DOCSLIB.ORG

Society of Composers, Nc 2005 Region VI Conference

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The University of Texas at San Antonio presents the Society of Composers, nc 2005 Region VI Conference UTSA Department of Music February 24-26, 2005 Daniel Adams • Aaron Alon • Karim Al-Zand • Peter Askim .• Daniel Barnard • Mike Barnett • Kenneth R. Benoit • Douglas Bianclu • Per Bloland • Clifton Callender • Alan Chan • George B. Chave • Adam Cotton • James Crowley • Doug Davis • Juan Luis de Pablo Enriquez Rohen • S ue Dellinger • Rhodell T. Fields • Robert Fleisl1er • Mark Francis • Bruce Hamilton • Trent Hanna • David Heuser • Robert Hutchinson • Austin Jaquith • Donivan Johnson • David Korevaar • Timothy Kramer • Frank La Rocca • HyeKyung • Sabin Levi • Stepben Lilly • Carleton Macy • Melissa Maier • Cbarles Norman Mason • Ken Metz • Shirely Mier • Gary Masse • Kirk O'Riordan • Taiga Zafer Ozdemir • Daniel Perttu • Ricbard Power • Bill Ryan • Phillip Sckoeder • Paul Siskind • Rob $ mitb • Mark Snyder • Lesley Sommer •John Stafford II • Jack Stamps • Paul Steinberg • Greg A Steinke • Erich Stem • George Tanner • Michael Sidney Timpson • Michael Twomey • Guy Vollen • Andrew Walters • Marc Wooldridge :--c1 Society of Composers, Inc. [ SCI Sodety of Composers, inc. Region VI Conference at the University of Texas at San Antonio Department of Music David Heuser, Host Region VI Co-chairs: Phillip Schroeder and Samuel Magrill President: Thomas Wells Table of Contents Message from the Department Chair. .... ... .. .. .. .. ... .. .. .. 3 Message from the Host . ... ........... ..... .... .... ..... ... .. ... 4 Conference Schedule .. .. .. .... ... ... .. ......... .... .. ........... 5 Concert Programs ... ... ... .. ... .... .. ... ... .... .... .. .. .. ..... 6 Composer Biographies, Program Notes and Song Texts . ... 15 Performer Biographies .... .. .... .. ... .. .. .... ... ... ... .. ...... 45 The Universit of Texas at San Antonio Department of Music Message from the Chair Dear SCI Region VI Conference Participants, On behalf of the UTSA Department of Music: Welcome to San Antonio! Thank you for honoring us with you presence as we host the 2005 Region VI SCI Conference. I am grateful to David Heuser, associate professor of composition and theory, for his outstanding planning and coordination in hosting this exciting event. UTSA President Ricardo Romo and Dean Daniel Gelo join me in recognizing the students, faculty, and staff who have prepared many months so that your creative worb may be properly presented. Learning, programming and performing new works is a critical responsibility of all musicians, especially those of us in higher education. We must seel<'., teach and present the good and current creative works alongside the inheritance of truly great music that has stood the test of time. I sincerely wish that your time here is both enjoyable and productive, and that this conference informs and inspires your future work in the areas of composition, performance, teaching, and research. Respectfully yours, Gene Dowdy, Chair UTSA Department of Music - 3 - The Universit of Texas at San Antonio Department of Music Message from the Host Welcome! J want to thank all of you for being a part of the Society of Composers Region VJ Conference this year. Although there was a time during this past Fall semester when I felt a little overwhelmed with the number of scores we received for this conference, Jam pleased for what that says for the state of our art. I was privileged to hear so much wonderful music and regret we could not perform more of it this week. Of course, any conference, especially one like this, is a group effort, and so, with apologies for the many people J will inevitably leave off this list, my thanks go out to everyone who has been part of that group effort. First and foremost, thanks to all of my colleagues at the UTSA Department of Music for making this possible.Your support was necessaiy for the beginning, and you have given me more than I could ask for. Thank you. Special thanks to Dr. Eugene Dowdy, Chair of the UTSA Department of Music and Dr. Dan Gelo, Dean of the UTSA College of Liberal and Fine Arts, for their assistance and support. To Cindy Solis, events manager supreme, before whom I bow low. To eveiyone in the music office: N aomy Ybarra, Steven Hill, Michael Mendiola, Angelia Ward, Linda Sauceda and Armando Hernandez for all their invaluable work. Special thanl<s to Linda for tal<ing on all the mundane tasks and keeping a smile. To Sigma Alpha Iota, Phi Mu Alpha Sinfonia, UTSA composition students, and all of the other student volunteers for all their help with staging, receptions, and registr~tion . To eveiyone with SCI for being wonderful and helpful throughout all of this. A special thanks to Tom Wells and Phillip Schroeder, who bore the brunt of my questions. To David Sebald and Mark Rubinstein for technical assistance and loaning me things. To Jack Stamps, for creating the cover graphic & making something out of nothing. To Chris Harrison at AmeriSuites, Christy Knight & Gustavo Lira at Scenic