Drum Store Directory

Total Page：16

File Type：pdf, Size：1020Kb

DRUM STORE DIRECTORY African Drums Arts and Crafts (African) http://www.africandrumsandartcrafts.com/ Contact name: Saikou Saho Address: Dundas Street, Toronto Phone: 416 597 0175 Fax: 416 597 1664 Email: [email protected] Products: all forms of African musical instruments, specializing in highest quality djembe and djuns, also expert repairs done. Other imported African products. Classes taught in traditional African rhythms from around the continent, a variety of teachers. Saikou is a wonderful man who offers quality service and information about instruments and drumming classes. He includes a little drum square in the middle of the store for trying out the instruments. Musideum http://www.musideum.com/ phone: 416-599-7323 email: mailto:[email protected] web site: www.musideum.com 401 Richmond St. W Main Floor Toronto, Ontario M5V 3A8 (at Richmond St. W. and Spadina) A wonderful collection of World percussion instruments Steve’s Music Store www.stevesmusic.com 415, Queen Street Ouest Toronto, ON, M5V 2A5 CANADA Phone.: 416.593.8888 www.stevesmusic.com email: [email protected] Long and McQuade http://www.long-mcquade.com/ 925 Bloor St W Toronto, Ontario M6H 1L5 Phone: (416) 588-7886 Fax: (416) 532-9708 Email: [email protected] Varied drum and percussion instruments. Decent prices and sometimes sweetened with sales. Alpha Rhythm Roots (African) www.alpharhythmroots.com Contact name: Alpha Website: www.alpharhythmroots.com email: [email protected] Tel:416-473-0759 292 Dupont Street (This is a P.O. box only, please contact via email) French and English spoken Products: all manner of African musical instruments, imported directly. Highest quality. Classes taught in traditional west African rhythms. TORONTO NORTH Soul Drums (multi-national) http://www.souldrums.com/ Contact names: Doug Sole / Paul Bailey Address: 5295 Yonge Street phone: 416 225 5295 website: www.souldrums.com email: [email protected] Entry last updated: Jan 2005 Products: all kinds of drums! Kits, hand drums, bodhrans, percussion. Expert repairs. Runs classes and retreats, lots of events, formal classroom studios. Just Drums (Multi-national) http://www.justdrums.com/ Address: 137 Willowdale Avenue Toronto, ON M2N 5R6, Phone: 416-226-1211, Email: [email protected] Products: all kinds of drums! Kits, hand drums, bodhrans, percussion. Expert repairs. Classes available. TORONTO EAST House of Raga (Indian Musical Instruments) 462 McNicholl Ave., Toronto, Ontario M2H 2E1 Phone: 416 499 6122 Fax: 416 251 4036 Email: [email protected] Products: Specializing in Indian Musical Instruments / tabla, dhol, dholak, sitar, tanpura, but also sells middle eastern instruments (doumbeks, nais etc.), celtic harps, djembe, zarb etc. Lots of percussion stuff. Expert repairs for all types of world instruments. Rare instruments welcome. Family business, 100 years. OTHER ONTARIO LOCATIONS Shaw Percussion / Orion Drums (African and Canadian custom made) http://www.shawpercussion.com/store/ Contact name: Phil Shaw Address: Georgina Phone: 905-722-5449 Products: highest quality Canadian made djembes djuns ashikos. Also drums imported from Africa. Circles and classes available. .

Copy Link

Recommended publications

RHYTHMUNITY ENSEMBLE Kalyan Patak Jean-Christophe Leroy Janet Cramer
RHYTHMUNITY ENSEMBLE Kalyan Patak Jean-Christophe Leroy Janet Cramer PREPARING YOUR SCHOOL FOR THE ENSEMBLE’S VISIT Program Description: The Rhythmunity Ensemble is a group of percussionists hailing from all over the world who present a musical world tour of traditional percussion music. Committed to education in the belief that knowledge of other cultures can break down barriers between cultures, the ensemble has performed for thousands of public school students, college students, teachers, and business people. The program interweaves music, folklore, history, and geography in a very entertaining, educational and accessible presentation. Some of the cultures represented in the program include Cuban, West African, Arab, Indian, and Brazilian. The ensemble members are all highly accomplished musicians who have lived, studied, and performed all over the globe. Terms • Percussion • Balaphone • Guinea • Malinke • India • Conga • Bata Toque • Middle East • Samba • Djembe Musical excerpts to be selected from the following: 1) Traditional rhythms of the Malinke people of Guinea, West Africa, including Zawouli, Kuku, Tiriba and Menjani. 2) Traditional Balaphone from West Africa 3) Traditional rhythms from North Africa and the Middle East. 4) Traditional tabla music from Northern India, and folkloric dhol drum. 5) Cuban rumba and Bata music. 6) The music of Capoeira from northern Brazil 7) Traditional samba batucata from Rio de Janeiro, Brazil. GUIDELINE QUESTIONS FOR FOLLOW-UP DISCUSSION: Q: What instruments were used in today’s program? A: Bells, shekere, djembe, djun-djun, balaphone, tar, Egyptian tabla, riq, tabla,dhol, dholak, bata, congas, clave, berimbau, pandiero, repinique, caxia, surdo, agogo bells Q: What makes a traditional samba band? A: About 400 drummers.
