The Musical Compositions for Unaccompanied Solo Tuba by Four
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
Rhythmic Freedom in Mendelssohn's Six Organ Sonatas
Rhythmic Freedom in Mendelssohn's Six Organ Sonatas Item Type text; Electronic Dissertation Authors Thomas , William Kullen 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, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 07:16:54 Link to Item http://hdl.handle.net/10150/642104 RHYTHMIC FREEDOM IN MENDELSSOHN’S SIX ORGAN SONATAS by William Kullen Thomas _____________________________ Copyright ©William Kullen Thomas 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by William Kullen Thomas, titled Rhythmic Freedom in Mendelssohn’s Six Organ Sonatas and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ___ ____________________________________ Date: June 15, 2020 Professor Rex A. Woods ___ ______________________________________ Date: June 15, 2020 Dr. Jay Rosenblatt Date: June 15, 2020 Professor Edward Reid Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound. -
Leonard Bernstein
chamber music with a modernist edge. His Piano Sonata (1938) reflected his Leonard Bernstein ties to Copland, with links also to the music of Hindemith and Stravinsky, and his Sonata for Clarinet and Piano (1942) was similarly grounded in a neoclassical aesthetic. The composer Paul Bowles praised the clarinet sonata as having a "tender, sharp, singing quality," as being "alive, tough, integrated." It was a prescient assessment, which ultimately applied to Bernstein’s music in all genres. Bernstein’s professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein Leonard Bernstein photo © Susech Batah, Berlin (DG) produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first Leonard Bernstein—celebrated as one of the most influential musicians of the performance with the composer conducting the Pittsburgh Symphony in 20th century—ushered in an era of major cultural and technological transition. January 1944. "Lamentation," its final movement, features a mezzo-soprano He led the way in advocating an open attitude about what constituted "good" delivering Hebrew texts from the Book of Lamentations. In April of that year, music, actively bridging the gap between classical music, Broadway musicals, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by jazz, and rock, and he seized new media for its potential to reach diverse the young Jerome Robbins. -
Teaching Music Through Performance in Band
Teaching Music through Performance in Band A Comprehensive Listing of All Volumes by Grade, 2018 Band, volumes 1 (2nd ed.)–11 Beginning Band, volumes 1–2 Middle School Band Marches GIA Publications, Inc. Contents Core Components . 4 Through the Years with the Teaching Music Series . 5 Band, volumes 1 (2nd ed .)–11 . .. 6 Beginning Band, volumes 1–2 . 30 Middle School Band . 33 Marches . .. 36 Core Components The Books Part I presents essays by the leading lights of instrumental music education, written specifically for the Teaching Music series to instruct, inform, enlighten, inspire, and encourage music directors in their daily tasks . Part II presents Teacher Resource Guides that provide practical, detailed reference to the best-known and foundational band compositions, Grades 2–6,* and their composers . In addition to historical background and analysis, music directors will find insight and practical guidance for streamlining and energizing rehearsals . The Recordings North Texas Wind Symphony Internationally acknowledged as one of the premier ensembles of its kind, the North Texas Wind Symphony is selected from the most outstanding musicians attending the North Texas College of Music . The ensemble pursues the highest pro- fessional standards and is determined to bring its audiences exemplary repertoire from all musical periods, cultures, and styles . Eugene Migliaro Corporon Conductor of the Wind Symphony and Regents Professor of Music at the University of North Texas, Eugene Corporon also serves as the Director of Wind Studies, guiding all aspects of the program . His performances have drawn praise from colleagues, composers, and critics alike . His ensembles have performed for numerous conventions and clinics across the world, and have recorded over 600 works featured on over 100 recordings . -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Empire Brass