Loop Cafe, Abbas Selgi at Terra Nova Violins for the use of bows for the percussion ensemble, and Sandy Leal at Allegra Print and Imaging. And a special thanks to Cherie, Gwyneth and Julian for patience and laughs. - 4 - Conference Schedule All Concerts are in the UTSA Recital Hall, Arts Building, 1604 Campus Thursday, February 24, 2005 "Masterclass: "Music for Percussion and Film" - Marc Wooldridge, percussion 11 :OOam; Band Hall, UTSA Department of Music For UTSA Percussion and Composition Students. Open to general public. Concert 1: 7 :30pm UTSA Orchestra, Chamber Orchestra, String Orchestra and others Reception to follow in the UTSA Music Department Main Hall Friday, February 25, 2005 Concert 2: 9:30am Guest performers -Lunch Break- Concert 3: l:OOpm UTSA Concert Band, UT SA Woodwind Quintet and others Paper Session 1: 2:30pm - UTSA Choral Hall Greg A. Steinke: Mother Earth - A Native American View Concert 4: 3:30pm UTSA Wind Ensemble and others -Conference Dinner at the Scenic Loop Cafe, 5:00pm-7:00pm (Tickets required)- Concert 5: 7:30pm Guest Ensemble: AURA, the New Music Ensemble of the Moores School of Music, U niversity of Houston Reception to follow in the UTSA Music Department Main Hall Informal gathering at Luna Fine Music Club for jazz (with UTSA alum Jake Owen) following reception Saturday, February 26, 2005 Concert 6: l:OOpm Guest artist Marc Wooldridge and others Paper Session 2: 2:30pm UTSA Choral Hall Stephen Lilly: Form as an Outgrowth of Timbre and Rhythm: Wesley Fuller's Sherds of Five Concert 7: 3:30pm UTSA Percussion Ensemble and others - Dinner Break - Concert 8: 7 :30pm UTSA Concert, Women's and Jazz Choirs and others Reception to follow in the UT SA Music Department Main Hall - 5 - Concert Programs * indicates a guest performer t indicates work is a premiere This program is made possible in part through a partnership of Meet the Composer, Inc., and Mid-American Arts Alliance with the support of the National Endowment for the Arts, ASCAP, and the Virgil Thomson Foundation, the Texas Commission on the Arts, and private contributions to M-AAA. We thank M-AAA for supporting guest artist Marc Wooldridge' s appearance. NATIONAL ENDOWMENT mid·america FOR THE ARTS arts alliance - 6 - Concert 1: 7 :30pm, Thursday, February 24, 2005 I Austin Jaquith (b. 1980): Prelude for Orchestra (2001) ~ HyeKung Lee: R eveil for Orchestra (2004) t UTSA Orchestra, Gene Dowdy, conductor J Michael Sidney Timpson: sneaky (2004) UTSA Chamber Orchestra, Terence Frazor, conductor 1 George Tanner (b. 1979): Portrait (2000) Kasandra Keeling, piano 5 Doug Davis (b. 1948): Family Portrait (2000) Linda Poetschke, soprano; Christine Debus, piano I. My Letter to the World (Emily Dickinson) III.To be away (Adele Davis) V. Alleluia (Doug Davis) f Kirk O'Riordan (b. 1968): Dying Light (2004) Holly O'Riordan*, piano; Andrew Rammon*, cello Rhodell T. Fields (b. 1968): Forest Tales (2003) 1 Olivia Aguayo, flute I. The Mountain II. The Nightingale III. The Crawlers IV. The Weasel V . The Plastic Soldier VI. Wilderness <J Paul Siskind (b. 1962): Thr(e.e. cummingS)ongs (2002) Michael Burgess, tenor; Rita Linard, flute; Matthew Hinsley, guitar I. there is a II. hist whist III. it may not always be so; and i say l Sue Dellinger: Dragonfire (2000) Peter Rubins, Drew Stephen, Oscar Perez, horn; Sherry Rubins, percussion - 7 - Concert 2: 9:30am, Friday, February 25, 2005 tO Sabin Levi: /ram Seven Meditations for Organ Sabin Levi*, organ movements I, VI, VII t~ Robert Hutchinson (b. 1970): Variations on "Giant Steps" (2004) t Duane Hulbert*, piano \ l/ Daniel Perttu (b. 1979): Reflecting Pool (2004) Mark Ford*, cello \7 Guy Vollen (b. 1973): Odell Lake (2003) Guy Vollen*, Ron Daray*, pianists Trent Hanna (b. 1969): The Dorland Etudes (2001) Trent Hanna*, piano I. Far From the Peaceful Shore II. Pines Whisper III. The Santa Anna Winds - 8 - Concert 3 : 1 :OOpm, Friday, February 25, 2005 { ) Shirley Mier (b. 1966): Theme and Deviations for Band (2003) UTSA Concert Band, Leland Sharrock, conductor / l Gary Mosse: Tequila Clarinets t Larry Mentzer, Carlos Esparza, clarinets / 1 Aaron Alon (b. 1981): Spring and Fall (2003) Melody Rich, soprano; Ken Freudigman, cello; Geoffrey Waite, piano / Y Carleton Macy (b. 1944): Twigs (1980) UTSA Woodwind Quintet: Rita Linard, flute; David Herbert, oboe; Larry Mentzer, clarinet, Peter Rubins, horn; Ron Noble, bassoon I. Rapido II. Sticks III.Twigs IV. Branches V. Tango VI. Seeds VII. Reprise \ l Kenneth R. Benoit (b. 1952): Sonatina for Bassoon and Piano (2003) t Rob Noble, bassoon, Geoffrey Waite, piano I. Allegro II. Andante III. Allegro scherzando 1)1! Mark Francis (b. 1958): Secondary Colors (2000) UTSA Flute Ensemble, Rita Linard, director v1 Charles Norman Mason: Three-Legged Race (2000) Mary Ellen Goree, violin; Dan Zollars, cello; Geoffrey Waite, piano - 9 - Concert 4: 3:30pm, Friday, February 25, 2005 Peter Askim (b. 1971): Edge for solo bass (2002) Peter Askim *, bass v''i Timothy Kramer (b . 1959): Mosiacs (1999) George Chave (b. 1959): Lighten Up (2004) t I.
Recommended publications
  • Orpheus Choir a Ministry in Music

