DOCSLIB.ORG

University of Cincinnati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ CURRENT TRENDS IN ALTO TROMBONE PEDAGOGY IN THE UNITED STATES A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctorate of Musical Arts (D.M.A.) in the Performance Studies Division of the College-Conservatory of Music 2005 by DOUGLAS G. WARNER B.M., University of Tennessee at Chattanooga, 1988 M.M., University of Cincinnati College-Conservatory of Music, 1997 Committee Chair: David Vining ABSTRACT This paper examined alto trombone pedagogy from three vantage points. First an in-depth analysis of the alto trombone methods currently available was presented. The methods were analyzed with regard to progressive arrangement, readability of text and music, balance in the use of keys and registers, inclusion of a position chart and orchestral excerpts, and the pedagogical and musical quality of the etudes. The second part of this paper was a study of occurrences of the alto trombone on student recitals in the United States as reported in publications of the International Trombone Association from 1979-2004. The frequency of performances was analyzed as well as the frequency of programming of specific pieces. Finally, a survey was conducted of college-level trombone instructors in the United States. Respondents were asked to provide information about their employment level as a university teacher (full- or part-time), their own study of the alto trombone, their use of methods, solos, and orchestral excerpts to teach the instrument, whether their institution owns an alto trombone, what they believe to be the appropriate level of study to introduce the instrument to a student, their mouthpiece recommendations, and their opinions of the alto trombone methods currently available. The examination of comprehensive alto trombone methods revealed that each one differed in its areas of emphasis. Increased use of the alto trombone on student recitals in the past twenty-six years was evident; the increase has occurred primarily at the graduate level. The concerto by Wagenseil was, by far, the most frequently programmed work. The results from the survey of trombone instructors revealed significant trends. There were similarities between the materials used by teachers in their own study and those that are commonly used to teach current students. The Wagenseil concerto was the most popular choice for appropriate first solo for the alto trombone student. When instructors were asked to rate alto trombone methods, the four volume method by Sluchin received the highest scores by percentage, while the Anderson method was the most widely known. © 2005 Douglas G. Warner All Rights Reserved ACKNOWLEDGEMENTS I would like to thank my teacher and advisor, David Vining for his direction and insight. The assistance and advice of the other members of my committee, Randy Gardner and Dr. Lizabeth Wing are acknowledged as well. I am grateful to the trombone instructors across the country who participated in the survey for this project. The administration of Lee University has supported my work by providing financial assistance. My colleague, Michael Sturgeon contributed much needed technical assistance. I am most indebted to my wife, Melissa for her patience, support, encouragement, and assistance. I offer my gratitude to my parents, Gerald and Sandra Warner for their encouragement and to my in-laws, Donald and Ruth Ann Kuebler for their support and for countless hours of childcare during the final months of this project. And finally, I thank my two young daughters, Abigail and Morgan, for putting up with a father who has had to spend so many evenings at the computer. CONTENTS LIST OF TABLES............................................................................................................2 LIST OF ILLUSTRATIONS............................................................................................4 CHAPTER I. INTRODUCTION.................................................................................................5 II. A BRIEF HISTORY OF THE ALTO TROMBONE RENAISSANCE................9 III. PEDAGOGICAL MATERIALS CURRENTLY AVAILABLE ........................16 IV. RECENT TRENDS IN STUDENT PERFORMANCE ......................................56 V. CURRENT ALTO TROMBONE PEDAGOGICAL PRACTICE ......................78 VI. