DOCSLIB.ORG

FSU ETD Template

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FSU ETD Template Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 Roy Harris' West Point Symphony for Band (1952): A Working Edition Thomas L. (Thomas Lloyd) Harris III Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ROY HARRIS’ WEST POINT SYMPHONY FOR BAND (1952): A WORKING EDITION By THOMAS L. HARRIS, III A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2017 Thomas L. Harris, III defended this dissertation on April 11, 2017. The members of the supervisory committee were: Richard Clary Professor Directing Dissertation John Parks, IV University Representative Clifford Madsen Committee Member Steven Kelly Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii This dissertation is dedicated to my wife, Dr. Marja Macbeth Kerney. I admire you every day. iii ACKNOWLEDGMENTS There are many people who without their help, this dissertation would not have been possible. First, Lt. Col. Tod Addison, commanding officer of the West Point Band. Your enthusiasm and eagerness to help was inspiring. From the email dialogue that took place over the many months of this entire process to the conversations in your office during my West Point visit to your providing the unfinished Finale file, you were a crucial part of this project. I thank you. Second, CW3 Michael Franz, assistant conductor of the West Point Band. Thank you so much to you and your wife and daughter for putting me up on my visit to West Point. Your generosity and flexibility were heartwarming. Also, your help in acquiring many of the resources made my work at West Point as efficient as it could have possibly been. The late night talks over your kitchen table have affected and will continue to affect my philosophy on programming. And your tour(s) of West Point were some of the highlights of my trip, aside from being up to my elbows in the original manuscripts. Next, the entire West Point Band. You made me feel welcome during my stay and allowed me to invade your space without even a heard mumble of dissatisfaction. I’m sure that I got in at least one person’s way. Thank you for showing me what you do and how you do it. Dr. Patrick Dunnigan, Director of Bands at Florida State University. Your help with Finale is one of the primary reasons that this project was completed on time. Your knowledge and simplicity of explanation were crucial to my success. You truly are the Yoda of that program. I owe you at least 1000 hours. I feel comfortable saying that, but hope that you never try to collect. Please don’t try to collect. Dr. Larry Harper, Director of Bands at Carroll University. Thank you for allowing me access to your dissertation as well as the correspondence from Roy Harris, the West Point Band, and the publishers. The avenues that your information illuminated were many. To Prof. Richard Clary, Senior Band Conductor at Florida State University and my committee, you are the faculty that have had the greatest influence on me during my time at FSU. I am so very grateful that you honored me by accepting my invitation to participate in this project. I thank you for permitting the required flexibility in this and I look forward to continuing our relationship for many years to come. iv Patricia Harris Connelly, daughter of Roy Harris. Thank you for accepting every request that I submitted to you during this process – from granting the performance, to allowing the score to be printed in the document, and every little thing in between. I hope that this project makes you proud and I hope that it helps to share your father’s music with more people. SSgt. Nishana Dobbeck, librarian of “The President’s Own” United States Marine Band. You don’t realize this, but you are the reason that this project got off the ground. Without getting into too many specifics, allow me to thank you for your help in the research process. Semper Fidelis! And finally, the members of the FSU Wind Orchestra. Your artistry, musicianship, and knowledge have helped make the finalized version of this edition as good as it could possibly be. Thank you for being flexible in reading and contributing to the many revisions. But really, thank you for sharing your musical talents and making this project a reality. Notation means nothing without the players who make it a reality. You are amazing! v TABLE OF CONTENTS List of Musical Examples ............................................................................................................. vii Abstract ........................................................................................................................................ viii 1. INTRODUCTION ......................................................................................................................1 2. ROY HARRIS .............................................................................................................................4 3. WEST POINT SYMPHONY FOR BAND (1952) .......................................................................13 4. METHOD ..................................................................................................................................25 