 Edited by HELGA MITTERBAUER and CARRIE SMITH-PREI UNIVERSITY OF TORONTO PRESS Toronto Buffalo London © University of Toronto Press 2017 Toronto Buffalo London www.utorontopress.com Printed in the U.S.A. ISBN 978-1-4426-4914-9 Printed on acid-free, 100% post-consumer recycled paper with vegetable-based inks. Library and Archives Canada Cataloguing in Publication Crossing Central Europe : continuities and transformations, 1900 and 2000 / edited by Helga Mitterbauer and Carrie Smith-Prei. Includes bibliographical references and index. ISBN 978-1-4426-4914-9 (hardcover) 1. Europe, Central – Civilization − 20th century. I. Mitterbauer, Helga, editor II. Smith-Prei, Carrie, 1975−, editor DAW1024.C76 2017 943.0009’049 C2017-902387-X CC-BY-NC-ND This work is published subject to a Creative Commons Attribution Non-commercial No Derivative License. For permission to publish commercial versions please contact University of Tor onto Press. The editors acknowledge the financial assistance of the Faculty of Arts, University of Alberta; the Wirth Institute for Austrian and Central European Studies, University of Alberta; and Philixte, Centre de recherche de la Faculté de Lettres, Traduction et Communication, Université Libre de Bruxelles. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council, an agency of the
    [Show full text]
  • Music 354.2 Contemporary Music After 1945 Spring '12 MW 4Th Period L
    Music 354.2 Contemporary Music after 1945 Spring '12 MW 4th period L. Lipkis Text: Morgan, Twentieth Century Music Office hours TBA Week Date Chapter Topic Listening (journal entries in bold) 1 Jan. 16, 18 Music of the Klein: String Trio, (ii) Holocaust Krása: Brundibár, (Act I, sc. i-ii, viii; Act II, sc. vii) Ullmann: The Emperor of Atlantis (Finale) Schoenberg: Survivor from Warsaw 2 Jan. 23, 25 12 England after Walton: Façade (i, Fanfare, ii, Hornpipe); WW I. Cello Concerto (iii, Theme and Improvisations) Tippett: A Child of Our Time (Part II, 9-16) Britten: Peter Grimes, (end of Prologue; Act II, sc. 1; Serenade for Tenor, Horn, and Strings (“Dirge”) 3 Jan. 30, 13 Music in the U.S.: Copland: Music for the Theatre (iii. Interlude, Feb. 1 The iv. Burlesque); Piano Variations (Theme and Traditionalists first three variations); Rodeo (iii. Saturday Night Waltz; iv. Hoe-Down); Appalachian Spring (Doppio movimento to end) Barber: Adagio for Strings 4 Feb. 6, 8 13 More Music in Cowell: “The Banshee” [add: the U.S.: The Partch: Barstow #1-3 (to 3:25) you tube Experimentalists Varèse: Density 21.5; Intégrales 5 Feb. 13, 14 Latin America Villa-Lobos: Choros no. 10; 15 and Jazz Bachianas Brasileiras no. 5 (i) Chavez: Xochipilli Listening and Ginastera: Panambí (iii, Ronda de las Short Answer doncellas; iv, Danza de los guerreros; xiii, Quizzes no. 1 Danza del Hechicero) (weeks 1-5) Parker/Gillespie: “Shaw ‘Nuff” Davis: “So What” Coleman: “Lonely Woman” 6 Feb. 20, 15 Historical Golijov: Ainadamar (i, Preludio de Agua y 22* Context; Post- Caballo; ii Balada) Modernism Piazzolla: Tanguedia *Post-Modernism Bernstein: Mass (IV.
    [Show full text]
  • Steven Schick: Solo
    Miller Theatre at Columbia University 2013-14 | 25th Anniversary Season Special Event Steven Schick: Solo Thursday, January 30, 8:00 p.m. Saturday, February 1, 8:00 p.m. Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. Miller Theatre is wheelchair accessible. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. Miller Theatre at Columbia University 2013-14 | 25th Anniversary Season Special Event Steven Schick: Solo Part One: Origins Thursday, January 30, 8:00 p.m. Part Two: Responses Saturday, February 1, 8:00 p.m. Free Event: Percussion in the 21st Century Friday, January 31, 3:00 p.m. Explore the future of this dynamic art from through a conversation moderated by Schick with music luminaries including composer Kaija Saariaho, jazz vibraphonist Stefon Harris, percussionists Aiyun Huang and Haruka Fujii, and So Percussion founder Adam Sliwinski. The event will be followed by a reception. Zyklus © Universal Edition Miller Theatre at Columbia University 2013-14 | 25th Anniversary Season Special Event Steven Schick: Solo Part One: Origins Thursday, January 30, 8:00 p.m. Zyklus (1959) Karlheinz Stockhausen (1928 -2007) The King of Denmark (1964) Morton Feldman (1926-1987) Intérieur I (1966) Helmut Lachenmann (b. 1936) Toucher (1972) Vinko Globokar (b. 1934) INTERMISSION Psappha (1975) Iannis Xenakis (1922-2001) Silvers Streetcar for the Orchestra (1982) Alvin Lucier (b. 1931) ?Corporel (1982) Globokar Rebonds (1989) Xenakis This program runs approximately two hours including intermission.
