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Pink – Wind Symphony Blue – Symphonic Band Green
CBDA CHAIR AUDITION RESULTS This does not include students who did not have to chair audition (WS tenor/bari sax, percussion, etc). Pink – Wind Symphony Blue – Symphonic Band Green – Concert Band First Last Inst School Grade Chair Dillon Halpin Flute Mira Mesa HS 12 1 Samantha Anderson Flute Valencia HS 11 2 Ashley Fang Flute Diamond Bar HS 12 3 Laura Gong Flute Westmont HS 11 4 Ellen Cheng Flute Homestead HS 10 5 Erica Wang Flute Torrey Pines HS 9 6 Ellie Huang Flute Amador Valley HS 11 1 Anna Lee Flute Orange County School of the Arts 11 2 Curtis Li Flute Amador Valley HS 10 3 Heidi Harris Flute Reedley HS 12 4 Jana Bridi Flute Harmony Magnet Academy 11 5 Ella Watson Flute Oak Ridge HS 11 6 Juliet Fang Flute University HS (Fresno) 10 7 Audrey Moeller Flute Santa Monica HS 11 8 Aadya Abhyankar Flute West Ranch HS 9 9 Joanna Hsieh Flute Los Altos HS 11 1 Caroline Gong Flute Head Royce School 10 2 Jennifer Su Flute Rio Americano HS 12 3 Minseo Kim Flute California HS 9 4 Elizabeth Rodriguez Flute Central HS 11 5 Ananya Navale Flute Dougherty Valley HS 11 6 Tansy Chen Flute Folsom HS 11 7 Annie Ping Flute Valley Christian HS 12 8 Alex Park Flute Northwood HS 9 9 Jasmine Yu Flute James Logan HS 10 10 Ashley Park Flute Crescenta Valley HS 10 11 Ivy Gin Flute Santiago HS 11 12 Cate Collard Flute Crescenta Valley HS 11 13 Phoebe Liu Flute Amador Valley HS 11 14 Jack Lichterman Flute Santa Monica HS 11 15 First Last Inst School Grade Chair Jackson Van Vooren Bb Clarinet Los Altos HS 11 1 Nicholas Kim Bb Clarinet Agoura HS 11 2 Nathan Nguyen -
Tuba Syllabus / 2003 Edition
74058_TAP_SyllabusCovers_ART_Layout 1 2019-12-10 10:56 AM Page 36 Tuba SYLLABUS / 2003 EDITION SHIN SUGINO SHIN Message from the President The mission of The Royal Conservatory—to develop human potential through leadership in music and the arts—is based on the conviction that music and the arts are humanity’s greatest means to achieve personal growth and social cohesion. Since 1886 The Royal Conservatory has realized this mission by developing a structured system consisting of curriculum and assessment that fosters participation in music making and creative expression by millions of people. We believe that the curriculum at the core of our system is the finest in the world today. In order to ensure the quality, relevance, and effectiveness of our curriculum, we engage in an ongoing process of revitalization, which elicits the input of hundreds of leading teachers. The award-winning publications that support the use of the curriculum offer the widest selection of carefully selected and graded materials at all levels. Certificates and Diplomas from The Royal Conservatory of Music attained through examinations represent the gold standard in music education. The strength of the curriculum and assessment structure is reinforced by the distinguished College of Examiners—a group of outstanding musicians and teachers from Canada, the United States, and abroad who have been chosen for their experience, skill, and professionalism. An acclaimed adjudicator certification program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become an important partner with The Royal Conservatory in helping all people to open critical windows for reflection, to unleash their creativity, and to make deeper connections with others. -
800.4Wenger (800.493.6437) • Instrument and Garment Storage
“Wenger instrument storage cabinets are our first choice because they hold up well and look good. Wenger has been around a long time – they’ve worked out all the kinks. They offer many different cabinet options – doors, sizes – and are helpful in planning the proper layout.” – Rick Ghinelli, Performing & Visual Arts Director Spring Independent School District, Houston, Texas Sequoia High School, Redwood, California 800.4WENGER (800.493.6437) • www.wengercorp.com INSTRUMENT AND GARMENT STORAGE Instrument Storage AcoustiCabinets ™ Attic Storage Percussion Cabinets Page 51 Page 54 Workstation Pages 48-53 Page 60 Instrument storage cabinets New soft-sided storage The most trusted way to that are designed to be an protects equipment and A lockable, mobile storage secure and protect valuable integral part of your room’s creates storage space on solution and practical work instruments. Available in a acoustical treatment. top of your instrument area all rolled into one single variety of colors, sizes and storage cabinets. durable tool. styles. Tuba/Sousaphone Stringed Instrument Stringed Instrument Rack ’n Roll ® Rack Cabinet Racks Garment Rack Page 61 Page 62 Page 63 Page 64 Move and store any Store a variety of stringed Safely store and transport The easy way to move combination of tubas and instruments easily and Cellos, Basses, Violins and garments from place sousaphones safely and securely in one location. Violas. to place. securely. Garment Storage Music Library System Music Sorting Rack Folio Cabinets Cabinets Page 66 Page 67 Pages 68-69 Page 65 Cut your sheet music A portable, rolling cabinet Keep all your folios Whether it’s band uniforms, storage space needs by for sorting and distributing organized and right where choir robes, or theatre more than 50% with our sheet music. -
