DR. BRIAN L. BOWMAN COMPLETE VITA LISTING January 20, 2017
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President's Welcome
PRESIDENT’S WELCOME Friends, Colleagues, and Students, Welcome to the 82nd Annual Mississippi Bandmasters Association State Band Clinic in Natchez. The other members of the MBA Executive Board and I hope that you will experience growth, new perspectives, and renewed aspirations for teaching and learning music in your community during this year’s clinic. I would like to wish all of the students in attendance a heartfelt congratulations on participating in this esteemed event. You represent the very best of the students from your band programs – I encourage you to take that sentiment to heart. Thousands of students have shared in this honor for the last 82 years. Many of you will meet friends this weekend that you will have throughout your life. Lastly, I encourage you to take this opportunity to enjoy making music with others and learning from some of the most outstanding teachers in our country. For members of our association, take the time to visit with the exhibitors and clinicians throughout the weekend. Take advantage of the clinics and presentations that are offered so that you may leave Natchez with new insights and perspectives that you can use with your students at home. Clinic is also a time to renew old friendships and foster new ones. I hope that veteran teachers will take the time to get to know those that are new to our profession and new teachers will seek out the guidance of those with more experience. To our guest clinicians, exhibitors, featured ensembles, and conductors we welcome you and hope that you will enjoy your time with us. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds 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 August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Concertino for Trumpet by Emil Petrovics (1930-2011): a Transcription for Brass Ensemble (2011) Directed by Dr
KEYSER, ALLYSON BLAIR, D.M.A. Concertino for Trumpet by Emil Petrovics (1930-2011): A Transcription for Brass Ensemble (2011) Directed by Dr. Edward Bach. 139 pp. Emil Petrovics (1930-2011) was an award-winning, prominent music figure in the history of Hungarian music. Known primarily for his one-act opera C’est la guerre, Petrovics also wrote film music, an oratorio, a string quartet, and numerous instrumental and vocal works. Among his instrumental music, Concertino is the only solo work Petrovics ever composed for solo trumpet with orchestra. Significant professional posts for Petrovics included professor of composition and conducting at the Franz Liszt Academy of Music, musical director of the Petöfi Theatre in Budapest, president of the Hungarian Association for Copyright Protection, and director of the Hungarian State Opera. In addition, Petrovics was a member of the Hungarian Parliament. The purpose of this study is to promote the work of Emil Petrovics through a performance edition of Concertino transcribed for brass ensemble. A secondary purpose of this study is to provide insight into the compositional process of Petrovics with the support of personal interviews with the composer prior to his death. The document presents a biographical sketch of Petrovics, a brief description of the three-movement work, and includes the arrangement of the Concertino for brass ensemble. Trumpeter Gyorgy Geiger and the Budapest Radio Symphony Orchestra commissioned the orchestral version of Concertino by Petrovics in 1990. Editio Musica Budapest published a piano reduction of Concertino, but the orchestral score was not published. Special permission to arrange the work was required and subsequently granted by the composer and EMB in December 2010. -
Romanian Folk Music for Bassoon and Piano
Romanian Folk Music for Bassoon and Piano: Three New Arrangements and Recordings from the Works of George Enescu and Béla Bartók by Sarah Burnett Rice-Misura A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2020 by the Graduate Supervisory Committee: Albie Micklich, Chair Elizabeth Buck Catherine Saucier ARIZONA STATE UNIVERSITY May 2020 ABSTRACT The bassoon has the ability to play in varying styles across multiple genres with repertoire spanning from the early Baroque era to the present day. Popular and frequently played pieces for the bassoon, such as concerti by Vivaldi, Mozart, and Weber, are frequently performed in recital, yet the rich musical tradition and repertory of Romanian folk music is seldom performed in the recital hall. The main reason for the shortcoming of this style of music in the bassoon repertoire can be attributed to the sheer lack of prominent composers writing original works for the bassoon in Romania compared to Western Europe. The purpose of this project is to add Romanian folk music to the bassoon repertoire by arranging and recording three pieces for bassoon and piano: Romanian Rhapsody No. 1 in A Major and Romanian Rhapsody No. 2 in D Major by George Enescu and the six- movement work Romanian Folk Dances by Béla Bartók. Included in this project is a section covering historical information on the arranged compositions, procedures of the transcription that explain the reasoning to alterations and adjustments from the original score are also incorporated in this document. Lastly, the transcribed scores and recordings of the arrangements are included in this document. -
