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Jazz Concert
Artist Series presents Sonatas for Violin and Piano featuring Maria Sampen, violin and Oksana Ezhokina, piano Saturday, November 14, 2015 at 3 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music presents: Artist Series Sonatas for Violin and Piano Maria Sampen, violin Oksana Ezhokina, piano Saturday, November 14, 2015, at 3 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM Scherzo in C Minor for Violin and Piano, WoO 2 ............................................ Johannes Brahms (1833-1897) Sonata for Violin and Piano in A Major, Op. 100 ................................................................. Johannes Brahms Allegro amabile Andante tranquillo – Vivace Allegretto grazioso INTERMISSION Sonata No. 3 for Violin and Piano in A Minor, Op. 25 .......................................... George Enescu (1881-1955) Moderato malinconico Andante sostenuto e misterioso Allegro con brio, ma non troppo mosso About the Artists Russian-born pianist Oksana Ezhokina appears frequently as guest recitalist and chamber musician on concert series across the United States and abroad. She has soloed with the Seattle Symphony, St. Petersburg Chamber Philharmonic and Tacoma Symphony, and performed in venues such as the Phillips Collection in Washington DC, Benaroya Hall in Seattle, Governor’s Mansion in Olympia, Davies Orchestra Hall in San Francisco, and Klassik Keyifler Festival in Turkey. A dedicated performer of new music, she has premiered works by Marilyn Shrude, Wayne Horvitz, Bern Herbolsheimer, and Laura Kaminsky, among others. -
2015-10-23 Monteverdi Vespers
welcome pacific musicworks ensemble I will never forget the first Stephen Stubbs time I participated in a full music director & lute performance of the Monteverdi Joseph Adam Vespers. It was one of a handful organ of pivotal moments in my life Maxine Eilander so far when I felt that I was harp not really in control of my own Tekla Cunningham & Linda Melsted destiny. It might sound like violins hyperbole, but my experience Laurie Wells & Romeric Pokorny is that this is a work of such violas persuasive power, architectural Photo credit Jan Gates brilliance and raw beauty, that it literally changed the course William Skeen cello of my life. Christopher Jackson was the conductor of the Studio de Musique Ancienne de Montréal on that occasion Moriah Neils and I remember the joy, fascination and pure enthusiasm he bass managed to communicate to everyone involved. I was totally Bruce Dickey & Kiri Tollaksen hooked and felt so compelled and intrigued with how this cornettos work made me feel, that 25 years later, I am still spending Greg Ingles, Erik Schmalz and Mack Ramsey my time convincing anybody who will listen, that there is no sackbuts music that will make them feel luckier to be alive. Christopher Jackson died on September 25th, 2015, after a long and extremely influential career as a master of renaissance and baroque music. His inspirational work with the SMAM and as Dean of the Faculty of Arts at Concordia brought him into regular contact with hundreds of young and vancouver chamber choir aspiring musicians over the years. I will be forever grateful to him for first introducing me and many others to this wondrous music, as well as for instilling in me a desire to perform and promote art that still has the amazing power to transform lives over 400 years later. -
Perceptual Interactions of Pitch and Timbre: an Experimental Study on Pitch-Interval Recognition with Analytical Applications