5. CONCLUSION .........................................................................................................................31 APPENDICES ...............................................................................................................................32 A. UPDATES, ERRATA, AND NOTES FROM WEST POINT BAND PARTS .......................32 B. ORAL HISTORY INTERVIEW WITH LT. COL TOD ADDISON, COMMANDING OFFICER, WEST POINT BAND .................................................................................................35 C. PROGRAM INFORMATION ..................................................................................................37 D. CORRESPONDENCE ..............................................................................................................41 References ......................................................................................................................................60 Biographical Sketch .......................................................................................................................62 vi LIST OF MUSICAL EXAMPLES Example 2.1 Roy Harris, West Point Symphony for Band, B-flat Clarinet 1 part (mm. 31-35) ......7 Example 3.1 Roy Harris, West Point Symphony of Band, B-flat Trumpets part (mm. 5-8) ..........20 Example 3.2 Roy Harris, West Point Symphony for Band, Clarinet 1 part (mm. 495-501) ..........20 Example 3.3 Roy Harris, Symphony No. 7, Score (mm. 404-410) ................................................21 Example 3.4 Roy Harris, West Point Symphony for Band, Score (mm. 422-426) ........................22 Example 4.1 Roy Harris, West Point Symphony for Band, Copy of Manuscript Score (mm. 45- 53) ..................................................................................................................................................27 Example 4.2 Roy Harris, West Point Symphony for Band, Trombone 1 part (mm. 44-54) ...........28 Example 4.3 Roy Harris, West Point Symphony for Band, Manuscript score (mm. 422-426) ......28 Example 4.4 Roy Harris, West Point Symphony for Band, Timpani part (mm. 422-427) .............29 vii ABSTRACT Roy Harris (1898-1979) was one of the leading American composers of the early and mid-twentieth centuries. Audiences were polarized in their impressions of him and his music. Some adored it and labeled it truly American while others were critical. However, both groups respected his talent as a unique voice in American music. He was known for his compositional style, which was characterized by long phrases and atypical diatonic harmonic progressions. His compositions were commissioned and championed by the likes of Serge Koussevitzky and the Boston Symphony Orchestra, William Revelli and the University of Michigan Symphony Band, and others. Over the course of his compositional career, Harris wrote no less than 21 original works for wind band, most of which are neither available nor performed. In 1952, the command staff of the West Point Band commissioned a series of original band works for the Sesquicentennial Celebration of the United States Military Academy at West Point. Roy Harris’ West Point Symphony for Band was a product of this series. However, for many reasons, this piece has lived in relative obscurity having never been published or regularly performed. The purpose of this dissertation is to create a new, working edition of this piece with the goal of facilitating more performances of a masterwork by this singular American composer. A complete 11” x 17” version of the score is provided as a supplement to this dissertation. viii CHAPTER 1 INTRODUCTION Introduction & Statement of Purpose Roy Harris (1898-1979) was referred to as the “White Hope” for American music in the early twentieth century1. This is in part because he was less cosmopolitan than American contemporaries like Aaron Copland, and also because of the mystery associated with both his upbringing, as well as the American West from which he hailed.2 He is primarily known as a symphonist, most notably for his Symphony No. 3 (1938)
Load more

Recommended publications
  • Acknowledgments
    Albany Symphony | David Alan Miller, conductor Tessa Lark, violin | Peter Kolkay, bassoon Ryan Roberts, oboe | Weixiong Wang, clarinet ACKNOWLEDGMENTS Producer: Silas Brown, Michael Torke Session Producer for West, East, South: Doron Schachter Mastering: Silas Brown Recorded at the Troy Savings Bank Music Hall Michael Torke March 6, 2017 (West, South, and East) SKY January 7, 2019 (Sky) Publisher: Adjustable Music; Bill Holab Music, Modern Works Music Publishing, agents. West, South, and East commissioned by Paul Underwood. This recording was made possible by a generous gift from Marsha Nickerson, a former member of the Albany Symphony Photo of Michael Torke: Bryan Hainer WWW.ALBANYRECORDS.COM TROY1784 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2019 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. for less obvious solo instruments. This collection of concertos is my attempt to explore those THE COMPOSER options. Michael Torke’s music has been commissioned by such orchestras as For Sky, a concerto for violin, I took Bluegrass, a style I was not familiar with, studied its The Philadelphia Orchestra, the New York Philharmonic, and the San vernacular, and then imposed classical forms onto it. In the solo part, you hear banjo picking, Francisco Symphony; by such ballet companies as New York City Ballet, a slow Irish reel (harkening back to the music of those who settled Kentucky), and triple time Alvin Ailey, and the National Ballet of Canada; by such opera companies fiddle licks.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 68, 1948-1949
