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The Commissioned Flute Choir Pieces Presented By
THE COMMISSIONED FLUTE CHOIR PIECES PRESENTED BY UNIVERSITY/COLLEGE FLUTE CHOIRS AND NFA SPONSORED FLUTE CHOIRS AT NATIONAL FLUTE ASSOCIATION ANNUAL CONVENTIONS WITH A BRIEF HISTORY OF THE FLUTE CHOIR AND ITS REPERTOIRE DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Yoon Hee Kim Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Katherine Borst Jones, Advisor Dr. Russel C. Mikkelson Dr. Charles M. Atkinson Karen Pierson Copyright by Yoon Hee Kim 2013 Abstract The National Flute Association (NFA) sponsors a range of non-performance and performance competitions for performers of all ages. Non-performance competitions are: a Flute Choir Composition Competition, Graduate Research, and Newly Published Music. Performance competitions are: Young Artist Competition, High School Soloist Competition, Convention Performers Competition, Flute Choirs Competitions, Professional, Collegiate, High School, and Jazz Flute Big Band, and a Masterclass Competition. These competitions provide opportunities for flutists ranging from amateurs to professionals. University/college flute choirs perform original manuscripts, arrangements and transcriptions, as well as the commissioned pieces, frequently at conventions, thus expanding substantially the repertoire for flute choir. The purpose of my work is to document commissioned repertoire for flute choir, music for five or more flutes, presented by university/college flute choirs and NFA sponsored flute choirs at NFA annual conventions. Composer, title, premiere and publication information, conductor, performer and instrumentation will be included in an annotated bibliography format. A brief history of the flute choir and its repertoire, as well as a history of NFA-sponsored flute choir (1973–2012) will be included in this document. -
Varsity Jazz
Varsity Jazz Jazz at Reading University 1951 - 1984 By Trevor Bannister 1 VARSITY JAZZ Jazz at Reading University 1951 represented an important year for Reading University and for Reading’s local jazz scene. The appearance of Humphrey Lyttelton’s Band at the University Rag Ball, held at the Town Hall on 28th February, marked the first time a true product of the Revivalist jazz movement had played in the town. That it should be the Lyttelton band, Britain’s pre-eminent group of the time, led by the ex-Etonian and Grenadier Guardsman, Humphrey Lyttelton, made the event doubly important. Barely three days later, on 3rd March, the University Rag Committee presented a second event at the Town Hall. The Jazz Jamboree featured the Magnolia Jazz Band led by another trumpeter fast making a name for himself, the colourful Mick Mulligan. It would be the first of his many visits to Reading. Denny Dyson provided the vocals and the Yew Tree Jazz Band were on hand for interval support. There is no further mention of jazz activity at the university in the pages of the Reading Standard until 1956, when the clarinettist Sid Phillips led his acclaimed touring and broadcasting band on stage at the Town Hall for the Rag Ball on 25th February, supported by Len Lacy and His Sweet Band. Considering the intense animosity between the respective followers of traditional and modern jazz, which sometimes reached venomous extremes, the Rag Committee took a brave decision in 1958 to book exponents of the opposing schools. The Rag Ball at the Olympia Ballroom on 20th February, saw Ken Colyer’s Jazz Band, which followed the zealous path of its leader in keeping rigidly to the disciplines of New Orleans jazz, sharing the stage with the much cooler and sophisticated sounds of a quartet led by Tommy Whittle, a tenor saxophonist noted for his work with the Ted Heath Orchestra. -
Extended Techniques and Electronic Enhancements: a Study of Works by Ian Clarke Christopher Leigh Davis University of Southern Mississippi
