The Passing of a Great Brass Musician
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GRADUATE SCHOOL PROSPECTUS 2018 Entry
GRADUATE SCHOOL PROSPECTUS 2018 Entry rncm.ac.uk/graduateschool The Royal Northern College of Music is a leading international conservatoire located in the heart of Manchester, with a reputation for attracting talented musicians from all over the world. The RNCM is in its fifth decade, but with a rich history spanning back to 1893 when Sir Charles Hallé founded the Royal Manchester College of Music. In 1973 the institution merged with the Northern School of Music, and the RNCM was born. Today, the College is a thriving conservatoire with around 330 teaching staff and 880 students from almost 60 different countries. Each year, RNCM leavers go on to forge successful careers all over the world, forming a global network of more than 6,000 alumni. 2 CONTENTS 4 WELCOME TO THE RNCM RNCM Headlines 6 Why Join the RNCM Graduate School? 8 Exceptional Graduates 10 Living in Manchester 16 International Students 18 World-Class Facilities and Learning Resources 20 Student Support 24 The Graduate School Experience 26 28 PERFORMANCE Performance at the RNCM 30 The Platform 34 Chamber Music 36 Historical Performance 38 Jazz 40 42 RNCM SCHOOLS School of Composition 44 School of Keyboard Studies 48 School of Strings 54 School of Vocal Studies and Opera 60 School of Wind, Brass and Percussion 70 Conducting 78 Popular Music 80 84 WHICH PROGRAMME IS RIGHT FOR ME? Master of Music (MMus) 88 Master of Performance (MPerf) 92 PG Dip: Advanced Studies in Musical Performance/Composition 96 Professional Courses and Vocational Courses 100 World-Class Research 104 Master -
Hbbb Concert Repertory List
HBBB (Humboldt Bay Brass Band) Concerts by date -- Repertory -- Works Performed ========================================= FRH = concert held in Fulkerson Recital Hall, on the campus of Humboldt State University ======================================== April 2, 2004 -- FRH 1- Prelude .......... Gregson, Edward 2- Moorside Suite (3 mvts)...... Holst, Gustav 3- Fantasy on British Sea Songs ...... Langford, Gordon (arr) 4- Ravenswood (March) ...... Rimmer, William ---intermission--- 5- Helden und Krieger ..... Newton, Rodney 6- Moon River ...... Mancini, Henry (arr Don Morrison) 7- Cousins (duet) ..... Clarke, Herbert L. 8- Blenheim Flourishes ...... Curnow, James =================================================== Nov 14, 2004 -- FRH (w/ Eureka HS Wind Ens) 1- L’Orfeo (suite) ... Monteverdi, Claudio (arr Michael Hopkinson) 2- Pageantry (3 mvts) ....... Howells, Herbert 3- Famous British Marches ..... Langford, Gordon (arr) 4- Slaughter on 10th Avenue ... Rodgers, Richard (arr Robert Bernat) 5- Nunc Dimittis ..... Gabrieli, Giovanni (ed Gil Cline) 6- March from The Great Escape ... Bernstein, Elmer (arr Martin Ellerby) =================================================== Feb 11, 2005 -- at McKinleyville HS 1- Four Dot Flourish ... Cline, Gilbert 2- L’Orfeo (suite) ... Monteverdi, Claudio (arr HBBB) 3- Pageantry (3 mvts) ... Howells, Herbert 4- Fantasy on British Sea Songs ... Langford, Gordon (arr) 5- Sequoia Carnival March ... Inman, J.L. (arr Gil Cline) 6- Nunc Dimittis ... Gabrieli, Giovanni (ed Gil Cline) =================================================== -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
River City Brass Program
presents Saturday, 25 March 2017 • 7:30 p.m. Smith Opera House 1 GENEVA CONCERTS, INC. 2016–2017 SEASON Saturday, 24 September 2016, 7:30 p.m. Garth Fagan Dance Tony Award‐winner Garth Fagan, described by The New York Times as “unfailingly original,” choreographed Disney’s musical The Lion King, the highest grossing Broadway musical in history. Friday, 14 October 2016, 7:30 p.m. Rochester Philharmonic Orchestra Christopher Seaman, Conductor Laureate Andrew von Oeyen, piano Tobias Picker: Old and Lost Rivers Beethoven: Piano Concerto No. 2 in B‐flat Major, Op. 19 Elgar: Symphony No. 2 in E‐flat Major, Op. 63 Saturday, 12 November 2016, 7:30 p.m. Rochester Philharmonic Orchestra Stefan Sanders, conductor Julian Schwarz, cello Prokofiev: Symphony No. 1, Op. 25, “Classical” Haydn: Concerto in D Major for Cello and Orchestra Mozart: Symphony No. 40 in G Minor, K. 550 Saturday, 25 March 2017, 7:30 p.m. River City Brass Celtic Concert This brass band is famous for its varied and entertaining programming. They’ll have you tapping your toes and dancing in your seat. “It’s not a reach to say that this may be the most fun with music you’re going to have all year,” touts the St. Louis Post-Dispatch. Friday, 21 April 2017, 7:30 p.m. Symphoria Lawrence Loh, Music Director Jon Kimura Parker, piano Berlioz: Beatrice and Benedict Overture Grieg: Piano Concerto Prokofiev: Symphony No. 5 Programs subject to change. Performed at the Smith Opera House, 82 Seneca Street, Geneva This concert is made possible by generous underwriting from the Williams Family Foundation, by a continuing subscription from Hobart and William Smith Colleges, and with public funds from NYSCA’s Decentralization Program, administered locally by Finger Lakes Community Arts Grants (FLCAG). -