    Orpheus Choir a Ministry in Music

    Olivet Nazarene University Digital Commons @ Olivet School of Music: Performance Programs Music 2008 Department of Music Programs 2007 - 2008 Department of Music Olivet Nazarene University Follow this and additional works at: https://digitalcommons.olivet.edu/musi_prog Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Department of Music, "Department of Music Programs 2007 - 2008" (2008). School of Music: Performance Programs. 41. https://digitalcommons.olivet.edu/musi_prog/41 This Book is brought to you for free and open access by the Music at Digital Commons @ Olivet. It has been accepted for inclusion in School of Music: Performance Programs by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. S o ’feiS Department of Music 2007 - 2008 Programs Calendar of Events FALL 2007 SEPTEMBER 2007 1 11 Voice Faculty Recital 2 3 4 5 6 7 8 <- Kresge Auditorium 4- 7 p.m. 13 Adjunct Faculty Recital: 9 10 Q 12 0 14 15 Jennifer Reddick 16 17 18 19 20 o ® <- Kresge Auditorium <r 7:30 p.m. 23 24 25 26 27 28 29 21-22 Broadway Revue 30 <- Kresge Auditorium <- 7 & 9 p.m. OCTOBER 2007 1 2 3 o 5 O 4 Orchestra and Chamber Concert <r Kresge Auditorium <- 7 p.m. 7 8 9 10 11 0 0 6 Marching Band Exhibition 15 16 17 18 © Watseka, III. <- 2 p.m. 21 22 23 24 25 26 ® 12-14 Orchestra Tour <r Various Churches © 29 30 31 19-20 Orpheus Variety Show <- Kresge Auditorium <- 7 & 9 p.m.
  • Southeast Texas: Reviews Gregg Andrews Hothouse of Zydeco Gary Hartman Roger Wood