Monograph-Ana Catalina Ramirez
COSTA RICAN COMPOSER CARLOS ESCALANTE MACAYA AND HIS CONCERTO FOR CLARINET AND STRINGS A Monograph Submitted to the Temple University Graduate Board In partial fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS by Ana Catalina Ramírez Castrillo May, 2014 Examining Committee Members: Dr. Cynthia Folio, Advisory Chair, Music Studies Department (Music Theory) Dr. Charles Abramovic, Piano Department, Keyboard Department (Piano) Dr. Emily Threinen, Instrumental Studies Department (Winds and Brass) Dr. Stephen Willier, Music Studies Department (Music History) ABSTRACT The purpose of this monograph is to promote Costa Rican academic music by focusing on Costa Rican composer Carlos Escalante Macaya and his Concerto for Clarinet and Strings (2012). I hope to contribute to the international view of Latin American composition and to promote Costa Rican artistic and cultural productions abroad with a study of the Concerto for Clarinet and Strings (Escalante’s first venture into the concerto genre), examining in close detail its melodic, rhythmic and harmonic treatment as well as influences from different genres and styles. The monograph will also include a historical context of Costa Rican musical history, a brief discussion of previous important Costa Rican composers for the clarinet, a short analysis of the composer’s own previous work for the instrument (Ricercare for Solo Clarinet) and performance notes. Also, in addition to the publication and audio/video recording of the clarinet concerto, this document will serve as a resource for clarinet soloists around the world. Carlos Escalante Macaya (b. 1968) is widely recognized in Costa Rica as a successful composer. His works are currently performed year-round in diverse performance venues in the country. -
Beethoven, Bagels & Banter
Beethoven, Bagels & Banter SUN / OCT 21 / 11:00 AM Michele Zukovsky Robert deMaine CLARINET CELLO Robert Davidovici Kevin Fitz-Gerald VIOLIN PIANO There will be no intermission. Please join us after the performance for refreshments and a conversation with the performers. PROGRAM Ludwig van Beethoven (1770-1827) Trio in B-flat major, Op. 11 I. Allegro con brio II. Adagio III. Tema: Pria ch’io l’impegno. Allegretto Olivier Messiaen (1908-1992) Quartet for the End of Time (1941) I. Liturgie de cristal (“Crystal liturgy”) II. Vocalise, pour l'Ange qui annonce la fin du Temps (“Vocalise, for the Angel who announces the end of time”) III. Abîme des oiseau (“Abyss of birds”) IV. Intermède (“Interlude”) V. Louange à l'Éternité de Jésus (“Praise to the eternity of Jesus”) VI. Danse de la fureur, pour les sept trompettes (“Dance of fury, for the seven trumpets”) VII. Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps (“Tangle of rainbows, for the Angel who announces the end of time) VIII. Louange à l'Immortalité de Jésus (“Praise to the immortality of Jesus”) This series made possible by a generous gift from Barbara Herman. PERFORMANCES MAGAZINE 20 ABOUT THE ARTISTS MICHELE ZUKOVSKY, clarinet, is an also produced recordings of several the Australian National University. American clarinetist and longest live performances by Zukovsky, The Montréal La Presse said that, serving member of the Los Angeles including the aforementioned Williams “Robert Davidovici is a born violinist Philharmonic Orchestra, serving Clarinet Concerto. Alongside her in the most complete sense of from 1961 at the age of 18 until her busy performing schedule, Zukovsky the word.” In October 2013, he retirement on December 20, 2015. -
University of Pittsburgh Winter 2012 • 71 Center for Latin American Studies