    W fl'r. r^S^ BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON ^r /^:> ,Q 'iiil .A'^ ^VTSOv H SIXTY-EIGHTH SEASON 1948-1949 Carnegie Hall, New York Boston Symphony Orchestra [Sixty-eighth Season, 1948-1949] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhape Ernst Panenka Alfred Krips Georges Fourel Ralph Masters Gaston Elcus Eugen Lehner Roll and Tapley Albert Bernard Contra-Bassoon Norbert Lauga Emil Kornsand Boaz Piller George Zazofsky George Humphrey Horns Paul Cherkassky Louis Arti^res Harry Dubbs Charles Van Wynbergen Willem Valkenier James Stagliano Vladimir ResnikofiE Hans Werner Principals Joseph Leibovici Jerome Lipson Harry Shapiro Siegfried Gerhardt Einar Hansen Harold Meek Daniel Eisler Violoncellos Paul Keaney Norman Carol Walter Macdonald Carlos P infield Samuel Mayes Osbourne McConathy Alfred Zighera Paul Fedorovsky Harry Dickson Jacobus Langendoen Trumpets Mischa Nieland Minot Beale Georges Mager Hippolyte Droeghmans Roger Voisin Karl Zeise Clarence Knudson Prijicipals Pierre Mayer Josef Zimbler Marcel La fosse Manuel Zung Bernard Parronchi Harry Herforth Samuel Diamond Enrico Fabrizio Ren^ Voisin Leon MarjoUet Victor Manusevitch Trombones James Nagy Flutes Jacob Raichman Leon Gorodetzky Georges Laurent Lucien Hansotte Raphael Del Sordo James Pappoutsakis John Coffey Melvin Bryant Phillip Kaplan Josef Orosz John Murray Lloyd Stonestreet Piccolo Tuba Henri Erkelens George Madsen
    [Show full text]
  • Perspectives on the American Concert March in Music Education Robert Clark
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Perspectives on the American Concert March in Music Education Robert Clark Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERSPECTIVES ON THE AMERICAN CONCERT MARCH IN MUSIC EDUCATION By ROBERT CLARK A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Robert Henry Clark defended on March 30, 2009. __________________________ Steven Kelly Professor Directing Thesis __________________________ Patrick Dunnigan Committee Member __________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation to Dr. Bobby Adams, Jack Crew, Dr. James Croft, Joe Kreines, and Paula Thornton, who freely gave of their time, opinions, teaching methods, and wisdom to make the completion of this research study possible. They were as genuine, engaging, inspiring and generous as I had hoped…and more. It was my pleasure to get to know them all better. I would also like to thank my thesis committee, Dr. Steven Kelly, Dr. Patrick Dunnigan and Dr. Christopher Moore for dedicating the time and effort to review my research. I would especially like to thank Dr. Steven Kelly for his work in helping me refine this study, and am further appreciative to him for the guidance he has provided me throughout my undergraduate and graduate studies.
    [Show full text]
  • 1 Don Gillis Interviews William D. Revelli, March 2-7, 1965 American
    Don Gillis Interviews William D. Revelli, March 2-7, 1965 American Bandmasters’ Association Research Center, Special Collections in Performing Arts, University of Maryland, College Park Transcription by Christina Taylor Gibson Unknown: Just say something informally and then we’ll go Don Gillis: I think the feature with Bill had a little more . William D. Revelli: Are you hearing me all right in there now? Unknown: And how [mumbling off microphone] W.R.: Is that too much Unknown: No, no it’s fine, it’s normal, just normal. W.R.: Good. That’s all you need, isn’t it? D.G.: I’m talking with William E. Revelli, that is Bill E., William D.? I’ll start over. That’s one of my great blessings, being a good tape editor. I know I can always cut this out. I’m talking to William D. Revelli of the University of Michigan Bands, whose 25th anniversary I had the good fortune to attend. How many years back was this Bill? W.R.: Well, this is … I’m in my thirtieth year now Don. D.G.: Oh, so this was five years ago. W.R.: Yes. D.G.: At the marvelous banquet where we all sat around and tried in some small way to pay tribute to you for what you had done for the band field, not only at the University of Michigan, but it went way back to a town in Indiana named— W.R.: Hobart. D.G.: Hobart, Indiana. Bill, if you don’t mind, on this afternoon to go back about thirty years, why don’t you tell us about what young William Revelli was doing in Hobart, Indiana as a band director in a town that, which started out as an unknown factor and then became known as THE high school band center of the United States after a little while.