[Show full text]
Music Initiative Jka Peer - Reviewed Journal of Music
VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc.
[Show full text]
1 Syllabus for MA (Previous) Hindustani Music Vocal/Instrumental
Syllabus for M.A. (Previous) Hindustani Music Vocal/Instrumental (Sitar, Sarod, Guitar, Violin, Santoor) SEMESTER-I Core Course – 1 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Historical and Theoretical Study of Ragas 70 Marks A. Historical Study of the following Ragas from the period of Sangeet Ratnakar onwards to modern times i) Gaul/Gaud iv) Kanhada ii) Bhairav v) Malhar iii) Bilawal vi) Todi B. Development of Raga Classification system in Ancient, Medieval and Modern times. C. Study of the following Ragangas in the modern context:- Sarang, Malhar, Kanhada, Bhairav, Bilawal, Kalyan, Todi. D. Detailed and comparative study of the Ragas prescribed in Appendix – I Internal Assessment 30 marks Core Course – 2 Theory Credit - 4 Theory : 70 Internal Assessment : 30 Maximum Marks : 100 Music of the Asian Continent 70 Marks A. Study of the Music of the following - China, Arabia, Persia, South East Asia, with special reference to: i) Origin, development and historical background of Music ii) Musical scales iii) Important Musical Instruments B. A comparative study of the music systems mentioned above with Indian Music. Internal Assessment 30 marks Core Course – 3 Practical Credit - 8 Practical : 70 Internal Assessment : 30 Maximum Marks : 100 Stage Performance 70 marks Performance of half an hour’s duration before an audience in Ragas selected from the list of Ragas prescribed in Appendix – I Candidate may plan his/her performance in the following manner:- Classical Vocal Music i) Khyal - Bada & chota Khyal with elaborations for Vocal Music. Tarana is optional. Classical Instrumental Music ii) Alap, Jor, Jhala, Masitkhani and Razakhani Gat with eleaborations Semi Classical Music iii) A short piece of classical music /Thumri / Bhajan/ Dhun /a gat in a tala other than teentaal may also be presented.
[Show full text]
Rabindra Sangeet
UNIVERSITY GRANTS COMMISSION NET BUREAU Subject: MUSIC Code No.: 16 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music www.careerindia.com -1- Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. www.careerindia.com -2- Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
[Show full text]
Jagdish Prasad Sunil Kumar
+91-9811192425 Jagdish Prasad Sunil Kumar https://www.indiamart.com/jpskmusicalstore/ Founded in 1965, Jagdish Prasad Sunil Kumar is the foremost manufacturer, wholesaler and supplier of Tabla Musical Instruments, Naal Drums and Shruti Box. About Us Founded in 1965, Jagdish Prasad Sunil Kumar is the foremost manufacturer, wholesaler and supplier of Tabla Musical Instruments, Harmonium Musical Instrument, Dhol Musical Instrument, Dholak Musical Instrument, Swarmandal Musical Instruments, Santur Musical Instruments, Tanpura Musical Instruments, Khanjari Musical Instruments, Electronic Banjos, Pakhawaj Drums, Djembe Drums, Khol Drums, Naal Drums and Shruti Box. Our products are extremely well-liked owing to their top features and nominal prices. These products are made by professional’s team employing the advanced techniques and best quality material, which is bought from trustworthy sellers of market. Professionals manufacture these products as per universal industry parameters. Being a customer’s centric organization, professionals also make these products according our client’s requirements and necessities. Due to huge distribution network, fair business polices and quality-centric approach, we have gained trust of our patrons. Apart from, we work under the leadership of our mentor Ashish Verma. Under his supervision our firm has attained heights of success. We also provide many facilities to the patrons to put their demands forward and get them solve timely and as per their requirements. For more information, please visit https://www.indiamart.com/jpskmusicalstore/profile.html