Winter 2012 • 71 CLASicos Center for Latin American Studies University Center for International Studies University of Pittsburgh University Center for International Studies University of Pittsburgh 2 The Latin American CLASicos • Winter 2012 Archaeology Program Latin America has been the principal geographical focus of archaeology at the University of Pittsburgh over the last two decades. Administered by the Department of Anthropolo- gy, with the cooperation and support of CLAS, the Latin American Archaeology Pro- gram involves research, training, and publication. Its objective is to maintain an interna- tional community of archaeology graduate students at the University of Pittsburgh. This objective is promoted in part through fellowships for outstanding graduate students to study any area of Latin American prehistory. Many of these fellowships are awarded to students from Latin America (nearly half of the students in the program). The commit- ment to Latin American archaeology also is illustrated by collaborative ties with numer- ous Latin American institutions and by the bilingual publication series, which makes the results of primary field research available to a worldwide audience. The Latin American Archaeology Publications Program publishes the bilingual From 1997—Left to right: Latin American Archaeology Fellows Hope Henderson (US), María Auxiliadora Cordero (Ecuador), Ana María Boada (Colombia), [Professor Dick Drennan], and Rafael Gassón (Venezuela). Memoirs in Latin American Archaeology and Latin American Archaeology Reports, co-publishes the collaborative series Arqueología de México, and distributes internationally volumes on Latin American archaeology and related subjects from more than eighteen publishers worldwide. The Latin American Archaeology Database is on line, with datasets that complement the Memoirs and Reports series as well as disserta- tions and other publications. -
TRAINED ABROAD: a HISTORY of MULTICULTURALISM in COSTA RICAN VOCAL MUSIC by I
Trained Abroad: A History of Multiculturalism in Costa Rican Vocal Music Item Type text; Electronic Dissertation Authors Ortiz Castro, Ivette 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 23/09/2021 10:27:44 Link to Item http://hdl.handle.net/10150/621142 TRAINED ABROAD: A HISTORY OF MULTICULTURALISM IN COSTA RICAN VOCAL MUSIC by Ivette Ortiz Castro _______________________________ A Document Submitted to the Faculty of the FRED FOX 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 2016 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Ivette Ortiz-Castro, titled Trained abroad: a history of multiculturalism in Costa Rican vocal music and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ____________________________________________________________________________ Date: 07/18/16 Kristin Dauphinais ____________________________________________________________________________ Date: 07/18/16 Jay Rosenblatt ____________________________________________________________________________ Date: 07/18/16 William Andrew Stuckey 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. -
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. -
James Campbell
James Campbell discography (860) 567‐2500 | www.gamisimonds.com James Campbell discography James Campbell has appeared on over 40 recordings since 1975. The following is a discography of those recordings that are currently available on CD. Most are available in stores or through the record label web sites. Unless otherwise noted, works listed are those that feature James Campbell. The Glenn Gould Edition Borodin Trio SONY Classical (SMK 52661) (1995) Chandos Records (CHAN 8655) (1998) with Glenn Gould, piano James Campbell with the Borodin Trio Debussy: Rhapsody No. 1 Beethoven: Trio in B flat, Op. 11 (Re‐release of a recording made in 1973 for CBC TV) Mozart: Kegelstadt Trio in E flat Major, K. 498 Carl Maria von Weber Afternoon Reverie Marquis Classics (MAR 271) (2000) Marquis Classics (MAR 337) (2007) A powerful program of gems of the Romantic clarinet repertoire. James Campbell pairs up with organist Charles Webb on an enchanting Weber: Concerto No. 1 in f minor for Clarinet and Orchestra, Op. 73 collection of some of the most beautiful songs written. Included is the with the London Symphony Orchestra (conductor, Paul Freeman) music of Schumann, Debussy, Bach and Mendelssohn—wonderfully Weber: Grand Duo Concertant, Op. 48 with pianist Leonard Hokanson transcribed and brilliantly performed by this unique and compelling Heinrich Baermann: Quintet in E flat major, Op. 23 for Clarinet and String instrument combination. Quartet with the Allegri String Quartet Manhattan Echoes Brahms Marquis Classics (MAR 267 CD) (2000) Cala Records (CACD 1006) (1991) James Campbell, clarinet; Gene DiNovi, piano; Dave Young, double James Campbell with the London Symphony Orchestra bass (conductor: Geoffrey Simon) Jazz and Broadway standards including: Stardust, Somewhere, Speak Brahms: Sonata Op. -
Trumpet Recordings