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-1-2012 Extended Techniques and Electronic Enhancements: A Study of Works by Ian Clarke Christopher Leigh Davis University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Recommended Citation Davis, Christopher Leigh, "Extended Techniques and Electronic Enhancements: A Study of Works by Ian Clarke" (2012). Dissertations. 634. https://aquila.usm.edu/dissertations/634 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi EXTENDED TECHNIQUES AND ELECTRONIC ENHANCEMENTS: A STUDY OF WORKS BY IAN CLARKE by Christopher Leigh Davis Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts December 2012 ABSTRACT EXTENDED TECHNIQUES AND ELECTRONIC ENHANCEMENTS: A STUDY OF WORKS BY IAN CLARKE by Christopher Leigh Davis December 2012 British flutist Ian Clarke is a leading performer and composer in the flute world. His works have been performed internationally and have been used in competitions given by the National Flute Association and the British Flute Society. Clarke’s compositions are also referenced in the Peters Edition of the Edexcel GCSE (General Certificate of Secondary Education) Anthology of Music as examples of extended techniques. The significance of Clarke’s works lies in his unique compositional style. His music features sounds and styles that one would not expect to hear from a flute and have elements that appeal to performers and broader audiences alike. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
Download the FLUTE of WAYMAN ALEXANDER CARVER
1 The FLUTE of WAYMAN ALEXANDER CARVER Solographer: Jan Evensmo Last update: July 2, 2011 2 Born: Portsmouth, Virginia, Dec. 25, 1905 Died: May 6, 1967 Introduction: From the very first day I heard Wayman Carver‟s flute on the Spike Hughes sessions, I have been a great fan. Not only was he the first (together with Alberto Socarras) to improvise on flute, but he was more than just a pioneer on that instrument. His soli certainly have lasting qualities for musical and not only for historical reasons. He might have recorded more extensively, if he had chosen an instrument less „modest‟! His sound was probably not among the loudest ones on Chick Webb‟s dancing nights, therefore he never became a „name‟ to the public, not even the general jazz public. I sincerely believe he deserves a solography, although it is much too brief. Some years after writing Wayman Carver‟s solography in 1983 (Jazz Solography Series, Vol. 14), I met his daughter Avis and the whole family in Atlanta, a great pleasure for me! Together we made a website for his 100 years anniversary in 2005. History: Wayman Alexander Carver was bom December 25,1905 in Portsmouth, Virginia. His parents were Alexander and Catherine Carver. Wayman was the second bom of eight children – four boys and four girls. At an early age, Carver showed not only an interest in but talent for music. Both his father and uncle were accomplished musicians who played in the Metropolitan Marching Band of Portsmouth. The band was a combined jazz and marching band composed largely of “earmusicians”. -
Flute Pain Is the Keyed, Boehm System, End Blown Flute a Viable Adjunct? [Summary of a Performance Health Care Committee Presentation: NFA Orlando, 2018]
Flute Pain Is the keyed, Boehm system, End Blown Flute a Viable Adjunct? [summary of a Performance Health Care Committee presentation: NFA Orlando, 2018] What is the Incidence of Flute Pain? Fairly recently, Medical literature has addressed the following: ! 1. “The prevalence and incidence of musculoskeletal symptoms experienced by flautists” by Stanhope J, Milanese S, Occup Med (Lond). 2016 Mar. ! This study summarizes that it: “…precludes a clear understanding of the prevalence and location of musculoskeletal symptoms in flautists, although current evidence suggests that the prevalence is high…” ! 2. “Contributing factors, prevention, and management of playing-related musculoskeletal disorders among flute players internationally” by Lonsdale K, Laakso EL, Tomlinson V, Med Probl Perform Art. 2014 Sep;29(3):155-62 ! This study states: “…26.7% of all respondents were suffering from flute playing- related discomfort or pain; 49.7% had experienced flute playing-related discomfort or pain that was severe enough to distract while performing; and 25.8% had taken an extended period of time off playing because of discomfort or pain…” 3.”Incidence of injury and attitudes to injury management in skilled flute players” by Ackermann BJ, Kenny DT, Fortune J, Work. 2011;40(3):255-9. doi: 10.3233/ WOR-2011-1227. ! This study summarizes that: “…Flautists in this sample reported high rates of performance-related musculoskeletal disorders with the majority having been present for longer than 3 months…” ! ! Additionally, there are ongoing testimonials and inquiries in non-medical sources. Here are just a few, located easily on the internet. ! 1. The Flutist’s Pain Points, June 17, 2011 https://innovativeperformanceandpedagogy.wordpress.com/2011/06/17/the-flutists- pain-points/ ! This article lists the wrist, upper back, shoulder, and lower back as most common areas affected. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