Perceptual interactions of pitch and timbre: An experimental study on pitch-interval recognition with analytical applications SARAH GATES Music Theory Area Department of Music Research Schulich School of Music McGill University Montréal • Quebec • Canada August 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts. Copyright © 2015 • Sarah Gates Contents List of Figures v List of Tables vi List of Examples vii Abstract ix Résumé xi Acknowledgements xiii Author Contributions xiv Introduction 1 Pitch, Timbre and their Interaction • Klangfarbenmelodie • Goals of the Current Project 1 Literature Review 7 Pitch-Timbre Interactions • Unanswered Questions • Resulting Goals and Hypotheses • Pitch-Interval Recognition 2 Experimental Investigation 19 2.1 Aims and Hypotheses of Current Experiment 19 2.2 Experiment 1: Timbre Selection on the Basis of Dissimilarity 20 A. Rationale 20 B. Methods 21 Participants • Stimuli • Apparatus • Procedure C. Results 23 2.3 Experiment 2: Interval Identification 26 A. Rationale 26 i B. Method 26 Participants • Stimuli • Apparatus • Procedure • Evaluation of Trials • Speech Errors and Evaluation Method C. Results 37 Accuracy • Response Time D. Discussion 51 2.4 Conclusions and Future Directions 55 3 Theoretical Investigation 58 3.1 Introduction 58 3.2 Auditory Scene Analysis 59 3.3 Carter Duets and Klangfarbenmelodie 62 Esprit Rude/Esprit Doux • Carter and Klangfarbenmelodie: Examples with Timbral Dissimilarity • Conclusions about Carter 3.4 Webern and Klangfarbenmelodie in Quartet op. 22 and Concerto op 24 83 Quartet op. 22 • Klangfarbenmelodie in Webern’s Concerto op. 24, mvt II: Timbre’s effect on Motivic and Formal Boundaries 3.5 Closing Remarks 110 4 Conclusions and Future Directions 112 Appendix 117 A.1,3,5,7,9,11,13 Confusion Matrices for each Timbre Pair A.2,4,6,8,10,12,14 Confusion Matrices by Direction for each Timbre Pair B.1 Response Times for Unisons by Timbre Pair References 122 ii List of Figures Fig. -
The Flutist Quarterly Volume Xxxv, N O
VOLUME XXXV , NO . 2 W INTER 2010 THE LUTI ST QUARTERLY Music From Within: Peter Bacchus Interviews Robert Dick Remembering Frances Blaisdell Running a Chamber Ensemble The Inner Flute: Lea Pearson THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC :ME:G>:C8: I=: 7DA9 C:L =:69?D>CI ;GDB E:6GA 6 8ji 6WdkZ i]Z GZhi### I]Z cZl 8Vadg ^h EZVgaÉh bdhi gZhedch^kZ VcY ÓZm^WaZ ]ZVY_d^ci ZkZg XgZViZY# Djg XgV[ihbZc ^c ?VeVc ]VkZ YZh^\cZY V eZg[ZXi WaZcY d[ edlZg[ja idcZ! Z[[dgiaZhh Vgi^XjaVi^dc VcY ZmXZei^dcVa YncVb^X gVc\Z ^c dcZ ]ZVY_d^ci i]Vi ^h h^bean V _dn id eaVn# LZ ^ck^iZ ndj id ign EZVgaÉh cZl 8Vadg ]ZVY_d^ci VcY ZmeZg^ZcXZ V cZl aZkZa d[ jcbViX]ZY eZg[dgbVcXZ# EZVga 8dgedgVi^dc *). BZigdeaZm 9g^kZ CVh]k^aaZ! IC (,'&& -%%".),"(',* l l l # e Z V g a [ a j i Z h # X d b Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXV, N O. 2 W INTER 2010 DEPARTMENTS 5 From the Chair 51 Notes from Around the World 7 From the Editor 53 From the Program Chair 10 High Notes 54 New Products 56 Reviews 14 Flute Shots 64 NFA Office, Coordinators, 39 The Inner Flute Committee Chairs 47 Across the Miles 66 Index of Advertisers 16 FEATURES 16 Music From Within: An Interview with Robert Dick by Peter Bacchus This year the composer/musician/teacher celebrates his 60th birthday. Here he discusses his training and the nature of pedagogy and improvisation with composer and flutist Peter Bacchus. -
C Quliyev Bayati 2Cild.Pdf
Bayatı "ATLAS ENSEMBLE" üçün p a r t i t u r a *** Bayaty for "ATLAS ENSEMBLE" s c o r e ORCHESTRA: Flute / Piccolo Dizi / Xun in C Ney in C Suona / Guanzi in C Zurna in C Oboe Balaban in C Sheng 1 in C Sheng 2 in C Clarinetti in B / in A / Basso Clarinetto Pipa / Liugin in C Tar in C Ud in C Mandolin Kanun in C Zheng in C Santur in C Arpa Timpani Piatto sospeso Cinese tom-toms Tam-Tam Soprano Female khanende singer Violino Erhu in C Kamancha in D Kemenche in C Viola Viola da gamba Violoncello Contrabass ATLAS ENSEMBLE-nin (HOLLANDİYA) SİFARİŞİ İLƏ - 2004 COMMISSIONED BY ATLAS ENSEMBLE (NEDERLAND) - 2004 