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BRASS AND ORGAN CONCERT featuring students of The Shepherd School of Music and Phillip Kloeckner, Organist Sunday, March 22, 2009 4:00 p.m. Edythe Bates Old Recital Hall .and Grand Organ I I~ r sfkieherd RICE UNIVERSITY Sc~ol ofMusic I PROGRAM Suite of Dances Andre Campra (1660-1744) trans. Scott Sorenson Kevin Lynch, trumpet Thomas Siders, trumpet Julie Thayer, horn Benjamin Zither, trombone Andrew Welborn, tuba My Spirit be Joyful Johann Sebastian Bach (Wie will ich michfreuen) (1685-1750) from the Easter Cantata No. 146 arr. E. Power Biggs Patrick Corvington, trumpet Brian Hess, trumpet Hodie Christus Natus Est Giovanni Gabrieli (1554-1612) arr. Gary Olson Ryan Darke, trumpet Robert Zider, trumpet Nicholas Hartman, horn Samuel Jackson, trombone Sarah Herald, tuba Sonata a 4 Trombones Daniel Speer from Neu-gebachene Taffel-Schnitz (1865) (1636-1707) ed. Howard Weiner I arr. Tom Godfrey Caitlin Hickey, trombone J1 Samuel Jackson, trombone Travis Sheaffer, trombone John Stanley, bass trombone \ Canzon cornetto a 4 Samuel Scheidt (1587-1654) arr. Wolfgang G. Haas Patrick Corvington, trumpet Brian Hess, trumpet Kevin Lynch, trumpet Thomas Siders, trumpet INTERMISSION Marche Triomphale Sigfrid Karg-Elert (1877-1933) Patrick Corvington, trumpet Brian Hess, trumpet Roman Ponomariov, horn Travis Scheafer, trombone John Stanley, bass trombone PieJesu Andrew Lloyd Webber from Requiem (b. 1948) Kevin Lynch, flugelhorn Thomas Siders, trumpet Psalm 84: Cantique de Jean Racine Gabriel Faure (1845-1924) arr. Tom Godfrey Caitlin Hickey, trombone Travis Sheaffer, trombone Benjamin Zilber, trombone John Stanley, bass trombone Toccata and Fugue Johann Sebastian Bach in D Minor, BWV565 (1685-1750) Phillip Kloeckner, organist Salvum Fae Populam Tuum Charles-Marie Widor (1844-1937) Brian Hess, trumpet Kevin Lynch, trumpet Thomas Siders, trumpet Samuel Jackson, trombone Travis Shaeffer, trombone Benjamin Zilber, trombone Gregory Tsalikis, percussion Marie Speziale, conductor Solemn Entry of the Knights Richard Strauss of the Order of St. John (1864-1949) Patrick Corvington, trumpet Brian Hess, trumpet Kevin Lynch, trumpet Thomas Siders, trumpet Roman Ponomariov, horn Julie Thayer, horn Samuel Jackson, trombone Travis Shaeffer, trombone Benjamin Zilber, trombone John Stanley, bass trombone Andrew Welborn, tuba Marie Speziale, conductor Groups performing on this concert were coached by Marie Speziale, David Waters, and David Kirk. RICE \ .

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Solo and Ensemble Concert Mae Zenke Orvis Auditorium July 17, 1967 8:00 P.M
SOLO AND ENSEMBLE CONCERT MAE ZENKE ORVIS AUDITORIUM JULY 17, 1967 8:00 P.M. SOLO AND ENSEMBLE CONCERT Monday, July 17 Mae Zenke Orvis Auditorium 8:00 P.M. Program Ernst Krenek Piano Sonata No.3 (1943) Peter Coraggio, piano Allegretto piacevole Theme, Canons and Variations: Andantino Scherzo: Vivace rna non troppo Adagio First Performance in Hawaii Neil McKay Sonata for French Horn and Willard Culley, French horn Piano (1962) Marion McKay, piano Fanfare: Allegro Andante Allegro First Performance in Hawaii Chou Wen-chung Yu Ko (1965) Chou Wen-chung, conductor First Performance in Hawaii John Merrill, violin Jean Harling, alto flute James Ostryniec, English horn Henry Miyamura, bass clarinet Roy Miyahira, trombone Samuel Aranio, bass trombone Zoe Merrill, piano Lois Russell, percussion Edward Asmus, percussion INTERMISSION JOSe Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion and Men's Voices First Performance in Hawaii Jose Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion Charles Higgins and Men's Voices William Feltz First Performance in Hawaii Brian Roberts voices San Do Alfredo lagaso John Van der Slice l Takefusa Sasamori tubes Bach Mai Huong Ta buzzers ~ Ruth Pfeiffer jaw's harps Earlene Tom Thi Hanh le William Steinohrt Marcia Chang zithers Michael Houser } Auguste Broadmeyer Nancy Waller scrapers Hailuen } Program Notes The Piano Sonata NO.3 was written in 1943. The first movement is patterned after the classical model: expo sition (with first, second, and concluding themes), development, recapitulation, and coda. However, in each of these sections the thematic material is represented in musical configurations derived from one of the four basic forms of the twelve-tone row: original, inversion, retrograde, and retrograde inversion.