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS ....................112 BIBLIOGRAPHY.........................................................................................................117 APPENDIX I. ONLINE SURVEY ............................................................................................122 II. SURVEY SOLICITATION MATERIALS .......................................................130 III. RESPONDENTS’ COMMENTS ......................................................................132 IV. SURVEY RESULTS FROM RANDOMLY SAMPLED NON-RESPONDENTS ...............................................................................150 1 TABLES Table Page 1. Recitals that Listed Alto Trombone...........................................................................60 2. Recitals that Likely Used Alto Trombone .................................................................61 3. Doctoral and Master’s Recitals that Used Alto Trombone........................................63 4. Senior and Junior Recitals with Alto Trombone........................................................66 5. Other and Non-Specific Recitals that Used Alto Trombone .....................................68 6. Overall Percentages of Alto Trombone Use Throughout the Study by Category.........................................................................................................70 7. Alto Trombone Literature: Frequencies and Percentages..........................................72 8. Instructors Who Play Alto Trombone........................................................................82 9. Instructors with Formal Alto Trombone Training .....................................................83 10. Teachers with Whom Respondents Studied Alto Trombone....................................84 11. When Respondents Began Playing Alto Trombone .................................................85 12. Methods Used by Respondents in Their Own Study of Alto Trombone..................86 13. Methods Used by Respondents in Teaching the Alto Trombone .............................88 14. Orchestral Excerpts Used by Respondents in Their Alto Trombone Teaching........90 15. Respondents’ Choices for the Most Appropriate First Orchestral Excerpt for the Alto Trombone Student..............................................................92 16. Solo Literature Used by Respondents in Their Alto Trombone Teaching ...............94 2 17. Respondents’ Choices for the Most Appropriate First Solo for the Alto Trombone Student...............................................................................................95 18. School-Owned Alto Trombones by Brand ...............................................................97 19. Comparison of Schools with Alto Trombones Between Full- and Part-Time Instructors ..........................................................................................98 20. Brand Preferences for Future School Alto Trombone Purchases .............................99 21. Level at Which Alto Trombone Should First Be Taught........................................100 22. Specific Mouthpieces Recommended by Respondents for Alto Trombone Students ...........................................................................................101 23. Ratings for Anderson, Stephen: A complete Method for E-flat Alto Trombone ..........................................................................................................103 24. Ratings for Parow, Karsten: Initiation Complète au Trombone Alto......................103 25. Ratings for Slokar, Branimir: Methode Complete de Trombone Alto ....................104 26. Ratings for Sluchin, Benny: Study Material for Alto Trombone ............................104 27. Overall Ratings for Each Method ...........................................................................105 3 ILLUSTRATIONS Figure Page 1. Three Possible Transposition Methods As They Appear in, Stephen C. Anderson, A Complete Method for E-flat Alto Trombone, vol. I, Introduction, (no page number) ..........................................................................28 2. Roger Harvey, BrassWorkBook for Alto Trombone, Chapter 2-Tuning and Slide Movement, Exercise 15, p.13 .............................................................35 3. Benny Sluchin, comp., Study Material for the Alto Trombone, vol. 1, Chromatic Chart, page 14 ...................................................................................40 4. Giulio Marco Bordogni, Twelve Vocalises, no. 6 (measures 49-61), Transcribed by Benny Sluchin in his Study Material for the Alto Trombone, vol. 2, page 49 ..................................................................................49 5. Wenzel Kopprasch, Eight Duos Concertants pour deux Cors, no. 2 (measures 1-12), Transcribed
Recommended publications
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort Olson25@Marshall.Edu

    Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]

    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
  • Loose Adaptation for Chamber Orchestra (2013, Commissioned by Festival Berlioz) by Arthur Lavandier (Born in 1987)

    Loose Adaptation for Chamber Orchestra (2013, Commissioned by Festival Berlioz) by Arthur Lavandier (Born in 1987)

    LE BALCON SYMPHONIE FANTASTIQUE Loose adaptation for chamber orchestra BERLIOZ | LAVANDIER Le Balcon New Label — Le Balcon French national release : September 20th, 2016 CD BOX : TRANSAURAL VERSION – 3D SURROUND MIX FOR LOUDSPEAKERS- DOWNLOAD CODE INCLUDED FOR BINAURAL VERSION -3D SURROUND MIX FOR HEADPHONES Concerts : Théâtre de l’Athénée Sep 24 & 25, 2016 — Festival de Pâques de Deauville Apr 15, 2017 Teatro Mayor Jun 9, 2017 — Théâtre de Carcassonne Dec 8, 2017 — Opéra de Lille Mar 25, 2018 press [at] lebalcon.com PRESENTATION Hector Berlioz (1803-1869) Symphonie fantastique op. 14 (1830) Loose adaptation for chamber orchestra (2013, commissioned by Festival Berlioz) by Arthur Lavandier (born in 1987) In commissioning the Balcon ensemble for an ‘interpretation’ of the Symphonie Fantastique, the Festival Berlioz took a considerable risk. Given the size of the orchestra, a ‘transcription’, an ‘adaptation’ was necessary or in Arthur Lavandier’s words a ‘recreation’ – a term that we will retain since it was he who undertook this hazardous task. It is not a case of Berlioz against Lavandier, and the contrary even less so. It is an ‘encounter of a third kind’, a mosaic challenge, an open-minded tribute, an orchestral game, and shared laughter despite the centuries that divide them both. We could also say that it was like a fan- tasy film re-make. LE BALCON CONDUCTOR, MAXIME PASCAL PRODUCTION AND EDITORIAL CONCEPT, FLORENT DEREX SOLO VIOLIN, YOU JUNG HAN FLUTE, CLAIRE LUQUIENS OBOE, YE CHANG JUNG CLARINET, IRIS ZERDOUD BASSOON, JULIEN ABBES
  • Dayton C. Miller Flute Collection

    Dayton C. Miller Flute Collection

    Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright
  • 6Th Grade Supply List Cove Creek Middle School 2019-2020 Math

    6Th Grade Supply List Cove Creek Middle School 2019-2020 Math

    6th Grade Supply List Cove Creek Middle School 2019-2020 Math ELA ● 1 2-inch inch binder ● 1 ½ binder ● Spiral notebook ● 5 tab dividers ● Pencil pouch for calculator ● Three-pronged, two-pocket plastic folder ● Pencil pouch with pencils, pens, ● Post-it notes highlighters ● Pencil pouch with pencils, pens, highlighters Science/Social Studies General Supplies (will be needed for all classes) ● 1 1-inch binder ● Earbuds (no Airpods or Bluetooth) ● 5 tab dividers ● Pencils ● Highlighters ● Loose leaf paper ● Post-it notes ● Homeroom folder/sleeve for take-home ● Homework folder information ● Spiral Notebook ● Pencil pouch with pencils, pens, highlighters Communal Supplies (to be used by all middle school teachers as needed) ● Clorox wipes ● Kleenex ● Hand sanitizer ● Extra pencils ● Extra pens ● Extra loose leaf paper ● Extra ear buds ● Baggies (sandwich size) Exploratory classes McAulay - Art Spiral bound sketch book (8 ½” x 11” or 8” x 10” or 9” x 10”) Pencils, Erasers, Hand held pencil sharpener Vannoy - PE Physicals are required for all middle school sports Oxentine - Wireless mouse (optional) Technology/Comput ers Rash - ORCHESTRA BAND Band/Orchestra ● Instrument (choose from violin, ● Instrument (choose from viola, cello or upright bass)* flute, clarinet, saxophone, ● Accessories trumpet, french horn, ● Rosin trombone/baritone or ● Shoulder Rest (violin/viola only) percussion)* ● Cello endpin anchor (cello only) ● Accessories ● Extra set of strings (if feasible) ● cleaning swab or other ● Microfiber cloth to periodically cleaning accessories wipe down instrument ● A box of reeds (clarinet, ● Method Book saxophone) ● Essential Elements Book 1 for ● Cork grease (clarinet, specific instrument saxophone) ● Black, 1” or ½” 3 Ring Binder ● valve oil (trumpet); rotary ● Pencil valve oil (french horn only) ● Slide oil (trombone) ● Drumsticks + practice pad (percussion only) ● Method Book ● Essential Elements Book 1 for specific instrument ● Black, 1” or ½” 3 Ring Binder ● Pencil - not pen .
  • 27.1. at 20:00 Helsinki Music Centre We Welcome Conrad Tao Sakari