Boldly Going Where No Bands Have Gone Before Magnificent Seventh Win for ‘Captain ’ Cutt
www.britishbandsman.com Issue no. 5588 – 21 November 2009 boldly going where no bands have gone before magnificent seventh win for ‘captain ’ cutt Price £1.25 BB 1.indd 1 17-11-2009 18:12:46 With Christmas in mind, any of these instruments would make Ideal presents. Besson Sovereign cornet BSP £1,195.00 Yamaha Xeno Bb cornet, lacquer £1,265.00 Elkhart 100CR Bb cornet, lacquer £185.00 Prelude CR700 Bb cornet, lacquer £260.00 Besson 1000 Bb cornet BSP £235.00 Yamaha YCR-4330GS Bb cornet, BSP £589.00 Besson 1000 Eb tenor horn, BSP £535.00 Elkhart 100TH Eb tenor horn, lacquer £295.00 Besson Sovereign Eb tenor horn, lacquer £1,895.00 York Prescience Eb tenor horn, BSP £725.00 Elkhart 100BH Bb baritone, lacquer £375.00 Yamaha YBH-301S Bb baritone, BSP £1,365.00 York Preference Bb baritone, BSP £2,450.00 Besson Sovereign Bb baritone, BSP £2,500.00 Elkhart 100EH Bb euphonium, 3-valve, lacquer £399.00 Besson 1000 Bb euphonium, 4-valve, BSP £845.00 Amati Bb euphonium, 3-valve, lacquer £299.00 Besson Sovereign euphonium, 4-valve, BSP £3,795.00 Besson Prestige euphonium, 4-valve, BSP £4,570.00 Yamaha YSL-354 tenor trombone, lacquer £529.00 Yamaha YSL-445 tenor trombone,lacquer £735.00 Yamaha YSL-640 Bb/F tenor trombone , lacquer £1,490.00 Conn 88H Bb/F tenor trombone, lacquer £1,785.00 Conn 88HCL Bb/F tenor trombone, lacquer £2,450.00 Avialable from SP&S Good stocking fillers available, including: mutes, 01933 445 445 music stands; metronomes, mouthpieces and much more. -
University of Huddersfield Repository
University of Huddersfield Repository Baker, Andrew ‘Pulling the Heads off Rats’: Exploring the Factors that Limit the Performance of Contemporary Music by Amateur Musicians in British Brass Bands Original Citation Baker, Andrew (2015) ‘Pulling the Heads off Rats’: Exploring the Factors that Limit the Performance of Contemporary Music by Amateur Musicians in British Brass Bands. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/27013/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ pulling the heads off rats exploring the factors that limit the performance of contemporary music by amateur musicians in british brass bands Andrew Baker ‘Pulling the Heads off Rats’: Exploring the Factors that Limit the Performance of Contemporary Music by Amateur Musicians in British Brass Bands Andrew Timothy Baker Submitted in partial fulfilment of the requirements for the degree of Master of Arts by Research September 2015 Abstract This thesis seeks to explore the reasons why amateur musicians, specifically those in British brass bands, do not commission and/or perform contemporary music. -
Newsletter the American Society of University Composers Summer 1969 /Vol
NEWSLETTER THE AMERICAN SOCIETY OF UNIVERSITY COMPOSERS SUMMER 1969 /VOL. 2, NO. 2 NATIONAL CONFERENCE, A panel on "Recent Developments in Electronic Music" opened the Conference Friday morning. The Society's 4th Annual National Conference was Chaired by Hubert S. Howe, Jr. (Queens College, held April 11 -12-13 amid the lush greenery of Santa CUNY), the panel included papers by five composer Barbara, California. About 65 members from all over researchers. Howe, in introductory remarks noting the country attended, along with numerous v,isitors (as has Stravinsky in a recent New York Review of from the Santa Ba·rbara community. The combination Boohs inte~view) a decade of progress in the technique of excellent lodging and business facilities with a su of electromc sound production for music, commented perbly planned and managed program-all under the on the direction of this progress: toward a reduction influence of the startling beauty of a sub-tropical in the time-lag between compositional decision and Spring-made this Conference, according to all opin end-rr·esult sound production. Following the single ions the writer has heard, the most successful and track tapes and single-tone "instruments" of ten years enjoyable in the Society's history. ago came the multiple-track tapes and the sequencers of today. Howe predicted that the "third generation" As before, panels and lectures were arranged by the studies of tomorrow will be concerned with various Executive Committee, with considerable help from means of achieving some kind of "automatic" control the National Council and the two "co-managers" of over sound sources and sound manipulation-such the Conference: Chairman Peter Racine Fricker (Uni contrnl being, perhaps paradoxkally, one way in versity of California/Santa Barbara) in charge of which the electronic composer can beo-in to deal with 0 aPrangements, and Barney Childs (Deep Springs Col his medium in "real" time. -
