Steve Schick, So Percussion, Doug Perkins & Mantra Percussion

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6/28/13 Steve Schick, So Percussion, Doug Perkins & Mantra Percussion perform Gordon/Lang/Wolfe at PASIC Steve Schick, So Percussion, Doug Perkins & Mantra Percussion perform Gordon, Lang & Wolfe @ PASIC 2011 On November 9 and 10, the Percussive Arts Society click below for audio, scores, video and more! International Convention features music of www.redpoppymusic.com/percussion Michael Gordon, David Lang, and Julia Wolfe. Cofounders of the iconic new music organization Bang On A Can, the works of these three influential composers have inspired a generation of musicians. Their solo and ensemble music for percussion continues to be both essential and innovative. On Nocember 9, an allstar cast of musicians performs on the inaugural concert of the convention, which celebrates the Percussive Arts Society's 50th Anniversary and the music that has defined the percussiongenre. Steve Schick, the original percussionist of the Bang On A Can AllStars, plays Lang's solo the anvil chorus. Commissioned and premiered by Schick in 1991, his recording and performances of the work have become legendary. Percussion ensemble extraordinaire So Percussion presents an excerpt from Wolfe's riveting drum set quartet, Dark Full Ride, as well as the second movement from their staple work, Lang's the socalled laws of nature. Doug Perkins (soloist, foundingmember of So Percussion and director of percussion at Dartmouth College) performs his firey version of Gordon's enduranceladen solo, XY. Completing the program, and hot off their critically eblasts.redpoppymusic.com/pasic/pasic.html 1/2 6/28/13 Steve Schick, So Percussion, Doug Perkins & Mantra Percussion perform Gordon/Lang/Wolfe at PASIC acclaimed premiere North American tour, Mantra Percussion performs an excerpt from Gordon's latest work, Timber for six amplified 2x4s. Mantra Percussion presents the entire virtuosic 60minute sextet the following night (Thursday November 10) at 10pm (after the Indianapolis Symphony Concert) at the stunning Indianapolis Artsgarden, a few blocks east of the Convention Center. The music of Michael Gordon, David Lang and Julia Wolfe represents some of the most adventurous, breathtaking, passionate, and powerful music of the past quarter century. Their works for percussion are inspired. Building on the music of luminaries before them — Steve Reich, John Cage and Edgar Varese to name a few — Gordon, Lang and Wolfe compose works that are an indelible source of unique and influential music that is a testament to the vibrant state of classical music today. PASIC's recognition of their contribution to the percussiongenre is notable. These important concerts are not to be missed. about contact rent or purchase music license music Copyright © 2011 by Red Poppy Music, LTD eblasts.redpoppymusic.com/pasic/pasic.html 2/2.

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PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space.
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Program Notes (PDF)
July 13 –31, 2 016 Lincoln Center Festival lead support is provided by American Express July 28–30 Stanley H. Kaplan Penthouse S¯o Percussion: Trilogy July 28 Reich, Dessner, Lang July 29 Xenakis, Ergün, Trueman July 30 Cage, Lansky, Mackey S¯o Percussion Eric Cha-Beach Josh Quillen Adam Sliwinski Jason Treuting This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Public support for Festival 2016 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts. – LINCOLN CENTER FESTIVAL 2016 SO PERCUSSION About S o– Percussion: Trilogy 2016 represents a milestone in defines percussion is not the specific So–Percussion’s work: 15 years of com - nature of instruments and playing exper - missioning new pieces for percussion. In tise, but rather our willingness to be flexi - 2001, we had our first professional season, ble and diverse with what we play. our first concert in New York City at the Bang on a Can Marathon, and the initiation So–’s four festival concerts began with of our first major commission, David Steve Reich’s Drumming at Alice Tully Hall Lang’s the so-called laws of nature. on July 16 as part of Reich/Reverberations, a three-concert series celebrating Reich’s Our history with Lincoln Center Festival 80th birthday. Drumming is the pillar that began in 2007 when we teamed up with supports most of the other works. the electronica duo Matmos for explo - rations of the tonal possibilities of uncom - Happily, it is becoming increasingly chal - mon objects.