State Band Clinic Roster
State Band Clinic Roster First Name Last Name Instrument School Aliyah Gillespie Clarinet Aberdeen High School Eric Matthews Alto Sax Aberdeen High School Jared Moore Tuba Alcorn Central High School Chloe Hatfield Mallets Alcorn Central Middle School Eliza Noe French Horn Amory High School Eli Black Tuba Amory Middle School Jacob Wubben Bassoon Armstrong Middle School Destiny Baswell Flute Baldwyn High School Chauncey Wade Baritone Baldwyn High School Caleb Fondren Percussion Batesville Junior High School Jonathan Alicea-Pagan Clarinet Bayou View Middle School Hannah Jordan Clarinet Beat Four Elementary School Hannah Davis Trombone Belmont High School Kaitlyn Griffin Trumpet Belmont High School Julia Kammer French Horn Biloxi Jr. High Drew Fisher Mallets Booneville High School Angelina Meeks Clarinet Booneville High School Ashleigh Owens Trombone Booneville Middle School Ana Dean Bass Clarinet Brandon High School Jeffery Garrett Trombone Brandon Middle School Hayle Brown Trumpet Bruce High School Kayla Webb Baritone Bruce High School Caitlin McCormick Baritone Bruce Middle School Alex Dailey Percussion Buckatunna Elementary School Samuel Davis Clarinet Burnsville Middle School Robert McGee Tuba Byram Middle School Ty Jernigan Percussion Caledonia High School Brandon White Trumpet Caledonia High School Stacy Brown Trombone Calhoun City High School Samone Walker Percussion Calhoun City High School Zahria Little Flute Carver Middle School Madison Hester Flute Center Hill High School Zack McCain Baritone Center Hill High School Jordan Riecke -
2015 Mississippi All State Concert Band
Mississippi Bandmasters Association www.msbandmasters.com Matt Rowan Lane Thompson Sharon Laird Len Killough Kim Hallmark Sid McNeil President 1st Vice President 2nd Vice President 3rd Vice President Member-At-Large Past President Pearl High School J.Z. George High School Oak Grove High School Hernando High School Lewisburg High School Olive Branch High School 500 Pirate Cove P.O. Box 398 5198 Old Hwy. 11 805 Dilworth Lane 1755 Craft Rd. 9366 E. Sandidge Rd. Pearl, MS 39208 North Carrollton, MS 38947-0398 Hattiesburg, MS 39402 Hernando, MS 38632 Olive Branch, MS 38654 Olive Branch, MS 38654 601-932-7939 662-237-4701 Ext. 9 601-264-7106 662-429-7825 Ext. 124 662-890-6769 662-893-3344 ext. 11 [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] Directors: Please see the attached and linked files pertaining to State Band Clinic. The Student List shows all students accepted to come to Natchez, including both the all-state concert band and clinic students. At the end of this file you will also find an All State Concert Band list that is in chair order. Please note that due to many new schools opting to bring students to clinic, we are over capacity; therefore, there will be no substitutions when canceling. Please make your students aware of their acceptance as soon as you see them and make sure they will be able to attend (this is an ACT date). Please contact Lane Thompson through email [email protected] for any cancellations as soon as you know them. -
Thesis Title Page
The Pennsylvania State University The Graduate School School of Music GERMAN AND FRENCH COMPOSITIONAL INFLUENCES IN BÉLA BARTÓK’S ORCHESTRAL WORKS 1903-1924: CASE STUDIES IN A METHODOLOGY OF APPROPRIATION A Thesis in Musicology by Paul A. Sommerfeld © 2011 Paul A. Sommerfeld Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2011 The thesis of Paul A. Sommerfeld was reviewed and approved* by the following: Charles D. Youmans Associate Professor of Musicology Thesis Adviser Marica S. Tacconi Professor of Musicology Sue E. Haug Professor of Music Director, School of Music *Signatures are on file in the Graduate School ii ABSTRACT Attending the Budapest premiere of Richard Strauss’s tone poem Also sprach Zarathustra in February 1902 profoundly influenced the subsequent trajectory of the young Béla Bartók’s musical endeavors. Afterward, the budding composer, who at the moment stood at a creative impasse, immersed himself in Strauss's orchestral works—Ein Heldenleben in particular—and thereafter resumed his compositional studies. In Strauss, Bartók discovered “the seeds of a new life,” a means with which he could create complex, serious music that he would unite with Hungarian characteristics—at least those elements that Europe as a whole associated with Hungarian identity at the time, meaning gypsy music and the verbunkos. Only with these “authentic” elements did Bartók believe he could craft a musical embodiment of the Hungarian ethos. Yet like many artists of the period, Bartók viewed Straussian modernism as a means to imbue his music with renewed vitality. Thus, he plunged into the tone poems of the world’s leading Teutonic composer. -