    27.1. at 20:00 Helsinki Music Centre We Welcome Conrad Tao Sakari

    27.1. at 20:00 Helsinki Music Centre We welcome Conrad Tao Sakari Oramo conductor Conrad Tao piano Lotta Emanuelsson presenter Andrew Norman: Suspend, a fantasy for piano and orchestra 1 Béla Bartók: Divertimento for String Orchestra 1. Allegro non troppo 2. Molto adagio 3. Allegro assai Conrad Tao – “shaping the future of classical music” “Excess. I find it to be for me like the four, and performed Mozart’s A-major pia- most vividly human aspect of musical no concerto at the age of eight. He was performance,” says pianist Conrad Tao (b. nine when the family moved to New York, 1994). And “excess” really is a good word where he nowadays lives. Beginning his to describe his superb technique, his pro- piano studies in Chicago, he continued at found interpretations and his emphasis on the Juilliard School, New York, and atten- the human aspect in general. ded Yale for composition. Tao has a wide repertoire ranging from Tao has had a manager ever since Bach to the music of today. He has also he was twelve. As a youngster, he also won recognition as a composer, and one learnt the violin, and several times in who, he says, views his keyboard perfor- 2008/2009 played both the E-minor vio- mances through the eyes of a composer. lin concerto and the first piano concerto His many talents and his ability to cross by Mendelssohn at one and the same con- traditional borders have indeed made him cert, but he soon gave up the violin. a notable influencer and a model for ot- Despite having all the hallmarks of a hers.
  • Hector Berlioz Harold in Italy, Op. 16

    Hector Berlioz Harold in Italy, Op. 16

    PROGRAM NOTES by Phillip Huscher Hector Berlioz Born December 11, 1803, Côte-Saint-André, France. Died March 8, 1869, Paris, France. Harold in Italy, Op. 16 Berlioz composed Harold in Italy in 1834. The first performance was given on November 23 of that year in Paris. The score calls for solo viola and an orchestra consisting of two flutes and piccolo, two oboes and english horn, two clarinets, four bassoons, four horns, two cornets and two trumpets, three trombones and tuba, timpani, snare drum, triangle, cymbals, harp, and strings. Performance time is approximately forty-two minutes. The Chicago Symphony Orchestra's first performances of Berlioz's Harold in Italy were given on subscription concerts at the Auditorium Theatre on March 11 and 12, 1892 with August Junker as soloist and Theodore Thomas conducting. At one of the first performances of his blockbuster Symphonie fantastique, Hector Berlioz noticed that a man stayed behind in the empty concert hall after the ovations had ended and the musicians were packing up to go home. He was, as Berlioz recalls in his Memoirs, "a man with long hair and piercing eyes and a strange, ravaged countenance, a creature haunted by genius, a Titan among giants, whom I had never seen before, the first sight of whom stirred me to the depths." The man stopped Berlioz in the hallway, grabbed his hand, and "uttered glowing eulogies that thrilled and moved me to the depths. It was Paganini." Paganini, is, of course, Italian-born Nicolò Paganini, among the first of music's one-name sensations. In 1833, the year he met Berlioz, Paganini was one of music's greatest celebrities, known for the almost superhuman virtuosity of his violin playing as well as his charismatic, commanding presence.
  • CHINARY UNG: SINGING INSIDE AURA WATER RINGS OVERTURE | ANICCA | ANTIPHONAL SPIRALS | GRAND SPIRAL [1] WATER RINGS OVERTURE (1993) 6:46 CHINARY UNG B

    CHINARY UNG: SINGING INSIDE AURA WATER RINGS OVERTURE | ANICCA | ANTIPHONAL SPIRALS | GRAND SPIRAL [1] WATER RINGS OVERTURE (1993) 6:46 CHINARY UNG B