Brass Bands in and out of Context
BRASS BANDS IN AND OUT OF CONTEXT An exploration and critical reflection of my recent creative practice, focussing on atypical works for the traditional brass band Lucy Pankhurst PhD 2019 BRASS BANDS IN AND OUT OF CONTEXT An exploration and critical reflection of my recent creative practice, focussing on atypical works for the traditional brass band ROYALA thesis NORTHERN submitted in partial COLLEGE fulfilment of OF the MUSICrequirements RESEARCH of Manchester DEPARTMENT Metropolitan University for the degree of Doctor of Philosophy. Awarded for a Collaborative Programme of Research at the Royal Northern College of A portfolio of originalMusic worksby the Manchester& accompanying Metropolitan commentary University submitted to the Royal Northern College of Music & Manchester Metropolitan University in partial fulfilment of the requirements for the degree of Doctor of Philosophy. JULY 2019 September 2019 “Heritage is not about the past. It is about the future and what we choose to do with it; What 1 to take with us and what to leave behind...” 1Dr Simon Thurley, English Heritage (BBC ‘From Old Bones to Precious Stones’, 2013 – printed with kind permission). [Page intentionally left blank] CONTENTS TABLE OF FIGURES i ACKNOWLEDGEMENTS vii ABSTRACT viii 1. CONTEXTUALISATION 1 i. Personal Context 1 ii. In Context 2 iii. Out of Context 12 2. Brass Bands without ADDITIONAL ELEMENTS 17 i. His Depth (2012) 17 ii. Nightlights (2019) 24 iii. DIP (2015) 33 iv. Mindscapes (2018) 40 3. Brass Bands witH TECHNOLOGY 59 i. Voices (in memoriam) (2014) 61 ii. Cantabile(s) (2013) 72 iii. Th’owfen Raconteurs (2013) 80 4. Brass Bands witH GUESTS and SPATIAL ELEMENTS 93 i. -
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. -
Pittsburgh Concert Programs at Carnegie Library of Pittsburgh
Use Command F (⌘F) or CTRL + F to search this document ORGANIZATION DATE YEAR PROGRAM VENUE LOCATION John H. Mellor 11/27/1855 1855 Soiree by the pupils of Mrs. Ernest Piano warerooMs Music of John H. Mellor DepartMent: Pittsburgh Music Archive, #41 Protestant Episcopal Church of 12/29/1856 1856 Concert of Sacred Music Lafayette Hall Music East Liberty DepartMent: Pittsburgh Music Archive, #46 St. Andrew’s Church 1858 1858 Festival Concert by choral society at St. St. Andrew’s Music Andrew’s Church Church DepartMent: Pittsburgh Music Archive, #46 Lafayette Hall 2/9/1858 1858 Soiree Musicale in Lafayette Hall Lafayette Hall Music DepartMent: Pittsburgh Music Archive, #46 2/21/1859 1859 Mlle. PiccoloMini Music DepartMent: Pittsburgh Music Archive, #46 Grand Concert 186- 1860 The Grand Vocal & InstruMental concert of unknown Music the world-faMed Vienna Lady Orchestra DepartMent: Pittsburgh Concert PrograMs, v. 4 Presbyterian Church, East 5/20/186- 1860 Concert in the Presbyterian Church, East Presbyterian Churc Music Liberty Liberty, Charles C. Mellor, conductor h, East Liberty DepartMent: Pittsburgh Music Archive, #41 St. Peter’s Church 6/18/1860 1860 Oratorios - benefit perforMance for St. Peter’s Church Music purchase of organ for St. Mark’s Church in on Grant Street DepartMent: East BirMinghaM Pittsburgh Music Archive, #46 Returned Soldier Boys 1863 1863 Three PrograMs ChathaM and Wylie Music Ministrels Ave. DepartMent: Pittsburgh Concert PrograMs, v. 1 Green FaMily Minstrels 12/11/1865 1865 Benefit PrograM AcadeMy of Music Music DepartMent: Pittsburgh Concert PrograMs, v. 1 St. John's Choir 12/30/1865 1865 Benefit PrograM BirMinghaM Town Music Hall, South Side DepartMent: Pittsburgh Concert PrograMs, v. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Tims, seme thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper aligmnent can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, begirming at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. H Unvers;:y Micrcf-ims:r.:ernaî.cna: A Be:' & Hc'.'.e' Cor.cany jC N crh Zeeo Rcac Ann Amor M! AG'Go-XZAG ! 3'3. -G'-ATOO SCO =2:-G6C0 Order Number 9227288 The brass band movement in North America: A survey of brass bands in the United States and Canada Hosier, Ned Mark, Ph.D. -
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.