    Southeast Texas: Reviews Gregg Andrews Hothouse of Zydeco Gary Hartman Roger Wood

    et al.: Contents Letter from the Director As the Institute for riety of other great Texas musicians. Proceeds from the CD have the History of Texas been vital in helping fund our ongoing educational projects. Music celebrates its We are very grateful to the musicians and to everyone else who second anniversary, we has supported us during the past two years. can look back on a very The Institute continues to add important new collections to productive first two the Texas Music Archives at SWT, including the Mike Crowley years. Our graduate and Collection and the Roger Polson and Cash Edwards Collection. undergraduate courses We also are working closely with the Texas Heritage Music Foun- on the history of Texas dation, the Center for American History, the Texas Music Mu- music continue to grow seum, the New Braunfels Museum of Art and Music, the Mu- in popularity. The seum of American Music History-Texas, the Mexico-North con- Handbook of Texas sortium, and other organizations to help preserve the musical Music, the definitive history of the region and to educate the public about the impor- encyclopedia of Texas tant role music has played in the development of our society. music history, which we At the request of several prominent people in the Texas music are publishing jointly industry, we are considering the possibility of establishing a music with the Texas State Historical Association and the Texas Music industry degree at SWT. This program would allow students Office, will be available in summer 2002. The online interested in working in any aspect of the music industry to bibliography of books, articles, and other publications relating earn a college degree with specialized training in museum work, to the history of Texas music, which we developed in cooperation musical performance, sound recording technology, business, with the Texas Music Office, has proven to be a very useful tool marketing, promotions, journalism, or a variety of other sub- for researchers.
  • Department Historyrevised Copy

    Department Historyrevised Copy

    The Music Department of Wayne State University A History: 1994-2019 By Mary A. Wischusen, PhD To Wayne State University on its Sesquicentennial Year, To the Music Department on its Centennial Year, and To all WSU music faculty and students, past, present, and future. ii Contents Preface and Acknowledgements ……………………………………………………………………...........v Abbreviations ……………………………………………………………………………............................ix Dennis Tini, Chair: 1993-2005 …………………………………………………………………………….1 Faculty .…………………………………………………………………………..............................2 Staff ………………………………………………………………………………………………...7 Fundraising and Scholarships …………………………………………………................................7 Societies and Organizations ……………………………………………..........................................8 New Music Department Programs and Initiatives …………………………………………………9 Outreach and Recruitment Programs …………………………………………….……………….15 Collaborative Programs …………………………………………………………………………...18 Awards and Honors ……………………………………………………………………………….21 Other Noteworthy Concerts and Events …………………………………………………………..24 John Vander Weg, Chair: 2005-2013 ………………………………………………................................37 Faculty………………………………………………………………..............................................37 Staff …………………………………………………………………………………………….....39 Fundraising and Scholarships …………………………………………………..............................40 New Music Department Programs and Initiatives ……………………………………………..…41 Outreach and Recruitment Programs ……………………………………………………………..45 Collaborative Programs …………………………………………………………………………...47 Awards
  • Chinese Zheng and Identity Politics in Taiwan A