Recommended Recordings Standard Trumpet Literature page 1 Composer Title Performer(s) Record Title Record Company Arban, Jean-Baptiste Carnival of Venice Marsalis, Wynton/Hunsberger, Donald/Eastman Wind Ensemble Carnaval Sony Classical Arban, Jean-Baptiste Carnival of Venice Schwarz/Gerard/Bolcom, WIlliam Cornet Favourites Nonesuch Arban, Jean-Baptiste Fantasia Brillante Marsalis, Wynton/Hunsberger, Donald/Eastman Wind Ensemble Carnaval Sony Classical Arutunian, Alexander Concerto Harjanne, Jouko/The Guards' Band Trumpet Rhapsody Cryston (Octavia) Arutunian, Alexander Concerto Nakariakov, Sergei/Boreyko, Andrey/Jenaer Philharmonie From Russia With Love Teldec Arutunian, Alexander Concerto Payne, Geoffrey/Hopkins, John/Melbourne Symphony Orchestra Trumpet Concertos ABC Classics Bach, Johann Sebastian Brandenberg Concerto No. 2 Marsalis, Wynton/Leppard, Raymond/English Chamber Orchestra The London Concert Sony Bach, Johann Sebastian Brandenburg Concerto No. 2 André, Maurice/Franz Liszt Chamber Orchestra Trumpet Concertos EMI Classics Bach, Johann Sebastian Brandenburg Concerto No. 2 Vosburgh, George/Roth, Arnie/Czech Philharmonic Chamber Orchestra Trumpeter's Heritage Four Winds Barat, Jacques Edouard Andante & Scherzo Stevens, Thomas/Carno, Zito Thomas Stevens: Trumpet Sonatas Crystal Records Bellstedt, Herman Napoli Marsalis, Wynton/Donald Hunsberger/Eastman Wind Ensemble Carnaval Sony Classical Bennett, Robert Russell Rose Variation Hickman, David/Soderholme, Pauline David Hickman, Trumpet Crystal Records Bernstein, Leonard Rondo for -
PRINTABLE PROGRAM Bernard Rands
The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Honoring Composer Bernard Rands Tuesday, October 24, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Coleccion Nocturna David Felder (b. 1953) Adrián Sandí, clarinet Eric Huebner, piano "now again" – fragments from Sappho Bernard Rands (b. 1934) Tiffany Du Mouchelle, mezzo-soprano solo Slee Sinfonietta Matthew Chamberlin, conductor Intermission Linea Luciano Berio (1925 – 2003) Eric Huebner and Christopher Guzman, piano Tom Kolor and Stephen Solook, percussion Folk Songs Bernard Rands I. Missus Murphy’s Chowder II. The Water is Wide III. Mi Hamaca IV. Dafydd Y Garreg Wen V. On Ilkley Moor Baht ‘At VI. I Died for Love VII. Über d’ Alma VIII. Ar Hyd y Nos IX. La Vera Sorrentina Tiffany Du Mouchelle, soprano Slee Sinfonietta Matthew Chamberlin, conductor Slee Sinfonietta Matthew Chamberlin, conductor Emlyn Johnson, flute Erin Lensing, oboe Adrián Sandí, clarinet Michael Tumiel, clarinet Jon Nelson, trumpet Kristen Theriault, harp Eric Huebner, piano Chris Guzman, piano Tom Kolor, percussion Steve Solook, percussion Tiffany Du Mouchelle, soprano (solo) Julia Cordani, soprano Minxin She, alto Hanna Hurwitz, violin Victor Lowrie, viola Katie Weissman, ‘cello About Bernard Rands Through a catalog of more than a hundred published works and many recordings, Bernard Rands is established as a major figure in contemporary music. His work Canti del Sole, premiered by Paul Sperry, Zubin Mehta, and the New York Philharmonic, won the 1984 Pulitzer Prize in Music. His large orchestral suites Le Tambourin, won the 1986 Kennedy Center Friedheim Award. His work Canti d'Amor, recorded by Chanticleer, won a Grammy award in 2000. -
Costa Rica PR Country Landscape 2011
Costa Rica PR Country Landscape 2011 Global Alliance for Public Relations and Communication Management ● ● ● ● Acknowledgements Produced by: Lauren E. Bonello, senior public relations student at the Department of Public Relations, College of Journalism and Communications, and master’s of science in Management student at the Hough Graduate School of Business, University of Florida (UF); Vanessa Bravo, doctoral candidate at the UF Department of Public Relations, College of Journalism and Communications, and Fulbright master’s of arts in Mass Communications, University of Florida; and Monica Morales, Fulbright master’s student at the UF Department of Public Relations, College of Journalism and Communications. Supervised and guided by: Juan-Carlos Molleda, Ph.D., Associate Professor and Graduate Coordinator, UF Department of Public Relations, College of Journalism and Communications and Coordinator of the GA Landscape Project. Read and approved by: John Paluszek, Senior Counsel of Ketchum and 2010-2012 Chair of the Global Alliance for Public Relations and Communication Management. Revised & signed off by: Carmen Mayela Fallas, president of Comunicación Corporativa Ketchum. Date of completion: April 2011. Public Relations Industry Brief History Latin American Origins Latin American studies about the origins of public relations in the continent establish a common denominator as to the source of the practice in the region. Costa Rica is no exception, and this common denominator plays a relatively important goal in the development and establishment not only in the country, but also for Central America in particular. According to early registries, the genesis of public relations in Latin America is closely related to the introduction of foreign companies, which were used to having public relations as part of their businesses, into the local economies (Molleda & Moreno, 2008).