    [Show full text]
  • (1921 to 1963) Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements
    10, /8( D. 0. ("PROF") WILEY: HIS CONTRIBUTIONS TO MUSIC EDUCATION (1921 TO 1963) DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By James I. Hansford, Jr., B.M.Ed., M.M.Ed. Denton, Texas May, 1982 Hansford, James I., Jr., D. 0. ("Prof") Wiley: His Contributions to Music Education (1921 to 1963). Doctor of Philosophy (Music Education), May, 1982, 236 pp., 21 illustrations, Bibliography, 88 titles. The purpose of the study was to write a history of a music educator the professional career of D. 0. Wiley as from 1921 to 1963. To give focus to the career of Wiley, answers were sought to three questions, stated as sub and influ problems: (1) What were the important events ences in the professional career of D. 0. Wiley as a college/university band director? (2) What impact did school Wiley have on the development of Texas public bands that earned him the title "Father of Texas Bands?" of and (3) What role did Wiley play in the development the Texas Music Educators Association and other professional music organizations? D. 0. Wiley was a powerful force in the development as director of public school bands of Texas. While serving of bands at Simmons College (now Hardin-Simmons University) in Abilene, and Texas Tech University in Lubbock, he trained scores of young band directors who accepted teaching positions across the state. Wiley is recognized by the Texas Bandmasters Associa tion as the "Father of Texas Bands," partially because of the large number of his students who became prominent 2 bandmasters and leaders in the professional state music education organizations, but primarily through his pioneer work with the Texas Music Educators Association (TMEA).
    [Show full text]
  • Orchestra Personnel
    FROM SUFFRAGE TO STONEWALL 2019 DAVID ALAN MILLER HEINRICH MEDICUS MUSIC DIRECTOR DAVID ALAN MILLER, HEINRICH MEDICUS MUSIC DIRECTOR Grammy®Award-winning conductor David Alan Miller has established a reputation as one of the leading American conductors of his generation. Music Director of the Albany Symphony since 1992, Mr. Miller has proven himself a creative and compelling orchestra builder. Through exploration of unusual repertoire, educational programming, community outreach and recording initiatives, he has reaffirmed the Albany Symphony’s reputation as the nation’s leading champion of American symphonic music and one of its most innovative orchestras. He and the orchestra have twice appeared at “Spring For Music,” an annual festival of America’s most creative orchestras at New York City’s Carnegie Hall. Other accolades include Columbia University’s 2003 Ditson Conductor’s Award, the oldest award honoring conductors for their commitment to American music, the 2001 ASCAP Morton Gould Award for Innovative Programming and, in 1999, ASCAP’s first-ever Leonard Bernstein Award for Outstanding Educational Programming. Frequently in demand as a guest conductor, Mr. Miller has worked with most of America’s major orchestras, including the orchestras of Baltimore, Chicago, Cleveland, Detroit, Houston, Indianapolis, Los Angeles, New York, Philadelphia, Pittsburgh and San Francisco, as well as the New World Symphony, the Boston Pops and the New York City Ballet. In addition, he has appeared frequently throughout Europe, Australia and the Far East as guest conductor. He made his first guest appearance with the BBC Scottish Symphony in March, 2014. Mr. Miller received his Grammy Award in January, 2014 for his Naxos recording of John Corigliano’s “Conjurer,” with the Albany Symphony and Dame Evelyn Glennie.
    [Show full text]
  • This Land Sings: Inspired by the Life and Times of Woody Guthrie
    This Land Sings: Inspired by the Life and Times of Woody Guthrie Saturday, October 24, 2020 7:30 PM Livestreamed from Universal Preservation Hall David Alan Miller, conductor Kara Dugan, mezzo soprano Michael Maliakel, baritone F. Murray Abraham, narrator Welcome to the Albany Symphony’s 2020-21 Season Re-Imagined! The one thing I have missed more than anything else during the past few months has been spending time with you and our brilliant Albany Symphony musicians, discovering, exploring, and celebrating great musical works together. Our musicians and I are thrilled to be back at work, bringing you established masterpieces and gorgeous new works in the comfort and convenience of your own home. Originally conceived to showcase triumph over adversity, inspired by the example of Beethoven and his big birthday in December, our season’s programming continues to shine a light on the ways musical visionaries create great art through every season of life. We hope that each program uplifts and inspires you, and brings you some respite from the day-to-day worries of this uncertain world. It is always an honor to stand before you with our extraordinarily gifted musicians, even if we are now doing it virtually. Thank you so much for being with us; we have a glorious season of life- affirming, deeply moving music ahead. David Alan Miller Heinrich Medicus Music Director This Land Sings: Inspired by the Life and Times of Woody Guthrie Saturday, October 24, 2020 | 7:30 PM Livestreamed from Universal Preservation Hall David Alan Miller, conductor Kara Dugan, mezzo soprano Michael Maliakel, baritone F.