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Piano Manufacturing an Art and a Craft
Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH.
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Restoration of C. 1925-1930 Carl Fischer Concert Zither
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ZitherZither Build the Zither Connect the four frame Squeeze glue along the InstructionsInstructions pieces. Clear away any outside edges of the frame, excess debris from the holes. avoiding the holes. A zither is a musical instrument that looks like a little harp. To play it, hold it in your lap (or rest it on a table) and pluck or strum the strings. As the strings vibrate— moving quickly back and forth— they make the air around them vibrate, too. Carefully place the zither base Squeeze glue into the slots When waves of vibrating air on top of the frame. If glue gets near the edges of the zither reach your ears, they create the into any of the holes, wipe it base. Place the bridge pieces music you hear. When the away with a toothpick. Place a into the slots and let them dry vibrations stop, so do the heavy book on the frame and let for 10 minutes. musical sounds. it dry for 30 minutes. Your zither has six strings. Follow the sheet music or create your own songs! Materials Insert eye bolts into the two Starting from the back, zither base bottom-left holes. Twist the thread the ends of one string box from bolts clockwise until they’re through the holes on the the mail halfway into the bottom piece opposite sides of the bolts. 3 music sheets of the frame. Pull the ends until the string lengths are even. zither pick 4 frame pieces 3 zither strings glue (plus 1 extra) 2 bridge pieces 6 eye bolts tuning stick Safety NoteSafety Note WARNING:WARNING: • Keep small• Keep parts small and parts string and out string of reach out of of reach young of children.young children.
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Colleen Zither Repair Log.Qxd
Restoration of 1900-1920 Phonoharp 4/30 Chord Zither Performed by Ron Cook April, 2006 For Colleen Story of Idaho Falls, Idaho Background The Phonoharp Company was incorporated on April 27, 1892, in Maine. Within a year the company had opened offices in Boston and in 1897 moved into its factory at 150 Liverpool Street where thousands of instruments were made up to the mid-1920s. Phonoharp made “chord zithers,” five-sided instruments with several octaves of single or double strings and four to six 4-string sets of chords. They were usually played on a table or on a lap with the long side (chords) facing the player. A player’s left hand strummed the chords while the right hand plucked out tunes. An advertisement in the "The Folio" magazine for July of 1894 describes a zither-like instrument that produced 6 chords and could play in F and C. Another advertisement, in "Ladies' Home Journal" in 1895, lists the same models of the Phonoharp, but it adds a listing of the Columbia Zither. This is the earliest form of the chord instrument which was produced in such great volume and wide variety by the Phonoharp Co. Phonoharp apparently purchased a license to the patent from another builder, named Menzenhauer, in 1894, because its date appears on the note label of almost all of the Phonoharp instruments, as well as on the Menzenhauer instruments. The Phonoharp 4/30 (Model 2 1/4) - Page 1 - For 10 years, from 1896 to 1906, Sears sold Phonoharp-made zithers through their cata- log.
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Edith Cowan University Research Online Theses : Honours Theses 2007 Blowing east : A set of performance practice instructions for a western flautist presenting Japanese and Indian inspired works Asha Henfry Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Practice Commons Recommended Citation Henfry, A. (2007). Blowing east : A set of performance practice instructions for a western flautist presenting Japanese and Indian inspired works. https://ro.ecu.edu.au/theses_hons/1301 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1301 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
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Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
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Belgium, Remi Decker, “Bagpipe Heritage in Belgium”
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A Brief History of the Hammered Dulcimer
Phil Passen Press Kit!page 2 A Brief History of the Hammered Dulcimer The trapezoidal-shaped hammered dulcimer, coming in sizes from 3 to 5 octaves with 40 to 100 strings, is the direct ancestor of the piano. In this country it’s called the hammered dulcimer to distinguish it from the lap, or Appalachian dulcimer (a strummed 4 string instrument originating in the Appalachian mountains in the 1800’s). The two instruments have nothing in common except their names, and that they are both usually classified as members of the zither family. The commonly accepted theory about the the hammered dulcimer’s beginnings is that it originated in Persia; that it was brought into western Europe between 900 and 1200 by the Moors and by returning Crusaders; and that it was brought into eastern Europe by the Roma people. But in his well researched and documented book, The Hammered Dulcimer, Paul Gifford presents an alternative opinion, arguing that the dulcimer developed independently in Europe in the early fifteenth century and was related to the European psaltery, a plucked instrument which in turn may have been related to the Mideastern psaltery. Whatever its origins, by 1600 the dulcimer was firmly established in Europe and was popular in the court of King James I of England. In the Book of Daniel in the King James version of the Bible, Nebuchadnezzar’s band was said to contain a dulcimer, leading people to assume that the dulcimer existed in biblical times. Subsequent research has shown that the Hebrew word translated as dulcimer actually meant something else — bagpipe or string drum or perhaps flute.
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