Bayatı Bayaty Cavanşir QULİYEV Javanshir GULIYEV q=135 > Piccolo > œ œ >œ œ œ œ œ >œ bœ œ œ œ #œ œ œ œ bœ œ œ œ Flute/Picc. 4 j œ œ #œ œ œ #œ œ °& 4 Œ ‰ œ J ‰ Dizi f > œ œ œ > œ œ >œ œ œ œ œ >œ bœ œ œ œ #œ œ bœ œ œ Dizi/xun inC 4 j œ œ #œ œ œ #œ œ & 4 Œ ‰ œ J ‰ f > > > #>œ œ œ œ œ œ Ney in C 4 j #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 Œ ‰ œ œ œ œ J ‰ ¢ Guanzi f Suona/Guanzi in C 4 °& 4 j ‰ Œ Ó ∑ ∑ f œ > Zurna in C 4 œ & 4 ‰ Œ Ó ∑ ∑ f J > > œ œ >œ œ œ œ œ >œ bœ œ œ œ #œ œ œ œ bœ œ œ œ Oboe 4 j œ œ #œ œ œ #œ œ & 4 Œ ‰ œ J ‰ f > Balaban in C 4 j j œ œ œ & 4 Œ ‰ œ #œ œ œ œ #œ œ œ œ œ œ œ œ bœ œ œ œ ‰ #œ œ bœ œ œ ¢ f œ œ > œ > > Sheng in C 1 4 j °& 4 œ ‰ Œ Ó ∑ ∑ f Sheng in C 2 4 & 4 j ‰ Œ Ó ∑ ∑ f œ Cl. -
Size Console Control 26 Ranks Four Months to Than
A BOMBARD£ Technical Report - with somewhat better unification. It had 122 stopkeys when I acquired it as con trasted with a style 260 which had only HOW MY MEDIUM - SIZE CONSOLE 128 stopkeys for 14 or 15 ranks. I ex panded to 212 stopkeys and also added 6 LEARNED TO CONTROL 26 RANKS pistons underneath the lower manual (for IN LESS THAN FOUR MONTHS the pedal) and added 4 more to the solo to make ten. The rebuilding took about three and one-half months, working a We delve into the mysteries of making bigger ones out of already not so little ones - couple of hours every other day or so. consoles, that is, . .. Neal Kissel (he has worked on the Los Angeles Shrine Auditorium Moller) assis ted me tremendously. He made the How In Canoga Park, California, John Led what has become to be known as "proper ard seat replica from a boiler plate, steel won was faced with a problem - an in order." John made the fateful decision - reinforcing rod, a valve wheel and other triguing one to organ lovers. For several plan number 2! miscellaneous parts. The combination years he had been collecting additional The decision was doubly difficult be action relays were remated so as to leave ranks of pipes, chests, regulators, and cause doing things the correct way meant room in the console for the additional trems, with the idea of eventually adding the complete closing down of his instru off/on stop boxes. I purchased a 2-man them to his 3-12 Wurlitzer. -
Two Chamber Music Concerts
School of Music TWO STUDENT CHAMBER MUSIC CONCERTS David Requiro, director MONDAY, APRIL 21, 2014 SCHNEEBECK CONCERT HALL 6 P.M. AND 7:30 P.M. CONCERT I | 6 p.m. Notturno in E-flat Major, Opus 148, D. 897 ...................... Franz Schubert (1797–1828) Trio Consonare Jonathan Mei ‘16, violin Faithlina Chan ‘16, cello Jinshil Yi ‘14, piano Coached by David Requiro Variations on a Theme by Haydn for Two Pianos, Opus 58b .......Johannes Brahms Variations I–VI (1833–1897) Flügel x 2 Taylor Gonzales ’17, and Glenna Toomey ‘15, two pianos, four hands Coached by Duane Hulbert Summer Music for Wind Quintet, Opus 31 ...................... Samuel Barber (1910–1981) Whitney Reveyrand ‘15, flute David Brookshier ‘15, oboe Delaney Pearson ‘15, clarinet Emily Neville ‘14, bassoon Matthew Wasson ‘14, horn Coached by Paul Rafanelli Clarinet Quintet in A Major, K. 581 ..............................W.A. Mozart I. Allegro (1756–1791) IV. Allegretto con variazioni Larissa Freier ‘17, and Sarah Tucker ‘17, violins Sarah Mueller ‘17, viola Alana Roth ‘14, cello Jenna Tatiyatrairong ‘16, clarinet Coached by David Requiro Piano Trio in D Minor, Opus 32 ............................... Anton Arensky I. Allegro moderato (1861–1906) The Morpheus Trio Spencer Dechenne ‘15, violin Bronwyn Hagerty ‘15, cello Brenda Miller ‘15, piano Coached by David Requiro CONCERT II | 7:30 p.m. Piano Quartet in C Minor, Opus 60 ..........................Johannes Brahms I. Allegro non troppo III. Andante Emily Brothers ‘14, violin Henry DeMarais, viola, guest Anna Schierbeek ‘16, cello Imanuel Chen ‘15, piano Coached by David Requiro String Quartet in B Minor, Opus 11 ............................ Samuel Barber I. Molto Allegro e appassionato (1910–1981) Barbershoppe Quartet Clara Fuhrman ‘16, and Brandi Main ‘16, violins Kimberly Thuman ‘16, viola William Spengler ‘17, cello Coached by David Requiro String Trio No. -