The Training of Jazz and Popular Styles in Multiple Woodwind Degree Programs
DAVIS, TREVOR E., D.M.A. The Training of Jazz and Popular Styles in Multiple Woodwind Degree Programs. (2017) Directed by Dr. Anthony Taylor. 87 pp. I. Solo Recital: Saturday, November 1, 2014, 5:30 p.m., Organ Hall. Three Pieces, Op. 30 (Max Laurischkus); Concerto for Clarinet (Henri Tomasi); Carnival of Venice (Paul JeanJean); Press Release (David Lang). II. Solo Recital: Friday, April 17, 2015, 7:30 p.m., Recital Hall. Fantasy-Ballet (Jules Mazellier); Concertino, Op. 15 (Jeanine Rueff); Klezmer Rhapsody (Paul Steinberg); Quirk for bass clarinet and computer (Eric Honour); Clarinet Concerto (John Veale). III. Solo Recital: Saturday, March 19, 2016, 1:30 p.m., Organ Hall. Clarinet Concerto in A Major, K. 622 (Wolfgang Amadeus Mozart); Bucolique for Clarinet and Piano (Eugene Bozza); Pastorale (Souvenirs du Frög) (Daniel Dorff); Industrial Strength for Bass Clarinet and Piano (Kenji Bunch). IV. D.M.A. Research Project. THE TRAINING OF JAZZ AND POPULAR STYLES IN MULTIPLE WOODWIND DEGREE PROGRAMS, (2017). This project attempts to determine if graduate students in multiple woodwind degree programs are provided adequate access to jazz training or performance opportunities as part of the degree program. To meet the professional expectations in the field, multiple woodwind instrumentalists not only need to be able to play several woodwind instruments well, but also in a wide range of styles. In particular, players must be literate in jazz performance styles, primarily to be able to play in swing or big band style but also, occasionally, to improvise. Degree requirements that were available online from twenty-four universities that offer a graduate degree in multiple woodwinds were examined, in addition to the background and areas of expertise of some of the woodwind faculty. -
To Download the Report
Burridge Great Britain, Sarah Burrows Great Britain, Gizela Burská Slovakia, James Burton Great Britain, Eleanor Burton Great Britain, Emma Burton Great Britain, Fermin Burzaco Malo Germany, Thierry Busato France, Christian Busch Germany, Charlotte Busche Denmark, Elettra Busetti Italy, Lucia Busetto Italy, Joanna Bush Great Britain, Chantal Buslot Belgium, Angeline Bussche Belgium, Marianna Bussola Italy, Claudia Busuttil Netherlands, Frans Buter Netherlands, Taz Butler Great Britain, Phil Butler Great Britain, Trevor Butlin Great Britain, Leonor Buzaglo Portugal, Agata Buzek Poland, Peppa Buzzi Italy, Noreen Byrne Ireland, Marilyn Byrne Italy, Laura C Estonia, Joan Manuel Caballero Estonia, Susana Caballero Estonia, Jean-Charles Cabanel Estonia, Josette Cabrera France, A Nne Cabrujas Estonia, Marie Ange Cachal France, Teresa Cadete Portugal, Margaret Caffrey Ireland, Michele Caiazza Italy, Marc Cajaravile Estonia, Claudio Cajati Italy, Maria Cal Estonia, Viscardo Calia Italy, Donna Calladine Great Britain, Miquel Callau Estonia, Carlotta Caluzzi Italy, Isabel Camcho Estonia, David Cameira Portugal, Lorna Cameron Great Britain, Melanie Cameron Great Britain, Maria Cameron Great Britain, Sheila Cameron Great Britain, Neil Cameron Great Britain, Tony Camilleri Malta, Philip Camilleri Malta, Cristina Campanella Italy, Mara Campazzi Italy, Editha Campbell Great Britain, Cinzia Campetti Italy, Renato Campino Portugal, Luisa Campos Portugal, Melba Cantera Germany, Martin Cantryn Belgium, Paolo Caoduro Italy, Harley Capa Ireland, Susana Caparrós -
Top Popper Sarstedt Goes North