    Chinese Zheng and Identity Politics in Taiwan A

    CHINESE ZHENG AND IDENTITY POLITICS IN TAIWAN A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC DECEMBER 2018 By Yi-Chieh Lai Dissertation Committee: Frederick Lau, Chairperson Byong Won Lee R. Anderson Sutton Chet-Yeng Loong Cathryn H. Clayton Acknowledgement The completion of this dissertation would not have been possible without the support of many individuals. First of all, I would like to express my deep gratitude to my advisor, Dr. Frederick Lau, for his professional guidelines and mentoring that helped build up my academic skills. I am also indebted to my committee, Dr. Byong Won Lee, Dr. Anderson Sutton, Dr. Chet- Yeng Loong, and Dr. Cathryn Clayton. Thank you for your patience and providing valuable advice. I am also grateful to Emeritus Professor Barbara Smith and Dr. Fred Blake for their intellectual comments and support of my doctoral studies. I would like to thank all of my interviewees from my fieldwork, in particular my zheng teachers—Prof. Wang Ruei-yu, Prof. Chang Li-chiung, Prof. Chen I-yu, Prof. Rao Ningxin, and Prof. Zhou Wang—and Prof. Sun Wenyan, Prof. Fan Wei-tsu, Prof. Li Meng, and Prof. Rao Shuhang. Thank you for your trust and sharing your insights with me. My doctoral study and fieldwork could not have been completed without financial support from several institutions. I would like to first thank the Studying Abroad Scholarship of the Ministry of Education, Taiwan and the East-West Center Graduate Degree Fellowship funded by Gary Lin.
  • THEMES of VOYAGE and RETURN in TEXAS FOLK SONGS Ken Baake Texas Tech University

    THEMES of VOYAGE and RETURN in TEXAS FOLK SONGS Ken Baake Texas Tech University

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Spring 2010 "IT'S NOW WE'VE CROSSED PEASE RIVER" THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS Ken Baake Texas Tech University Follow this and additional works at: http://digitalcommons.unl.edu/greatplainsquarterly Part of the American Studies Commons, Cultural History Commons, and the United States History Commons Baake, Ken, ""IT'S NOW WE'VE CROSSED PEASE RIVER" THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS" (2010). Great Plains Quarterly. 2575. http://digitalcommons.unl.edu/greatplainsquarterly/2575 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. "IT'S NOW WE'VE CROSSED PEASE RIVER" THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS KENBAAKE Stories of development from childhood to narratives, its protean form identified repeat­ adulthood or of journeying through a 1ife­ edly in world mythologies by scholar Joseph changing experience to gain new knowledge Campbell. According to Campbell, the hero are replete in oral and written tradition, as comes in many forms, bearing "a thousand exemplified by the Greek epic of Odysseus and faces," but always with the same underlying countless other tales. Often the hero journeys experience-moving from a call to journey naively to an alien land and then, with great and often an initial refusal, then acceptance difficulty, returns home wiser but forever followed by a crossing of the threshold into scarred.
  • Dale Clevenger

    Dale Clevenger

    dal 20 al 22 marzo 2018 Conservatorio di Musica i passi orchestrali di Brescia per per le iscrizioni scaricare il modulo al link fiati e percussioni https://www.consbs.it/wp-content/ uploads/2016/07/MOD-STU-CORSI -SEMINARI-MASTERCLASS.pdf docente per informazioni referente: M° Gabriele Rocchetti Dale [email protected] CONSERVATORIO LUCA MARENZIO Clevenger UFFICIO PRODUZIONE: TEL. ++39 (0)30 2886711 SITO: WWW.CONSBS.IT [email protected] Ex-primo corno Chicago Symphony Orchestra Stagione 2017/2018 brani previsti Gustav Mahler - Sinfonia Sinfonia n. 3 in re min. per contralto, coro femminile, coro di bambini ed orchestra Anton Bruckner - Sinfonia n° 7 in mi magg. Johannes Brahms: sinfonia n° 1 in do min. op. 68 calendario Martedì 20 - mercoledì 21 - Giovedì 22 dalle ore 17 alle 20 Conservatorio di Brescia iscrizioni: termine ultimo 15 marzo 2018 quota di partecipazione: allievi interni: GRATUITO con acquisizione di 2 cf allievi delle scuola convenzionate: GRATUITO esterni: € 50= uditori (interni ed esterni): GRATUITO per le iscrizioni scaricare il modulo al link https://www.consbs.it/wp-content/uploads/2016/07/MOD-STU-CORSI-SEMINARI-MASTERCLASS.pdf per informazioni referente: M° Gabriele Rocchetti - [email protected] Ufficio Produzione — tel. 030 2886742 e-mail: [email protected] Dale Clevenger, ex-primo corno della Chicago Symphony Orchestra dal 1966, è un musicista versatile che si interessa anche di musica da camera e jazz e si esibisce anche come solista. Prima di entrare nell’orchestra di Chicago, aveva fatto parte dell'American Symphony Orchestra di Leopold Stokowski , della Symphony of the Air diretta da Alfred Wallenstein e della Kansas City Philharmonic, dove era primo corno.
  • Catalogue and Musik” (Degenerate Music) Opened in Documentation of Sound) Should Düsseldorf