    CHINARY UNG: SINGING INSIDE AURA WATER RINGS OVERTURE | ANICCA | ANTIPHONAL SPIRALS | GRAND SPIRAL [1] WATER RINGS OVERTURE (1993) 6:46 CHINARY UNG b. 1942 WATER RINGS OVERTURE [2] ANICCA (1970) 8:27 ANICCA [3] ANTIPHONAL SPIRALS (1995) 11:03 ANTIPHONAL SPIRALS [4] SINGING INSIDE AURA (2013) 14:34 Susan Ung, viola and voice SINGING INSIDE AURA GRAND SPIRAL: DESERT FLOWERS BLOOM [5] GRAND SPIRAL: DESERT FLOWERS BLOOM (1991) 13:19 SUSAN UNG viola and voice TOTAL 54:10 BOSTON MODERN ORCHESTRA PROJECT GIL ROSE, CONDUCTOR COMMENT By Chinary Ung The use of vocalization has become a central feature in my music over the past two decades. As a child growing up in a small village surrounded by rice fields, I was exposed to this practice as a part of folk music, and would later hear the music of other cultures share this approach. In contemporary Western music, however, vocalization was most often used as a special effect. I would eventually seek to incorporate vocalization in a more comprehensive manner that was integral to the work while reflecting a similar timelessness and cultural resonance as in the folk music I remembered. The first significant occasion I had to experiment with this idea was in Susan Ung’s Moon Ritual, a structured improvisation in the late 1970s in which Susan played her viola through a Buchla synthesizer while I played cello and vocalized, using syllables for their sound character. The idea remained on the back burner for twenty years before I brought it forth in a major work, Grand Alap, for cello and percussion, in which both parts featured extensive vocalization.
  • Berlioz's Orchestration Treatise

    Berlioz's Orchestration Treatise

    Berlioz’s Orchestration Treatise A Translation and Commentary HUGH MACDONALD published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarc´on 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface New Baskerville 11/13 pt. System LATEX2ε [TB] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Berlioz, Hector, 1803–1869. [Grand trait´e d’instrumentation et d’orchestration modernes. English] Berlioz’s orchestration treatise: a translation and commentary/[translation, commentary by] Hugh Macdonald. p. cm. – (Cambridge musical texts and monographs) Includes bibliographical references and index. ISBN 0 521 23953 2 1. Instrumentation and orchestration. 2. Conducting. I. Macdonald, Hugh, 1940– II. Title. III. Series. MT70 .B4813 2002 781.374–dc21 2001052619 ISBN 0 521 23953 2 hardback Contents List of illustrations
  • Harold En Italie Les Nuits D'été

    Harold En Italie Les Nuits D'été

    HECTOR BERLIOZ Harold en Italie Les Nuits d’été Les Siècles François-Xavier Roth Tabea Zimmermann Stéphane Degout FRANZ LISZT HECTOR BERLIOZ (1803-1869) Harold en Italie Symphonie avec un alto principal en 4 parties, op. 16, H. 68 D’après Childe Harold’s Pilgrimage de George Gordon Byron 1 | No 1. Harold aux montagnes. Scènes de mélancolie, de bonheur et de joie. Adagio - Allegro 15’14 2 | No 2. Marche de pèlerins chantant la prière du soir. Allegretto 7’51 3 | No 3. Sérénade d'un montagnard des Abruzzes à sa maîtresse. Allegro assai 5’58 4 | No 4. Orgie de brigands. Souvenirs des scènes précédentes. Allegro frenetico 11’44 Les Nuits d'été Six mélodies avec un petit orchestre, op. 7, H. 81B Poèmes de Théophile Gautier (extraits de La Comédie de la mort) 5 | 1. Villanelle, H. 8 2’12 6 | 2. Le Spectre de la rose, H. 83 6’40 7 | 3. Sur les lagunes - Lamento, H. 84 5’43 8 | 4. Absence, H. 85 5’45 9 | 5. Au cimetière - Clair de lune, H. 86 5’41 10 | 6. L'Île inconnue, H. 87 3’37 Tabea Zimmermann, alto Stéphane Degout, baryton Les Siècles, François-Xavier Roth Les Siècles (instruments d’époque, cordes en boyaux) Violons I François-Marie Drieux Amaryllis Billet, Laure Boissinot, Pierre-Yves Denis, Hélène Marechaux, Jérôme Mathieu, Simon Milone, Sébastien Richaud, Laetitia Ringeval, Noémie Roubieu, Matthias Tranchant, Fabien Valenchon Violons II Martial Gauthier David Bahon, Virgile Demillac, Caroline Florenville, Julie Friez, Chloé Jullian, Mathieu Kasolter, Arnaud Lehmann, Thibaut Maudry, Jin-Hi Paik, Rachel Rowntree, Marie-Laure Sarhan Altos
  • Beavert Symphony