The American Stravinsky
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries. -
Earshot Jazz Festival in November, P 4
A Mirror and Focus for the Jazz Community Nov 2005 Vol. 21, No. 11 EARSHOT JAZZSeattle, Washington Earshot Jazz Festival in November, P 4 Conversation with Randy Halberstadt, P 21 Ballard Jazz Festival Preview, P 23 Gary McFarland Revived on Film, P 25 PHOTO BY DANIEL SHEEHAN EARSHOT JAZZ A Mirror and Focus for the Jazz Community ROCKRGRL Music Conference Executive Director: John Gilbreath Earshot Jazz Editor: Todd Matthews Th e ROCKRGRL Music Conference Highlights of the 2005 conference Editor-at-Large: Peter Monaghan 2005, a weekend symposium of women include keynote addresses by Patti Smith Contributing Writers: Todd Matthews, working in all aspects of the music indus- and Johnette Napolitano; and a Shop Peter Monaghan, Lloyd Peterson try, will take place November 10-12 at Talk Q&A between Bonnie Raitt and Photography: Robin Laanenen, Daniel the Madison Renaissance Hotel in Seat- Ann Wilson. Th e conference will also Sheehan, Valerie Trucchia tle. Th ree thousand people from around showcase almost 250 female-led perfor- Layout: Karen Caropepe Distribution Coordinator: Jack Gold the world attended the fi rst ROCKRGRL mances in various venues throughout Mailing: Lola Pedrini Music Conference including the legend- downtown Seattle at night, and a variety Program Manager: Karen Caropepe ary Ronnie Spector and Courtney Love. of workshops and sessions. Registra- Icons Ann and Nancy Wilson of Heart tion and information at: www.rockrgrl. Calendar Information: mail to 3429 were honored with the fi rst Woman of com/conference, or email info@rockrgrl. Fremont Place #309, Seattle WA Valor lifetime achievement Award. com. 98103; fax to (206) 547-6286; or email [email protected] Board of Directors: Fred Gilbert EARSHOT JAZZ presents.. -
A TRIBUTE in LOVING MEMORY Irina Diana Tarabac
A TRIBUTE IN LOVING MEMORY Irina Diana Tarabac (1970-2007) Irina Diana Tarabac dedicated her life to learning, teaching, and science – the field of her choice being linguistics. Among many brilliant scholars and scientists in the Linguistics Department at Stony Brook University, Irina stood out for many a reasons. Unfortunately, Irina left us too early in October 2007. After arriving to study at Stony Brook at 2002, Irina became an active member of the linguistic community in the metropolitan area of New York. She frequently attended seminars in the Linguistics Departments of NYU and the CUNY Graduate Center. Irina was dedicated to life-long learning, and she set extremely high standards for herself, her own research and her teaching responsibilities. She taught a morphology seminar in Bucharest and served as a TA for classes on many different topics at Stony Brook, including syntax, morphology, language philosophy, phonology, typology, and Semitic languages. She was a wonderful teacher and was very concerned about her students. Her dedication to linguistics didn’t leave her much time to pursue her hobbies, but whenever Irina found some time off, she enjoyed listening to symphonic music, reading good literature, visiting museums, and spending time with her friends. Irina earned a Master’s degree in Bucharest, Romania in 1996 and had studied and conducted research in the Netherlands between 1997 and 1999. Irina conducted research on well-known languages such as Dutch, Romanian, and Modern Greek as well as less-known languages such as Rapanui and Burushaki. Irina’s passing is a great loss to her family, her friends and the field of linguistics. -