    Catalogue and Musik” (Degenerate Music) Opened in Documentation of Sound) Should Düsseldorf

    zagreb | 2018. XVIII. SVJETSKI KONGRES SAKSOFONISTA ODRŽAVA SE POD POKROVITELJSTVOM MILANA BANDIĆA, GRADONAČELNIKA GRADA ZAGREBA | THE XVIII WSC IS HELD UNDER THE PATRONAGE OF MR MILAN BANDIĆ, MAYOR OF THE CITY OF ZAGREB gradonačelnik grada zagreba Poštovani sudionici, dragi gosti, Zagreb prvi put ugošćuje renomirani Svjetski kongres saksofonista. Domaćin ovogodišnjega 18. kongresa je naša Muzička akademija koja je u svijetu poznata po izvrsnosti svoje Zagrebačke saksofonističke škole koju je utemeljio profesor Josip Nochta. Tijekom 5 dana, na više od 400 događanja, na brojnim mjestima u gradu će se predstaviti i susresti vrhunski glazbeni profesionalci, studenti i amateri. Bit će to, uvjeren sam, praznik glazbe, prigoda za promociju različitih stilova i izričaja te za razmjenu ideja. Svojom otvorenosti za publiku Kongres će obogatiti Zagrebačko kulturno ljeto te će doprinijeti boljem pozicioniranju Zagreba i Hrvatske na svjetskoj karti kulturnog turizma. Zahvaljujem organizatorima na uspješnoj realizaciji Kongresa, osobito red. prof. art. Draganu Sremcu, umjetničkomu ravnatelju Kongresa i prodekanu za umjetnost i poslovanje Muzičke akademije Sveučilišta u Zagrebu. Svim sudionicima želim uspješno sudjelovanje i ugodan boravak u našem gradu! Gradonačelnik Grada Zagreba Milan Bandić Major of the City of Zagreb Esteemed participants, dear guests, Zagreb is hosting the renowned World Saxophone Congress for the irst time. The host of this 18th Congress is our Academy of Music, world- famous for the excellence of its Zagreb School of Saxophone, established by professor Josip Nochta. In the course of 5 days, in more than 400 events at various locations in the city, top music professionals, students and amateurs will present themselves and meet each other. I am sure that it will be a celebration of music, an opportunity to promote various styles and expressions and to exchange ideas.
  • The Society of Composers, Inc. Region IV Conference

    The Society of Composers, Inc. Region IV Conference

    Table of Contents Letters of Welcome ....... .. .. ... .... .. ... .... ...... ... ..... .. ........... ... .. ................................. ................. .. ... ... .. .. .... .......................... ......... ....... 2 Descriptions .................. ... ....................................... .. ...... ......... ....... ................ ............................................ ............ .. ................ ..... .... 4 Schedule of Events ...... ............ ... .... ....... .. .. ...... .. .. ..... ... .. ... .... ........ ... ...... ... ............ .. .. ........... .... .. .... .............. ............ ... .. .. .. ........ ..... 5 Lecturer Masterclasses .......................... .... ............... ....... ......... .... ... ...... ... .. .... .. ............ .. ... ... .. .... .. .. ................................. .. ..... .... 5 Programs Concert I ...... ................ ........... ....... ......... ......... .. .. ... ....................................... ...... ................... .. ....... .......... ... .. .. ................ 6 Concert II . .. ... .................. .. ................ .. ..................... ... ......................................................... ......... ....... .. ............ ... ... ... .. .... ... .. ... 7 Concert III ........ ... ........... ...... .. ............... ... ... ... ......... ...................................................... .. .... ........ ............ ........ .... .. ... .. .......... .... 8 Concert IV ................... ............ .. ............
  • 2016 SDF 5.5X8.5 NFA Book.Pdf 1 6/24/16 7:56 AM