Bartok Cover 6/6/07 4:12 Pm Page 1
Bartok Cover 6/6/07 4:12 pm Page 1 CD IO D U A H T I BARTÓK W Connections A guide for performers and programmers by Malcolm Gillies www.boosey.com Bartok Cover 6/6/07 4:12 pm Page 3 BARTÓK Reading & Listening Photo: Ernest Nash / courtesy of Peter Bartók with Ditta in New York (1940) Photo: courtesy Peter Bartók Photo: courtesy Peter Bartók with his phonograph machine in Bucharest at his Bösendorfer piano This handbook brings together key information about Bartók and Malcolm Gillies his works. Malcolm Gillies is Vice-President (Development) of the Further reading is listed in the on-line Bartók articles of The New Australian National University and Chair of the Australian Grove Dictionary of Music and Musicians (www.grovemusic.com) Youth Orchestra. As a musicologist he has written half a and Die Musik in Geschichte und Gegenwart (www.mgg- dozen studies of the life and works of Béla Bartók, online.com). including Bartók Remembered, The Bartók Companion, Bartók in Britain and The New Grove Dictionary’s For more detailed studies of Bartók’s works see: extended article on Bartók. As a musician he has György Kroó, A Guide to Bartók (Budapest: Corvina, 1974) associated with the Emerson, Belcea, New Zealand, and Elliott Antokoletz, The Music of Béla Bartók Australian quartets in presentations of Bartók’s cycle of (Berkeley: University of California Press, 1984). quartets, and co-curated a Bartók festival at Wigmore Hall, David Yeomans, Bartók for Piano London, in 2006. In 2007 he becomes the President of City (Bloomington: Indiana University Press, 1988) Photo: courtesy Bartók Archive Budapest University London. -
NEMJHBDA 2017 Clinic List Instrument Last Name
NEMJHBDA 2017 Clinic List Instrument Last name First name School Flute Parker Ambra Iuka Middle Flute South Sierra Burnsville Flute Bates Allie Belmont Flute Nguyen Nhi Amory Flute West Emalee Lafayette Flute Williams Alexandra Mantachie Flute Garner Emma Houston Flute Whitt Gracie Dorsey Flute Cizdziel Clare Oxford Flute Underwood Carla Baldwyn Flute Griggs Angel New Hope Flute Carrol Annabelle Ripley Flute alt. Grote Madeline Iuka Middle Flute alt. Robinson Isabella Smithville Flute alt. Carrisoza Miranda Nettleton Flute alt. Temple Layla 5th Street Oboe Hood Annabelle Houston Oboe Ellison Alexis Houston Oboe alt. Wade Greta Guntown Bassoon Hoang Hannah Amory Bassoon Henderson Deanna South Pontotoc Bassoon alt. Wilkins Kierredith Guntown Clarinet James Alana Calhoun City Clarinet Peters Kelley Nettleton Clarinet Dobbs Lenleigh Master Music Academy Clarinet Hammons Rileigh East Webster Clarinet Harris Hope Calhoun City Clarinet DeVaughn Anna Booneville Clarinet Sumrall Alyssa Amory Clarinet Varner Rebecca Lafayette Clarinet Spears Morgan South Pontotoc Clarinet Harper Greg Columbus Clarinet Sykes LaTayja 5th Street Clarinet McCarter Carlee Alcorn Central Clarinet Monroe Ali Burnsville Clarinet Shedd Merideth Dorsey Clarinet Grimes Cheyenne Corinth Clarinet Hines Gracie Baldwyn Clarinet Harper Greg Columbus Clarinet Walker Arriana Plantersville Clarinet Dancey Eryn Shivers Clarinet alt. Bryant Shelby Mooreville Clarinet alt. Kissinger Emma Iuka Middle Clarinet alt. Hardin Addie Calhoun City Clarinet alt. Knowles Sara Nettleton Bass Clarinet Collins Loretta Bruce Bass Clarinet Rocha Yully South Pontotoc Bass Clarinet Armstrong Allen North Pontotoc Bass Clarinet Bass Clarinet alt. Bass Clarinet alt. Contrabass Clarinet? Ava Bruce Contrabass Clarinet Contrabass alt. Alto Saxophone Brownlee Jared Mooreville Alto Saxophone Warren Mary Colston West Union/Myrtle Alto Saxophone English Sam Booneville Alto Saxophone Canon Emily Tupelo Alto Saxophone Nix Jaylan North Pontotoc Alto Saxophone Dixon Nate Kossuth Alto Saxophone Toney Gabriel Plantersville Alto Sax alt. -
ITEC Program Book