    Beavert Symphony

    BEAVERT SYMPHONY Spring Concert: Planets and other heavenly music SVOBODA TCHAI 7:30pm Friday, March 11, 2016 3:00pm Sunday, March 13, 2016 beavertonsymphony.org Our guest Soloist Twenty-three year-old pianist Eloise Kim is a 2014 Jack Kent Cooke Foundation Graduate Arts Award Recipient, one of only 20 artists in the United States to receive this award of $50,000 scholarship annually for graduate studies. Kim received her Bachelor of Music at The Colburn Conservatory and now pursues her Master's of Music at the Manhattan School of Music studying with Andre-Michel Schub. Eloise Kim has had numerous award recognitions, including grand- prize of the Pinault International Piano Competition where she had her Carnegie Weill Recital Hall debut at age 11, semi-finalist of the Gina Bachauer International Piano Competition, and finalist of the New York International Piano Competition. Kim won top prizes in the Lennox, Kingsville, WPPC (dedicated to Leon Fleisher), and Jefferson Young Artists International piano competitions. She was one of the six finalist groups of the International Chamber Music Ensemble Competition where the Kim-Garbot Duo made their first debut at Carnegie Weill Recital Hall. She has been a scholarship recipient of the Chopin National Foundation of the United States, featured young artist at Chamber Music Northwest, and a recipient of the Beaux Arts Society Award in Portland, Oregon. Kim performs solo recitals and chamber music concerts extensively throughout Oregon, Colorado, New York, California, and Canada. She has been a featured soloist at the Colburn Contemporary Ensemble concerts in Los Angeles and The Best of Colburn winter concert series in Three Rivers, California.
  • Understanding Music Past and Present

    Understanding Music Past and Present

    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
  • Symphonie Fantastique

    Symphonie Fantastique

    CLASSICAL�SERIES SYMPHONIE FANTASTIQUE THURSDAY, NOVEMBER 7, AT 7 PM FRIDAY & SATURDAY, NOVEMBER 8 & 9, AT 8 PM NASHVILLE SYMPHONY THIERRY FISCHER, conductor STEPHEN HOUGH, piano ANDREW NORMAN Unstuck – 10 minutes FELIX MENDELSSOHN Concerto No. 1 in G Minor for Piano and Orchestra, Op. 25 – 21 minutes Molto allegro con fuoco Andante Presto – Molto allegro e vivace Stephen Hough, piano – INTERMISSION – HECTOR BERLIOZ Symphonie fantastique, Op. 14 – 49 minutes Reveries and Passions A Ball Scene In the Country March to the Scaff old Dream of a Witches' Sabbath This concert will last one hour and 55 minutes, including a 20-minute intermission. This concert will be recorded live for future broadcast. To ensure the highest-quality recording, please keep noise to a minimum. INCONCERT 19 CLASSICAL PROGRAM SUMMARY How do young artists find a unique voice? This program brings together three works, each written when their respective composers were only in their 20s. The young American Andrew Norman was already tapping into his gift for crafting vibrantly imaginative, almost hyper-active soundscapes in Unstuck, the brief but event-filled orchestral piece that opens our concert. Felix Mendelssohn had already been in the public eye as a child prodigy before he embarked on a series of travels across Europe from which he stored impressions for numerous mature compositions — including the First Piano Concerto. Just around the time Mendelssohn wrote this music, his contemporary Hector Berlioz was refining the ideas that percolate in his first completed symphonic masterpiece. The Symphonie fantastique created a sensation of its own with its evocation of a tempestuous autobiographical love affair through an unprecedentedly bold use of the expanded Romantic orchestra.