    2016 SDF 5.5X8.5 NFA Book.Pdf 1 6/24/16 7:56 AM

    National Flute Association 44th Annual Convention SanSan Diego,Diego, CACA August 11–14, 2016 SDF_5.5x8.5_NFA_Book.pdf 1 6/24/16 7:56 AM C M Y CM MY CY CMY K YOUR VOICE ARTISTRY TOOLS SERVICES unparalleled sales, repair, & artistic services for all levels BOOTH 514 www.flutistry.com 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 3 nfaonline.org 4 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 nfaonline.org 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 5 nfaonline.org INSURANCE PROVIDER FOR: ALL YOU NEED TO KNOW ABOUT FLUTE INSURANCE www.fluteinsurance.com Located in Florida, USA or a Computer Near You! FL License # L054951 • IL License # 100690222 • CA License# 0I36013 6 44th ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, SAN DIEGO, 2016 nfaonline.org TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Coordinators ............................................................... 14 From the Convention Program Chair ................................................. 21 2016 Awards ..................................................................................... 23 Previous Lifetime Achievement and Distinguished Service Award Recipients ....................................................................................... 26 Instrument Security Room Information and Rules and Policies .......... 28 General Hours and Information ........................................................
  • Todd K. Shackelford, Ph.D. Curriculum Vita: August 1, 2021 Oakland

    Todd K. Shackelford, Ph.D. Curriculum Vita: August 1, 2021 Oakland

    Todd K. Shackelford, Ph.D. Curriculum Vita: September 3, 2021 Oakland University Center for Evolutionary Psychological Science Department of Psychology 112 Pryale Hall Rochester, Michigan 48309-4401 Email: [email protected] Office: 248-370-2285 Fax: 248-370-4612 Web: www.ToddKShackelford.com EDUCATION Ph.D., The University of Texas at Austin, Psychology: 1997 Area concentration: Evolutionary Psychology M.A., The University of Michigan, Psychology: 1995 Secondary concentration in Multivariate Statistics B.A., The University of New Mexico, Psychology: 1993 Summa Cum Laude, with Honors in Psychology EMPLOYMENT 2010-Present Distinguished Professor (appointed 2016) and Chair of Psychology Founding Director (2020), Center for Evolutionary Psychological Science Oakland University 2007-2010 Professor of Psychology Founder and Chair, Ph.D. Program in Evolutionary Psychology Florida Atlantic University 2002-2007 Associate Professor of Psychology Founder and Chair, Ph.D. Program in Evolutionary Psychology Co-Coordinator of the Graduate Program in Psychology (2002-2005) Florida Atlantic University 1997-2002 Assistant Professor of Psychology Florida Atlantic University LOCAL, NATIONAL, AND INTERNATIONAL HONORS AND AWARDS Founding Member, Society for Open Inquiry in Behavioral Science (SOIBS), invited and appointed by Executive Committee of SOIBS (2021). Founding Director, Center for Evolutionary Psychological Science, Oakland University (2020). Member, inaugural Advisory Board, The Oklahoma Center for Evolutionary Analysis (The Ocean), Oklahoma State University, Stillwater, Oklahoma (2019). Distinguished Professor, appointed by Oakland University Board of Trustees, on recommendation of President George Hynd and Senior Vice President for Academic Affairs and Provost James Lentini (2016) Secretary/Archivist, Executive Council Member, Human Behavior and Evolution Society (2015-2018, elected by Membership; re-elected 2018-2021) Invited Nominator, 2017 Kyoto Prize in Basic Sciences (Evolution, Behavior, Ecology, Environment).
  • School of Music Overview Founded in 1912 As One of the Five Schools Of