    [Show full text]
  • NON-TRADITIONAL INSTRUMENTS in a TRADITIONAL ROLE THREE•WORKS for PERCUSSION ENSEMBLE SINCE I960 Martha Joy Reeder a Thesis Su
    Non-traditional instruments in a traditional role: three works for percussion ensemble since 1960 Item Type text; Thesis-Reproduction (electronic) Authors Reeder, Martha Joy Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 14:12:36 Link to Item http://hdl.handle.net/10150/557382 NON-TRADITIONAL INSTRUMENTS IN A TRADITIONAL ROLE THREE•WORKS FOR PERCUSSION ENSEMBLE SINCE i960 by Martha Joy Reeder A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of ' MASTER OF MUSIC WITH A MAJOR IN MUSIC THEORY In the Graduate College THE.UNIVERSITY OF,ART ZONA 1 9 8 0 STATEMENT BY AUTHOR This thesis has been submitted in partial ful­ fillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. - : Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for per­ mission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the music department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of Scholarship.
    [Show full text]
  • Download the Clarinet Saxophone Classics Catalogue
    CATALOGUE 2017 www.samekmusic.com Founded in 1992 by acclaimed clarinetist Victoria Soames Samek, Clarinet & Saxophone Classics celebrates the single reed in all its richness and diversity. It’s a unique specialist label devoted to releasing top quality recordings by the finest artists of today on modern and period instruments, as well as sympathetically restored historical recordings of great figures from the past supported by informative notes. Having created her own brand, Samek Music, Victoria is committed to excellence through recordings, publications, learning resources and live performances. Samek Music is dedicated to the clarinet and saxophone, giving a focus for the wonderful world of the single reed. www.samek music.com For further details contact Victoria Soames Samek, Managing Director and Artistic Director Tel: + 44 (0) 20 8472 2057 • Mobile + 44 (0) 7730 987103 • [email protected] • www.samekmusic.com Central Clarinet Repertoire 1 CC0001 COPLAND: SONATA FOR CLARINET Clarinet Music by Les Six PREMIERE RECORDING Featuring the World Premiere recording of Copland’s own reworking of his Violin Sonata, this exciting disc also has the complete music for clarinet and piano of the French group known as ‘Les Six’. Aaron Copland Sonata (premiere recording); Francis Poulenc Sonata; Germaine Tailleferre Arabesque, Sonata; Arthur Honegger Sonatine; Darius Milhaud Duo Concertant, Sonatine Victoria Soames Samek clarinet, Julius Drake piano ‘Most sheerly seductive record of the year.’ THE SUNDAY TIMES CC0011 SOLOS DE CONCOURS Brought together for the first time on CD – a fascinating collection of pieces written for the final year students studying at the paris conservatoire for the Premier Prix, by some of the most prominent French composers.
    [Show full text]
  • Collective Difference: the Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Collective Difference: The Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N. Stallings Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC COLLECTIVE DIFFERENCE: THE PAN-AMERICAN ASSOCIATION OF COMPOSERS AND PAN-AMERICAN IDEOLOGY IN MUSIC, 1925-1945 By STEPHANIE N. STALLINGS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2009 Copyright © 2009 Stephanie N. Stallings All Rights Reserved The members of the Committee approve the Dissertation of Stephanie N. Stallings defended on April 20, 2009. ______________________________ Denise Von Glahn Professor Directing Dissertation ______________________________ Evan Jones Outside Committee Member ______________________________ Charles Brewer Committee Member ______________________________ Douglass Seaton Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would like to express my warmest thanks to my dissertation advisor, Denise Von Glahn. Without her excellent guidance, steadfast moral support, thoughtfulness, and creativity, this dissertation never would have come to fruition. I am also grateful to the rest of my dissertation committee, Charles Brewer, Evan Jones, and Douglass Seaton, for their wisdom. Similarly, each member of the Musicology faculty at Florida State University has provided me with a different model for scholarly excellence in “capital M Musicology.” The FSU Society for Musicology has been a wonderful support system throughout my tenure at Florida State.
    [Show full text]
  • Multi-Percussion in the Undergraduate Percussion Curriculum Benjamin A
    University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2014-12 Multi-percussion in the Undergraduate Percussion Curriculum Benjamin A. Charles University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Charles, Benjamin A., "Multi-percussion in the Undergraduate Percussion Curriculum" (2014). Open Access Dissertations. Paper 1324. This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. ! ! UNIVERSITY OF MIAMI ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM ! By Benjamin Andrew Charles ! A DOCTORAL ESSAY ! ! Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ! ! ! ! ! ! ! ! ! Coral Gables,! Florida ! December 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2014 Benjamin Andrew Charles ! All Rights Reserved UNIVERSITY! OF MIAMI ! ! A doctoral essay proposal submitted in partial fulfillment of the requirements for the degree of Doctor of Musical! Arts ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM! ! Benjamin Andrew Charles ! ! !Approved: ! _________________________ __________________________
    [Show full text]