Houston Friends of Music PRESENT EMPIRE BRASS Rolf Smedvig, Trumpet Jeffrey Curnow, Trumpet Eric Ruske, French Horn Scott A. Hartman, Trombone J. Samuel Pilafian, Tuba Wednesday, December 5, 1990 8:00P.M. Hamman Hall Rice University FOURTH CONCERT H()LISt()Jl Fti(~tlds (>f~1usic PRESENT EMPIRE BRASS Procession of the Nobles, from Mlada . .... .. .......... ...... NIKOLAI RIMSKY-KORSAKOV Polovtsian Dance, from Prince Igor. .................................. ALEXANDER BORODIN Dance of the Comedians, from the Bartered Bride ........................... BED RICH SMETANA Nacht Poema (Night Poems) ............... .. ............................ PR. VAN EECHAUTE Prelude, Theme & Variations . ... .................................. ... GIOACCHINO ROSSINI Carmen Fantasy .......... ... .. ........ .... ........................... .. GEORGES BIZET Wedding Dance and Troika, from Lieutenant Kije ......................... SERGEI PROKOFIEV INTERMISSION Trio Sonata No.2 ..... ......................... ..... ..... ....... JOHANN SEBASTIAN BACH Allegro, Andante, Allegro Sabre Dance, from Gayane ...... ......... ................. ....... ARAM KHACHATURIAN Arabian Dance, from The Nutcracker. .......................... PIOTR IL YICH TCHAIKOVSKY Pavane, Op. 50 ........................................................... GABRIEL FAURE Boy Meets Horn ..... .. ....................... ... EDWARD KENNEDY "DUKE" ELLINGTON Jungle Nights ..... .... ....... ................... EDWARD KENNEDY "DUKE" ELLINGTON M-TV for Jerry (Jerome Robbins), from Dance Suite for Brass -
Characterization And' Taxonomy Acoustical Standpoint
Characterization and' Taxonomy of Historic Brass Musical Instruments from ae Acoustical Standpoint Arnold Myers Ph.D. The University of Edinburgh 1998 I" V *\- Abstract The conceptual bases of existing classification schemes for brasswind are examined. The requirements of a taxonomy relating to the character of brass musical instruments as experienced by players and listeners are discussed. Various directly and indirectly measurable physical parameters are defined. The utility of these parameters in classification is assessed in a number of case studies on instruments in museums and collections. The evolution of instrument design since 1750 in terms of these characterization criteria is outlined. Declaration I declare that this thesis has been composed by me and that the work is my own. ? r % *} Acknowledgements I have been encouraged and helped by many in my investigations. My supervisors, D. Murray Campbell in the Department of Physics and Astronomy Christopher D.S. Field, and John Kitchen in the Faculty of Music have provided wise guidance whenever needed. Raymond Parks, Research Fellow in Fluid Dynamics, Department of Physics and Astronomy, University of Edinburgh, has given unfailing support, and has been responsible for much of the measuring equipment I have used. David Sharp has used the pulse reflectornetry techniques developed in the course of his own research to obtain bore reconstructions of numerous specimens for me. Herbert Heyde kindly discussed the measurement of historic brass instruments with me. Stewart Benzie has carried out instrument repairs for me and made the crook described in Chapter 5. I am grateful to the curators of many museums for allowing me access to the historic instruments in their care. -
Extended Techniques in Stanley Friedman's
EXTENDED TECHNIQUES IN STANLEY FRIEDMAN'S SOLUS FOR UNACCOMPANIED TRUMPET Scott Meredith, B.M., B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2008 APPROVED: Keith Johnson, Major Professor Lenora McCroskey, Minor Professor John Holt, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Meredith, Scott. Extended Techniques in Stanley Friedman’s Solus for Unaccompanied Trumpet. Doctor of Musical Arts (Performance), May 2008, 37 pp., 25 examples, 3 tables, bibliography, 23 titles. This document examines the technical execution of extended techniques incorporated in the musical structure of Solus, and explores the benefits of introducing the work into the curriculum of a college level trumpet studio. Compositional style, form, technical accessibility, and pedagogical benefits are investigated in each of the four movements. An interview with the composer forms the foundation for the history of the composition as well as the genesis of some of the extended techniques and programmatic ideas. Copyright 2008 by Scott Meredith ii ACKNOWLEDGMENTS My deepest thanks go to Keith Johnson for his mentorship, guidance, and friendship. He has been instrumental in my development as a player, teacher, and citizen. I owe a great amount of gratitude to my colleagues John Wacker and Robert Murray for their continued support, encouragement, friendship, and belief in my dream. I owe a debt of gratitude to Lenora McCroskey for her knowledge of all things music and her willingness to drop everything for her students. -
Extended Trumpet Performance Techniques A