[Show full text]
Stephen M. Slawek Curriculum Vitae
Stephen M. Slawek Curriculum Vitae 10008 Sausalito Drive Butler School of Music Austin, TX 78759-6106 The University of Texas at Austin (512) 794-2981 Austin, TX. 78712-0435 (512) 471-0671 Education 1986 Ph.D. (Ethnomusicology) University of Illinois at Urbana-Champaign 1978 M.A. (Ethnomusicology) University of Hawaii at Manoa 1976 M. Mus. (Sitar) Banaras Hindu University 1974 B. Mus. (Sitar) Banaras Hindu University 1973 Diploma (Tabla) Banaras Hindu University 1971 B.A. (Biology) University of Pennsylvania Employment 1999-present Professor of Ethnomusicology, The University of Texas at Austin 2000 Visiting Professor, Rice University, Hanzsen and Lovett College 1989-1999 Associate Professor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1985-1989 Assistant Professor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1983-1985 Instructor of Ethnomusicology and Asian Studies, The University of Texas at Austin 1983 Visiting Lecturer of Ethnomusicology, University of Illinois at Urbana- Champaign 1982 Graduate Assistant, School of Music, University of Illinois at Urbana- Champaign 1978-1980 Archivist, Archives of Ethnomusicology, School of Music, University of Illinois at Urbana-Champaign Scholarship and Creative Activities Books under contract The Classical Music of India: Going Global with Ravi Shankar. New York and London: Routledge Press. 1997 Musical Instruments of North India: Eighteenth Century Portraits by Baltazard Solvyns. Delhi: Manohar Publishers. Pp. i-vi and 1-153. (with Robert L. Hardgrave) SLAWEK- curriculum vitae 2 1987 Sitar Technique in Nibaddh Forms. New Delhi: Motilal Banarsidass, Indological Publishers and Booksellers. Pp. i-xix and 1-232. Articles in scholarly journals 1996 In Raga, in Tala, Out of Culture?: Problems and Prospects of a Hindustani Musical Transplant in Central Texas.
[Show full text]
New Trends in Hindustani Sitar Music in Malaysia
23 Towards Fusion: New Trends in Hindustani Sitar Music in Malaysia Pravina Manoharan Universiti Sains Malaysia Abstract While a classical Sitar recital in Malaysia still retains many of its original forms and practices, local sitarists are experimenting with new musical ideas to promote the Sitar and its music to a wider audience of mixed ethnicity. Musicians combine Hindustani musical elements such as Raag (melody) and Taal (rhythmic cycle) with different musical elements such as the Chinese pentatonic scale and Arabian Maqam as well as new genres to produce a musical blend broadly dubbed as ‘fusion music’. This article explores how the characteristics of the Hindustani elements of Raag and Taal are adopted to complement the structure and style of the new compositions. Different Sitar playing styles and techniques are employed in the performance of fusion compositions that use Blues or Bossa Nova genres. Keywords: Raag, Taal, fusion, Sitar music. 24 Wacana Seni Journal of Arts Discourse. Jil./Vol.7.2008 Introduction Malaysia is a multiracial and multicultural society that has a rich and diverse cultural and musical heritage. Indians represent the third largest population in the country. The classical music practiced by Malaysian Indians is based on the ancient traditional system that originated in India. Indian classical music refers to both the South Indian Carnatic and North Indian Hindustani systems. Hindustani and Carnatic music share a common ancient musical heritage, as both systems are built upon highly complex and elaborate melodic structures called Raag, and both employ a system of rhythm and meter that falls under the rubric of Taal (rhythmic cycle).