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An Analysis and Performance Guide of Steve Reich's Mallet
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S U M M E R 2 0
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So Percussion
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Chambermusic
American Masterpieces Chamber Music DavidThe NewNess of Lang by Steven Schick n my student days at the Staatliche “new” in new music, my Freiburg classmates In his percussion music, Hochschule für Musik in Freiburg, I had tripped on one of the principal, and Ifound myself seated behind an older dangerous, conceits of contemporary music: the Bang on a Can woman at a concert of particularly dour that, above all, it must be new. They fell new music by young German composers. into the ultimate trap of newness: excluding co-founder demonstrates She sat through most of the concert until, references to pre-existing music quickly apparently exasperated, she stood suddenly leads to a narrowing path of possibilities and and shouted, “You call this music?” ultimately to a vocabulary of conformism that true innovation My fellow students turned to stare and in which, whatever else the music might be, grumbled their objections. They were right it was not new. Two years earlier, in a 20th- incorporates the past. to take offense. What she should have century analysis class at the University of shouted was, “You call this new?” Iowa, my classmate David Lang sidestepped Through an overly devout reading of the that pothole. He claimed in class that a passage in Wozzeck was not all that different from a section in a new Talking Heads song and that both passages had something in common with Wagner. Our fellow students grumbled their objections. But what David was asserting at that moment was a fresh idea—really new—that connections across the contentiously defined boundaries of history and genre were not to be avoided, but rather embraced.
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! ! CREATIVE MUSICAL IMPROVISATION IN THE DEVELOPMENT AND FORMATION OF NEXUS PERCUSSION ENSEMBLE ! ! ! ! Olman Eduardo! Piedra ! ! ! ! ! A Dissertation! Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements !for the degree of DOCTOR OF MUSICAL! ARTS May !2014 Committee: Roger B. Schupp, Advisor Gregory A. Rich, Graduate Faculty Representative Katherine L. Meizel John W. Sampen !ii ABSTRACT ! Roger B. Schupp, Advisor ! ! The percussion ensemble is a vital contemporary chamber group that has lead to a substantial body of commissions and premieres of works by many prominent composers of new music. On Saturday May 22nd, 1971, in a concert at Kilbourn Hall at the Eastman School of Music in Rochester, New York, NEXUS percussion ensemble, hailed by many as the world’s premiere percussion ensemble, improvised the entire program of their inaugural, 120 minute concert as a newly formed group, while using non-Western instruments with which the majority of the audience were unfamiliar.! NEXUS percussion ensemble has been inﬂuential in helping create new sounds and repertoire since their formation in 1971. While some scholarly study has focused on new commission for the medium, little attention has been given to the importance and inﬂuence of creative improvised music (not jazz) in the formation of NEXUS and its role in the continued success of the contemporary percussion ensemble.! This study examined the musical and cultural backgrounds of past and current members of NEXUS percussion ensemble, and the musical traditions they represent and recreate. The author conducted and transcribed telephone interviews with members of NEXUS percussion ensemble, examined scholarly research related to drumming traditions of the world and their use of improvisation, researched writings on creative improvisation and its methods, and synthesized !iii the findings of this research into a document that chronicles the presence of creative improvisation in the performance practices of NEXUS percussion ensemble.
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1 David Lang's the So
David Lang's The So-Called Laws of Nature: An Analysis with an Emphasis On Compositional Processes Item Type text; Electronic Dissertation Authors Shinbara, Scott Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 14:03:35 Link to Item http://hdl.handle.net/10150/301687 1 DAVID LANG’S THE SO-CALLED LAWS OF NATURE: AN ANALYSIS WITH AN EMPHASIS ON COMPOSITIONAL PROCESSES by Scott Shinbara __________________________ Copyright © Scott Shinbara 2013 A Document Submitted to the FacuLty of the SCHOOL OF MUSIC In PartiaL FuLfiLLment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2013 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Scott Shinbara, title David Lang’s The So-Called Laws of Nature: An Analysis with Emphasis on Compositional Processes and recommend that it be accepted as fulfilLing the document requirement for the Degree of Doctor of MusicaL Arts. _______________________________________________________________________ Date: June 25, 2013 Norman Weinberg _______________________________________________________________________ Date: June 25, 2013 Jerry Kirkbride _______________________________________________________________________ Date: June 25, 2013 Kelland Thomas FinaL approvaL and acceptance of this document is contingent upon the candidate’s submission of the finaL copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilLing the document requirement.
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