EXTENDED TRUMPET PERFORMANCE TECHNIQUES A Thesis Presented to the Graduate Faculty of California State university, Hayward In Partial Fulfillment of the Requirements for the Degree Master of Arts in Music ~ Attilio N. Tribuzi September, 1992 EXTENDED TRUMPET PERFORMANCE TECHNIQUES Attilio N. Tribuzi Approved: Date: ~~ ~O\J. IS)J " 2 ---Jk,. /, /ft2.- ~~ Alt>l. I(, I 1'1 <;' 1- ii CONTENTS Page I. INTRODUCTION 1 II. SURVEY OF LIP-PRODUCED SOUNDS 5 A. Jazz Effects 5 1. Glissandi 5 2. Other Effects 10 B. Timbre Modification 12 1. Mutes 12 2. Vibrato Effects 17 3. Other Effects 20 C. Spatial Modulation 23 D. Non-Standard Valve Techniques 28 E. Non-Standard Valve Slide Techniques 33 F. Microtones 41 G. Extensions of Traditional Effects 51 III. SURVEY OF NON-LIP PRODUCED SOUNDS 60 A. Airstream Effects 60 B. Percussive Effects 64 C. Multiphonics 71 D. Dramatic Effects 80 IV. CONCLUSIONS 83 V. BIBLIOGRAPHY 87 A. Books and Periodicals 87 B. Musical Sources 89 C. Selected Discography 91 VI . APPENDIX 93 iii I. INTRODUCTION It is difficult to find an instrument whose repertoire has changed more profoundly than the trumpet's. In the earliest times, the trumpet served as a signaling instrument for war. Despite incomplete documentation, we can say with certainty that trumpeters were among the first musicians hired by medieval courts, no doubt because of their martial and ceremonial functions. 1 One of the most important events in the history of the trumpet was its acceptance into the art music of the seventeenth century.2 This led to the addition of numerous pieces to the trumpet's repertoire, and a MGolden Age- of the natural trumpet occurred. -
PA 2 Trumpet Embouchure
Bb Trumpet / Cornet Pirate Band Publications Brass Tone Boosters A Guide to a Stronger Brass E m b o u c h u r e Topics Include Posture & Breathing Long Tones Pedal Tones Lip Slurs Range AMERICAN BAND COLLEGE OF SAM HOUSTON STATE UNIVERSITY Bb Trumpet / Cornet Brass Tone Boosters A guide to a Stronger Brass Embouchure by Daniel Paulsen Pirate Band Publications American Band College at Sam Houston State University MUEN 5398 Ensemble Project Practical Application #2 Forward Dear Student, ! I am so excited that you have decided to join the Reedley High School band! This booklet was written for you, the trumpet players in our program, and we will be using it every brass rehearsal this fall during the marching band season. By implementing this booklet, we hope to help you learn to play with a mature, powerful trumpet sound. But fair warning: there are no magic bullets or short cuts! These exercises are great tools, and with daily repetition you will improve in several aspects of your playing: your tone, flexibility, range, endurance, and overall power! This booklet includes great reminders for what you may already know, and some effective new techniques that might be new to you! ! Please remember when learning the techniques that these type of warm-up exercises have been around since these instruments were first made, so do not think that they are the only exercises that work for brass players. They are just a few examples of the limitless possibilities to play. What is most important are the key ideas behind the exercises and the purposeful application while playing. -
Audition Requirements 2
AUDITION REQUIREMENTS Accompaniment for woodwinds, strings and percussion is not provided, nor required. Accompanist provided for vocal auditions. Flute Undergraduate Student: Two contrasting solos or etudes from the standard flute repertory and a short selection of sight-reading. Graduate Student: Four contrasting pieces from the standard flute repertory, three standard orchestral excerpts, and a short selection of sight-reading. Oboe Undergraduate Student: Two contrasting solo pieces or etudes representing the applicant’s strengths. Applicants should also be prepared to play all major and minor scales. Sight-reading will also be requested. Graduate Student: Two to three selected major works in the oboe repertory and sight-reading. Prospective graduates might choose to substitute a major technical etude by Bozza or any for the Sixteen Grand Studies by Barret in lieu of the third solo piece. Students should also prepare three contrasting orchestral excerpts of their choice. Clarinet Undergraduate and Graduate Students: Prepare and present music that showcases their skills as musicians and clarinetists. Two contrasting items are requested. One study or etude and one repertory piece or movement (written for clarinet and piano, or clarinet alone) is recommended. A second study or etude may be presented in place of the piece, if preferred. Scales may be requested. Bassoon Undergraduate Student: Two solo pieces or etudes representing the applicant’s strengths contrasting in style and tempo, all major and minor scales, and sight-reading. Graduate Student: Two to three selected major works in the bassoon repertoire contrasting in period, style, and tempo, three orchestral excerpts. 1 SEPTEMBER 2017 Saxophone Undergraduate Student: Two contrasting movements or works from the saxophone repertoire.