[Show full text]
National Sanskrit University, Tirupati
National Sanskrit University, Tirupati, (Central University) Department of performing arts Indian Classical Instrumental Music On-line Certificate Programme for Six month Subject- Sitar Programme Details: Name of the Programme : On-line Certificate Programme in Sitar Duration of the Programme : 6 Months (July to December) 2020 Level 1:- July - August. Level 2:- September - October. Level 3:- November - December. Time allocation : Indian Students: - 1 hour class for a day (3 days in a week.) Abroad students: - 1 hour class for a day (3 days in a week.) Mode of Examination : On-line No. of Papers : Two types of papers each Level . 1st Paper: Practical . 2nd Paper: Applied Viva *Including One Theory paper in 3rd level Total Marks : 300 marks For 3 Level. Each Level Carry 75 Marks. 1st Paper: Practical: 50 Marks . 2nd Paper: Applied Viva: 25 Marks *Applied Theory paper in 3rd level 75 Marks Programme Fee : Onetime payment for 1, 2, 3 Level For Indian Student: - INR – 3000/- For Abroad Student: - INR - 5000/- Eligibility : Age 12 to 50 Years Medium of Instruction : Hindi, English Number of Seats : 20 (Based on merit in audition test) Presets for Learning : Students are required to have sitar essentials. (Students can keep any mobile app for shruti, Rhythm metronome, Guitar tuners) Programme Coordinator : Dr. Hans Prabhakar Ravidas Assistant Professor Department of Performing Arts Instrumental Music (Sitar) National Sanskrit University, Tirupat, Andhra Pradesh, India Mobile- 8127759391, Mail- [email protected] More information can be found on the website of the university: www.nsktu.ac.in Registration: https://forms.gle/3cwDY1JCdC9UzfYr7 Level 1 Prescribed Syllabus 1. Introduction of sitar with structure.
[Show full text]
Library of Congress Medium of Performance Terms for Music
A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭.
[Show full text]
Zakir Hussain & Masters of Percussion
CAL PERFORMANCES PRESENTS Sunday, March 23, 2014, 7pm Zellerbach Hall Zakir Hussain & Masters of Percussion with Zakir Hussain tabla Selvaganesh Vinayakram kanjira & ghatam Steve Smith Western drums Niladri Kumar sitar Dilshad Khan sarangi Deepak Bhatt dhol Vijay Chavan dholki and special guest Antonia Minnecola Kathak dancer PROGRAM Tonight’s program will be announced from the stage. There will be one intermission. Cal Performances’ – season is sponsored by Wells Fargo. PLAYBILL ABOUT THE ARTISTS The foremost disciple of his father, the leg- endary Ustad Allarakha, Mr. Hussain was a child prodigy who began his professional career at the age of twelve and had toured internation- ally with great success by the age of 18. He has been the recipient of many awards, grants and honors, including Padma Bhushan (2002), Padma Shri (1988), the Sangeet Natak Akademi Award (1991), Kalidas Samman (2006), the 1999 National Heritage Fellowship Award, the Bay Area Isadora Duncan Award (1998–1999), and Grammy Awards in 1991 and 2009 for Best World Music Album for Planet Drum and Global Drum Project, both collaborations with Mickey Hart. His music and extraordinary con- tribution to the music world were honored in April 2009, with four widely heralded and sold- out concerts in Carnegie Hall’s “Perspectives” series. Also in 2009, Mr. Hussain was named a Susana Millman Susana Member in the Order of Arts and Letters by AKIR HUSSAIN (tabla) is today appreciated France’s Ministry of Culture and Commun - Zboth in the field of percussion and in the ication. Most recently, the National Symphony music world at large as an international phe- Orchestra with Christoph Eschenbach com- nomenon.
[Show full text]
7376 Sitar and Surbahar
(LYRCD 7376) SITAR AND SURBARHAR Indian Music for Meditation and Love Ustad Imrat Khan, Sitar and Surbahar Shafaat Miadaad Khan, Tabla In this, his first recording made in the United State, Imrat Khan demonstrates his consummate mastery of two instruments, the sitar and the surbahar, the bass sitar, which he introduced to the American concert stage in 1975. Both the sitar and surbahar have developed from the oldest stringed instrument of India, the bin or rudra vina, which consists of two large gourds of equal size joined symmetrically by a round wooden neck. The bin is characterized by its deep, rich voice. The sitar hardly needs introduction to western audiences, but it is worth noting in connection with this recording that there are two basic styles of stringing the instrument to approximate the sound of the bin. In the second style, popularized by Imrat Khan’s family, there are only six main strings with a range of three octaves, on the grounds that the deep tones of the surbahar recreate more effectively the bin’s lower register. The Surbahar was invented by Imrat Khan’s great-grandfather, Ustad Sahebdad Khan. The instrument was in danger of disappearing after the death of Enayet Khan, Imrat’s father; but thanks to the efforts of Imrat himself, the instrument has regained its place as one of the most important instruments of North Indian art music. The surbahar is, in effect, a bass sitar, with a practical range of over four octaves. It has a wider neck, thicker strings, and a gourd larger and flatter than that of the sitar.
[Show full text]
Transcription and Analysis of Ravi Shankar's Morning Love For
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years.
[Show full text]