NEXTET the New Music Ensemble for the 21St Century Virko Baley, Music Director Jorge Villavicencio Grossmann, Guest Composer-In-Residence Carolyn V
Department of MUSIC College of Fine Arts presents NEXTET The New Music Ensemble for the 21st Century Virko Baley, music director Jorge Villavicencio Grossmann, guest composer-in-residence Carolyn V. Grossmann, guest pianist PROGRAM Greg Burr One (2012) (b. 1984-) Dmytro ehrych, violin Sofiane Merkoucbe, piano Virko Baley Nocturnal No. 1 (1958) (b. 1938-) Diego Vega Audi Reliqua (1998) (b. 1968-) Jorge Villavicencio Grossmann Angelus! (20 11) (b. 1973) Carolyn V. Grossmann, piano Jorge Villavicencio Grossmann Se Habia Extinguido en Nosotros una Claridad (2008) Janis McKay, bassoon Carolyn V. Grossmann, piano John Cage Child ofTree (1975) (1912-1992) Chris Tusa, percussion Jorge V. Grossmann Siray I (2005) II (2009) Carmella Cao, flute Tallyn Wesner, clarinet Timothy Hoft, piano Weiwei Le, violin Maren Quanbeck, violoncello Virko Baley, conductor Sunday, October 21, 2012 7:30p.m. Dr. Arturo Rando-Grillot Recital Hall Lee and Thomas Beam Music Center University of Nevada, Las Vegas About our guests: Jorge Villavicencio Grossmann "[Music] that draws the audience in to a spare and wonderfitl sound world." Sudeep Argawala, Boston Musical Intelligencer Jorge Villavicencio Grossmann's music has been performed throughout the United States, Latin America and Europe by ensembles such as the National Symphony Orchestra of Ukraine, Peruvian National Symphony, New England Philharmonic, Aspen Sinfonia, Kiev Camerata, Orquesta de Ia Universidad del Norte (Paraguay), Boston Musica Viva, Nouvel Ensemble Modeme, Pierrot Lunaire Ensemble Wien, Da Capo Chamber -
THEATRE ORGAN BOMBARDE, the Official Pub Lication of the American Threatre Organ Enthu 11 but in a Bike Shop?
TheatreOrgan Bombarde JOURNAL of the AMERICAN THEATRE ORGAN ENTHUSIASTS HI! AT.OE. lets sing along Wurlitzer Theatre Organ I 111:11111 fl11, II . I IMIII I ! I I The modern Theatre Console Organ that combines the grandeur of yesterday with the electronic wizardry of today. Command performance! Wurlitzer combines the classic Horseshoe Design of the immortal Mighty Wurlitzer with the exclusive Total Tone electronic circuitry of today. Knowledge and craftsmanship from the Mighty Wurlitzer Era have produced authentic console dimensions in this magnificent new theatre organ. It stands apart, in an instru ment of its size, from all imitative theatre organ • Dual system of tone generation • Authentic Mighty Wurlitzer Horseshoe Design designs. To achieve its big, rich and electrifying • Authentic voicing of theatrical Tibia and tone, Wurlitzer harmonically "photographed" Kinura originating on the Mighty Wurlitzer pipe organ voices of the Mighty Wurlitzer pipe organ to • Four families of organ tone serve as a standard. The resultant voices are au • Two 61-note keyboards • 25-note pedal keyboard with two 16 ' and thentic individually , and when combined they two 8' pedal voices augmented by Sustain blend into a rich ensemble of magnificent dimen • Multi-Matic Percussion @ with Ssh -Boom ®, Sustain , Repeat , Attack , Pizzicato, and sion. Then, to crown the accomplishment, we Bongo Percussion incorporated the famous Wurlitzer Multi-Matic • Silicon transistors for minimum maintenance Percussion ® section with exclusive Ssh-Boom ® • Reverb, Slide, Chimes, and Solo controls • Electronic Vibrato (4 settings) that requires no special playing techniques, • Exclusive 2 speed Spectra -Tone ® Sound Pizzi ca to Touch that was found only on larger pipe in Motion • Two-channel solid state amplifiers, 70 watts organs, Chimes and Slide Control ..