TOP POPPER Supergroup hope BRITAIN'S first ever Pop Proms - a pop SARSTEDT music equivalent of the classical music promenade concerts-is planned for London's Royal Albert Ha\l from June 2_9 to July 25. There will be ten shows m seven days featuring top British and American acts in GOES the pop, blues, country and folk fields. Among the names that Nems pr?moter Roy Guest is hoping to get is the Enc Cl~pton• Stevie Winwood-Ginger Baker " Super· group." NORTH Says Guest: "July 4 will be the Ameri ETER SARSTEl:IT can night, but we celebrated hitting want to make the number one in the s h o w s essentially MM Pop 30 this British so there won't be too many Ameri week in a spectac-1- can acts. lar way - he flew to " We want to em _fopenhagen for a re~ phasise, too, that this union with his Danish is a youth festival, ~ not just a music festi JULIE'S S0[0b', Where val." ==:....::--==:..::...-=eplaced 5 The Royal Albert .,,pe!:J~~;x aht J\1~~c~~e~,~,,:;,/;=;'--:T~ITlllll!I.E!!_ il!IO')!F[!th~e9'ne?w'-:T Hall will be decorated Free Trade Hall (March fl), sil\Rle, released on M UverpQQ\ Ph,\hMmonic (\ 5) '" " &ked Jam Roll - ...rnrur ., .....~-"T--..•.'r·~~ with posters and and London'i;. Roya\ Fesl1va\ Eye," It is a group- com- American tnp which opr flowers and a special Hall (April \ 2). posiLion July <I She ill currently working on Time Box guest In Radio The group wm _!ii;,l;it show will be in• ,. -
Widening Horizons – RCM and Its Community
The Magazine for the Royal College of MusicI Summer 2010 Widening horizons – RCM and its community RCM_Upbeat June 2010_Summer.indd 2 21/06/2010 16:37 RCM_Upbeat June 2010_Summer.indd 2 21/06/2010 16:38 What’s inside... Welcome to upbeat… If you walk around the RCM and stop to talk to three random people, chances are you’ll hear three amazing stories. So we’ve decided to dedicate the next two Contents issues of Upbeat to celebrating the extraordinary RCM community. 4 In the news Our autumn issue will focus on RCM professors, but first we turn our attention L atest news from the RCM to RCM students. Every issue of Upbeat is full of stories about their many including BBC Young Musician success and a visit from the successes on the world’s stages and concert platforms. But in this special issue Prince of Wales we’re celebrating the many ways in which they’re using their extraordinary musical skills to take music out into the wider world, and sharing their love 11 Celebrating the RCM of music with people from every possible background. On pages 11 to 19 you community... can read about education projects in the UK and much further afield, unusual A celebration of our students’ performances in pubs and clubs, brand new ensembles and orchestras, TV and many and varied pursuits beyond the College walls radio appearances, and a visit to the Edinburgh Fringe. If you have in your head the stereotypical image of a lazy student shuffling bleary-eyed from bed to bar, 20 Meeting the supporters… prepare to think again! U pbeat meets Graham Bamford of the Royal Garden Hotel As usual, the rest of Upbeat is packed with news from around the College. -
Melody-Maker-1968-10
MelodyAll-starline-up! Maker OCTOBER 19, 1968 is weekly BLUES HEROES. BINGOIN Page13 TOM JONES SELLERS ON TOUR Page 7 POP TODAY FILM AND TOMORROW BEM-LE Ringo Starr has signed for his second major film role. He is to appear with Peter Sellers in The Magic Christian, which goes into production in Britain early in the New Year. Ringo will play Sellers' son in the film which is scripted by Terry Southern,who co -wroteCandyand wrote the script for the new Jane Fonda film Barbarella. Candy isthe book which was filmedin Rome last year with Ringo playing a Mexi- can gardener. This wasthe drummer's first screenactingrole away fromtheother Beatles. The filmstill has not been shown in Britain. The newfilm,whichhasnomusical content at all, will be made in Britain. Peter Sellers is making some contributions to the script over the nestfeu, weeks. The Beatles neu double album has now been completed but Apple's Derek Taylor saidon Mondaythatnotitlehad been decided. the four Beatles are scheduled to leave Britain on holiday this weekend. They are going to different destinations "for a rest." George Harrison andhis wifePattiareflyingto America to stay with friendsbuttheplansof theothers were notre- vealed. Armstrong'sBritish Concert Nothinghasbeende- visit cided on a venue for the iscancelled Beatles' projected live ap- pearance, but Tayloragain LOUISARMSTRONG'SEuropean confirmed that the group tour, whichwas to have taken-stillin hospital would olav alive concert ina two-week before Christmas. "But It's season at the Wake- in the leg- was respondingto treat- Justaslikelytobeat field TheatreClub, startingDecem- ment. TwickenhamStudiosas ber 1, has been cancelled becauseof " Ispoketohismanager,Joe theAlbertHallor even Satchmo's ill health.