    School of Music Overview Founded in 1912 As One of the Five Schools Of

    5000 Forbes Avenue Pittsburgh, Pennsylvania 15213-3890 Phone: 412-268-2372 Fax: 412-268-1431 Website: music.cmu.edu School of Music Overview Founded in 1912 as one of the five schools of the College of Fine Arts, Carnegie Mellon’s School of Music educates outstanding, intellectually gifted musicians through excellence in performance, creativity, scholarship and pedagogy. The School of Music offers a Bachelor of Fine Arts in instrumental and vocal performance, composition and keyboard performance as well as a Bachelor of Science in Music and Technology. A Master of Music degree is offered in performance, composition, conducting, collaborative piano and music education and a Master of Science in Music and Technology. Additionally, the School of Music offers a variety of highly acclaimed non-degree programs, such as the Artist Diploma (Performance, Composition, Conducting), Advanced Music Studies Certificate (Performance, Composition, Piano Pedagogy, Audio Recording and Production, and Piano Maintenance), Dalcroze Eurhythmics Certification, and Music Education Certification. The School of Music presents more than 250 events annually, many of which are free and open to the public. Facts & Figures Carnegie Mellon University Carnegie Mellon School of Music Established: 1900 Established: 1912 Total Faculty: 1,316 Music Faculty: 87 Total Undergraduates: 6,020 Music Undergraduate Majors: 146 Total Graduate Students: 5,510 Music Graduate Students: 110 Student-Faculty Ratio: 10:1 Student-Faculty Ratio: 3:1 Other Facts • Approximately 350 graduate and undergraduate students hail from 35 states and 19 countries. • Admission is selective with only the top 30% of voice and instrumental auditioning applicants accepted. • Roughly 55% of students in the School of Music receive some form of financial aid.
  • Country-Musik?"-Some Notes on the Popular Music of Texas and the Gulf Coast in West Germany

    Country-Musik?"-Some Notes on the Popular Music of Texas and the Gulf Coast in West Germany

    "COUNTRY-MUSIK?"-SOME NOTES ON THE POPULAR MUSIC OF TEXAS AND THE GULF COAST IN WEST GERMANY by Richard C. Helt The lead article in the October 1976 issue of country corner, one of two nationally circulated country music periodicals in West Germany, details the rift between the Nashville country music "establishment" and the "out- laws'' of the fledgling Texas progressive country movement, and portrays in enthusiastic metaphors the music of the "sogenannte Texas Outlaw Souxld" ("the so-called Texas Outlaw Sound") of Waylon Jennings, Willie Nelson, and colleagues: "In der Tat, im Rieseneintopf der Produkte aus den Studios von Music City, U. S. A. muten die Klange der 'Rebellen' wie exotische Farbtupfer an . ."("It's a fact that the sounds of the 'rebels'come across as exotic spots of color in the gigantic ragout of products which come out of the studios of Music City, u.s.A.").' Similarly, the other German Cotlntrjl- Zeitschr(ff (("country journal"), Hillbillj~,featured a lengthy report on Jennings in its September issue of the same year, including an introductory editorial'comment on the central role played by the singer in the formation of the new movement: Diese T~telstory1st etnem modernen Kunstler gew~dmet.der 7war schon se~tgeraumer Zeit eln profil~erterVertreter d~eserMusik 1st. aber doch immer wieder neue Wege suchte-und auch fand. Ausdruck dieser Unruhe war selne mangebliche Bete~l~gungan der Begrundung der v~eld~skutierten"Outlaw-Bewegung," mlt der e~nigeprogresswe Country-Mustker aus den e~ngefahrenenstarren Gle~sender In Nashv~lleetabl~erten Country Music ausbrachen und nach Texas gingen Man kann Waylon Jenn~ngsfast als "Anfuhrer" d~eserOutlaws beze~chnen,("Th~s t~tle story 1s dedicated to a modern artist who, desp~tehis having been for some time a well-known representatwe of this genre [Nashville sound], has always sought new paths-and found them.