ITEC 2019 Program Addendum Voxman Building Notes - The Voxman School of Music’s facilities will be open every day from 7am – 10pm for the duration of the conference - The registration desk will be available on the 2000 level in the Pearl West Lobby from 8am-8pm for the duration of the conference - Instrument storage will be available in the Stark Opera Theater (0151) from Tuesday through Saturday, 8am-8pm and for 30 minutes after the end of the evening concerts o Exception: instrument storage will close at 4:30pm on Thursday to allow volunteers time to prepare for and attend the Banquet - No instruments or cases are allowed in the Concert Hall or Recital Hall audience during performances - No food or drink (except water) in any classroom or performance space - Lessons with students under 18 years of age require a parent or guardian in the room Schedule Corrections Monday, May 27 Correction 9:00am – Recital Hall (2301) – Competition: Mock Band - Tuba Incorrectly listed as taking place in Stark Opera Theater (pg. 17, pg. 27) Correction 9:00am – Stark Opera Theater (0151) – Competition: Electronics Incorrectly listed as starting at 5:00pm (pg. 27) Correction 3:00pm – Recital Hall (2301) – Competition: Young Artist Euphonium Final Round Incorrectly listed as Artist Euphonium Final Round (pg. 27) Correction 3:30pm – Concert Hall (2101) – Competition: Ensemble Final Round Incorrectly listed as starting at 3:00pm (pg. 17, omitted on pg. 27) Tuesday, May 28 Cancellation 9:00am – James Dixon Room (0002) – Presentation: Samuel Adler – David Saltzman (pg. 18, 32) Correction 2:00pm – James Dixon Room (0002) – Presentation: Young at Heart – Velvet Brown and Roger Bobo (pg. -
NERTEC 2020 Program.Pdf (13.58
Table of Contents Welcome Letters Pages 1-2 NERTEC Schedule of Events Pages 3-5 NERTEC Daily Events Schedule Pages 6-17 Biographies Pages 22-46 Dear Friends, It was in the seventh grade that the band director, Mr. Geary, decided that while I already played the piano and the violin, I was going to take up the tuba. I was the biggest kid in the school, unusually big at an early age, and this was not only pre-internet, but pre-fiberglass. Real sousaphones—the brass kind—weigh close to 50 pounds (at least mine did). It was assigned to me; I didn’t exactly choose it. While it was an arranged marriage, we did manage to fall in love. As college approached and even through my freshman year in music school, it was a toss-up between the piano (my other instrument) and my Miraphone 184. Two more different instruments have never existed. The piano has over ten thousand moving parts, requires a whole extra person to play in tune, and is for many people a cross between a piece of furniture and a typewriter. Not so the tuba. This is not something you sit in front of. This, you wrap your arms around and hold lovingly on your lap. The piano produces sound by hitting things; the tuba, we sing through, sometimes to the point where I couldn’t tell whether the vibration was in the tuba or in my body. The two become one. And on a good day, we can play in tune all by ourselves, thank you. -
Brian Bowman's Playing Has Thrilled Audiences for More Than a Quarter of a Century
Brian Biography Bowman Biography Characterized by a virtuosic technique and a warm, rich, velvet tone, Brian Bowman's playing has thrilled audiences for more than a quarter of a century. His superb musicianship and dedication to fine brass playing have made him one of the foremost euphonium soloists in the world today. His history of euphonium "firsts" is impressive: First euphonium recital in New York's Carnegie Recital Hall 1976 First euphoniumist to serve as president of the TUBISTS UNIVERSAL BROTHERHOOD ASSOCIATION (T.U.B.A) First euphonium concert tour of Japan First Guest Euphonium Artist-Falcone International Euphonium Competition First euphonium master class at the Paris Conservatory Superior of Music, France Master teacher at the first Deutsche Tubaforum workshop to include the euphonium, tenor horn and bariton, Hammelburg, Germany 1991 Dr. Brian L. Bowman enjoys a distinguished career as a soloist, clinician, recording artist, educator and administrator. Dr. Bowman has held the principal euphonium position, in addition to being a featured soloist in each of the bands he has been associated with: THE UNIVERSITY OF MICHIGAN SYMPHONY BAND, THE UNITED STATES NAVY BAND, THE UNITED STATES BICENTENNIAL BAND, THE UNITED STATES AIR FORCE BAND and THE RIVER CITY BRASS BAND in Pittsburgh, Pennsylvania. He is in demand as a guest soloist with high school, university, municipal and professional ensembles. He has performed as a soloist in all 50 states, Canada, Mexico, The Virgin Islands, Norway, Finland, Germany, Belgium, Great Britain, France, Italy, Switzerland, Australia, Japan, Taiwan, and the People's Republic of China. He has appeared as tenor tubist with the National Symphony, the Pittsburgh Symphony Orchestra, the Colorado Symphony and the San Francisco Symphony.