    [Show full text]
  • Factors Influencing Non-Music Majors' Decisions to Participate
    FACTORS INFLUENCING NON-MUSIC MAJORS' DECISIONS TO PARTICIPATE IN COLLEGIATE BANDS A DISSERTATION IN Music Education and Curriculum and Instruction Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY by JENNIFER ANN MODER BME, The University of Illinois, 2001 MME, Illinois State University, 2010 Kansas City, Missouri 2013 © 2013 JENNIFER ANN MODER ALL RIGHTS RESERVED FACTORS INFLUENCING NON-MUSIC MAJORS' DECISIONS TO PARTICIPATE IN COLLEGIATE BANDS Jennifer Ann Moder, Candidate for the Doctor of Philosophy Degree University of Missouri-Kansas City, 2013 ABSTRACT William Revelli stated that perhaps one of the greatest weaknesses of our school band programs is that, for the majority of the students, active participation ceases upon the day of graduation from our high schools. Music educators should strive to motivate all students, regardless of degree path, toward lifelong music making. After high school, many students do not pursue music as a major yet decide to participate in a collegiate ensemble. It seems relevant to investigate the influences behind these choices. The purpose of this study was to determine what factors contributed to a non-music major’s decision to participate in their collegiate band(s). An email soliciting student participation was sent to college band directors through the College Band Directors National Association (CBDNA). The 17-question electronic survey included an open-ended response, a 7-point Likert-type scale investigating factors that influenced their decision to participate in a collegiate ensemble, and demographic information. Participants (N = 2,933) were students enrolled at 95 colleges and universities from 37 states.
    [Show full text]
  • Patriotism, Nationalism, and Heritage in the Orchestral Music of Howard Hanson Matthew Robert Bishop
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Patriotism, Nationalism, and Heritage in the Orchestral Music of Howard Hanson Matthew Robert Bishop Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PATRIOTISM, NATIONALISM, AND HERITAGE IN THE ORCHESTRAL MUSIC OF HOWARD HANSON By MATTHEW ROBERT BISHOP A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2013 Matthew Bishop defended this thesis on March 29, 2013. The members of the supervisory committee were: Michael Broyles Professor Directing Thesis Michael Buchler Committee Member Douglass Seaton Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university accordance. ii ACKNOWLEDGEMENTS I am deeply grateful to the superbly talented, knowledgeable, and supportive members of my committee. I am indebted to my thesis advisor, Dr. Michael Broyles, for his expertise in American music and his patient guidance. I also greatly appreciate the encouragement and wisdom of Dr. Douglass Seaton and Dr. Michael Buchler. The research behind this project was made possible by a Curtis Mayes Research Fellowship through the musicology program at The Florida State University. I am truly honored to work and learn among such impressive colleagues, in musicology and beyond. I am continually challenged by them to meet an impossibly high standard, and I am in awe of their impressive intellect, abundant support, and unending devotion to the cause of researching, performing, teaching, and celebrating the art of music.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 59,1939-1940, Trip
    Fifty-Fourth Season in New York '; ^\\\UlllJ/l///^ S w. 70,% ^^^ ¥ BOSTON SYMPHONY ORCHESTRA FOUNDED IN 188) BY HENRY L. HIGGINSON FIFTY-NINTH SEASON & 1939-1940 [1] Thursday Evening, November 23 Saturday Afternoon, November 25 Boston Symphony Orchestra [Fifty-ninth Season, 1939-1940] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, C. LAUGA, N. s W\I IT, II. Kl SNIKOI r, V. Concert-master GUNDERSEN, R. KASSMAN, N. CHI RKASSKY, P. EISI I R, D. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. I 1 DOROVSKY, P. rAPLEY, R. LEIBOVICI, J. PINFIELD, C. LEVEEN, P. KRIPS, A. KNUDSON, C. ZUNC, M. BEALE, M. GORODETZm , I.. MAYER, P. DIAMOND, S. DELSORDO, R. I II 1)1.1 R, B. BRYANT, M. STONESTREET, L. Ml SSINA.S. DICKSON, H. MURRAY, J. ERKELENS, H. seiniger, s. DUBBS, H. Violas LEFRANC, J. I OURF.L, G. Bl RNARD, A. CROVLR, II. CAUHAPE, J. ARTIERES, L. \ \\ WYNBERGEN, C. WERNER, H. LEHNER, E. KORNSAND, E. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI,J. LANGENDOEN, J. (II \RDON, y. STOCKBRIDGE, C. i abrizio, i . ZIGHERA, A. TORTELIER, P. DROEGHMANS, H. /I ISE, K. marjollet, l. zimbler, j. Basses MOLEUX, G. DUFRESNE, G. greenberg, h. GIRARD, H. barwicki, j. vondrak, a. JUHT, L. frankel, i. PROSE, P. Flutes Oboes Clarinets Bassoons laurent, g. GILLET, F. polatschf.k, v. ALLARD, R. pappoutsakis, j devergie, j. valerio, m. PANENKA, E. KAPLAN, P. lukatsky, j. cardillo, p. LAUS, A. Piccolo English Horn Bass Clarinet Contra-Bassoon MADSEN, G. SPEYER, L. mazzeo, R. PILLER, B. Horns Horns Trumpets Trombones valkenier, w. SINGER, J. MAGER, G.
    [Show full text]
  • FSU ETD Template
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Rooted in America: The Roy Harris and Henry Cowell Sonatas for Violin and Piano Marianna Cutright Brickle Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ROOTED IN AMERICA: THE ROY HARRIS AND HENRY COWELL SONATAS FOR VIOLIN AND PIANO By MARIANNA CUTRIGHT BRICKLE A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2018 Marianna Brickle defended this treatise on April 2, 2018. The members of the supervisory committee were: Corinne Stillwell Professor Directing Treatise Denise Von Glahn University Representative Shannon Thomas Committee Member Benjamin Sung Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that this treatise has been approved in accordance with university requirements. ii To my husband, David Brickle and my parents, Wanda and Edwin Cutright, for their unwavering love and support. iii ACKNOWLEDGMENTS I would like to express my thanks to all of my committee members: Professor Corinne Stillwell, Dr. Denise Von Glahn, Dr. Benjamin Sung, and Dr. Shannon Thomas for their time, support, and insightful contributions to this project. I extend special thanks to my violin teacher Corinne Stillwell for her pearls of wisdom and her mentorship. Without her guidance, this project would not have been possible. The growth that I have experienced in the past five years, I owe largely to her. Thanks to Denise Von Glahn for her Music in the United States II class, that introduced me to Roy Harris, and helped me grow as a writer.
    [Show full text]
  • Fanfare Yes? It’S Time! Join YOUR University of in THIS ISSUE: Michigan a Very Special Opportunity for Michigan Bands Students & Alumni
    UNIVERSITY OF MICHIG AN BAND ALUMNI ASSOCIATION: YESTERDAY, TODAY, AN D T O M O R R O W Summer 2015 Blast From The Past Issue Volume 68, Issue 1 WELCOME! Were YOU a member of any University of Michigan Band? fanfare Yes? It’s time! Join YOUR University of IN THIS ISSUE: Michigan A Very Special Opportunity for Michigan Bands Students & Alumni ........ 2 Band Alumni Association! We Are Wolverines! by Grace Wolfe, Class of 2015......................................... 3 For those who leave Jennifer Chuang Wins Fulbright Grant .................................................... 5 Michigan and its bands, but for whom Michigan's bands Calling All KKY / TBS Alumni—Brunch on Homecoming Weekend............ 5 never leave, this is where 2015/16 Michigan Bands Concerts from The Directors ................................. 6 you belong: University of Michigan Band Why Be A Member of UMBAA? .............................................................. 8 Alumni Association 2015 ChampionSHEEP! by David Aguilar ..................................................... 9 Strengthen your connection Join or Renew Your Membership—Annual Member Registration ............ 10 to the Michigan Bands and UMBAA Website LAUNCHED! by Jason Townsend, Webmaster ....................... 12 lend your support for the UMBAA Merchandise on Cafepress.com ................................................. 12 band program, current students and alumni by Blast From The Past 2015—Information & Incredibly Tentative Itinerary . 13 becoming a member. Membership dues are $20 UMBAA Annual
    [Show full text]