Marimba Ensemble

Total Page：16

File Type：pdf, Size：1020Kb

TUITION IS $50 MARIMBA ENSEMBLE ONLY 20 SPOTS AVAILABLE! Come join us on the marimba and expand your chamber Register online at music abilities! Learn percussion technique, music theory, www.aysmusic.org/marimba-ensemble-sign-up harmony, chamber musicianship and “groove”, Watch a short video from a performance in the improvisation and so much more! Popejoy Hall lobby The AYSP Middle School Marimba Band is a truly unique offering through our supplemental Chamber Music Program, and is open to ALL Junior Ensemble students (JS, JO) – no previous percussion experience is required. In addition to being an energetic and exciting ensemble, participation in this group offers you the chance to play amazing Mexican Marimbas on loan to AYSP from Steve “Marimba” _____________________________ Chavez, a local professional marimba player. INFO The Marimba Ensemble will play many different styles of music: Rehearsals are Saturdays 12pm – 1pm traditional Mexican and New Mexican rancheras, waltzes and cumbias, (season calendar on the back) classical music, and even rock and pop. There are many different jobs in the ensemble, ranging from very easy to highly challenging, and Open to ALL students in JS, JO students will be encouraged to rotate and learn multiple parts. Receive instruction in percussion technique, The ensemble will perform at AYSP’s Chamber Music Showcase music theory, harmony, chamber musicianship Concert on April 19, with rehearsals taking place most Saturdays from and “grove”, improvisation and more! 12pm - 1pm _____________________________ (season calendar on the back). ABOUT MR. CORBIN Hovey Corbin, an Albuquerque native, received his Please make sure you can attend all rehearsals and performances bachelor's degree in music education and vocal before registering online. Contact Mr. Corbin (JS and Marimba performance from the University of New Mexico in 1995. Ensemble conductor) at [email protected] or Dr. Strong (Chamber Music He has been teaching band at Albuquerque Academy since Coordinator) at [email protected] if you have any questions about this 1995. lively musical opportunity! An active musician, he is a member of the Medieval/Renaissance music group Musica Antigua de Albuquerque, the LINKS! Percussion Ensemble, the Sol Beginning/ending dates: Oct. 19, 2019 - April 19, 2020 Calypso Steel Drum Band and the Vespus Marimba Band. He occasionally performs with the New Mexico Philharmonic and is a member of the twenty-first century heavy metal vaudeville troupe, Skümbaag. Hovey and his wife, Alexis, enjoy playing percussion together, raising dairy goats and making cheese, and have three children, Hovey Jude, Leedy, and Asher. .

Copy Link

Recommended publications

The Meanings of Marimba Music in Rural Guatemala
The Meanings of Marimba Music in Rural Guatemala Sergio J. Navarrete Pellicer Ph D Thesis in Social Anthropology University College London University of London October 1999 ProQuest Number: U643819 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U643819 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis investigates the social and ideological process of the marimba musical tradition in rural Guatemalan society. A basic assumption of the thesis is that “making music” and “talking about music” are forms of communication whose meanings arise from the social and cultural context in which they occur. From this point of view the main aim of this investigation is the analysis of the roles played by music within society and the construction of its significance as part of the social and cultural process of adaptation, continuity and change of Achi society. For instance the thesis elucidates how the dynamic of continuity and change affects the transmission of a musical tradition. The influence of the radio and its popular music on the teaching methods, music genres and styles of marimba music is part of a changing Indian society nevertheless it remains an important symbols of locality and ethnic identity.
[Show full text]
HISPANIC MUSIC for BEGINNERS Terminology Hispanic Culture
HISPANIC MUSIC FOR BEGINNERS PETER KOLAR, World Library Publications Terminology Spanish vs. Hispanic; Latino, Latin-American, Spanish-speaking (El) español, (los) españoles, hispanos, latinos, latinoamericanos, habla-español, habla-hispana Hispanic culture • A melding of Spanish culture (from Spain) with that of the native Indian (maya, inca, aztec) Religion and faith • popular religiosity: día de los muertos (day of the dead), santería, being a guadalupano/a • “faith” as expession of nationalistic and cultural pride in addition to spirituality Diversity within Hispanic cultures Many regional, national, and cultural differences • Mexican (Southern, central, Northern, Eastern coastal) • Central America and South America — influence of Spanish, Portuguese • Caribbean — influence of African, Spanish, and indigenous cultures • Foods — as varied as the cultures and regions Spanish Language Basics • a, e, i, o, u — all pure vowels (pronounced ah, aey, ee, oh, oo) • single “r” vs. rolled “rr” (single r is pronouced like a d; double r = rolled) • “g” as “h” except before “u” • “v” pronounced as “b” (b like “burro” and v like “victor”) • “ll” and “y” as “j” (e.g. “yo” = “jo”) • the silent “h” • Elisions (spoken and sung) of vowels (e.g. Gloria a Dios, Padre Nuestro que estás, mi hijo) • Dipthongs pronounced as single syllables (e.g. Dios, Diego, comunión, eucaristía, tienda) • ch, ll, and rr considered one letter • Assigned gender to each noun • Stress: on first syllable in 2-syllable words (except if ending in “r,” “l,” or “d”) • Stress: on penultimate syllable in 3 or more syllables (except if ending in “r,” “l,” or “d”) Any word which doesn’t follow these stress rules carries an accent mark — é, á, í, ó, étc.
[Show full text]
La Marimba Tradicional Afroesmeraldeña, Ecuador
CUADERNOS DE MÚSICA IBEROAMERICANA. Vol. 30 enero-diciembre 2017, 179-205 ISSN-e 2530-9900 http://dx.doi.org/10.5209/CMIB.58569 FERNANDO PALACIOS MATEOS Pontificia Universidad Católica del Ecuador Sonoridades africanas en Iberoamérica: La marimba tradicional afroesmeraldeña, Ecuador African Sonorities in Iberian America: The Traditional Afro-Esmeraldan Marimba from Ecuador Los instrumentos musicales reflejan, tanto en sus sonoridades como en sus materiales de construcción y disposición física, un proceso histórico social y una realidad cultural de- terminados; constituyen ámbitos de lectura de las distintas culturas en las que se insertan. El presente artículo aborda desde el contexto sociocultural, histórico y organológico el ins- trumento musical representativo de la cultura afrodescendiente del litoral pacífico del norte de Ecuador, la marimba. Transita por sus orígenes, materiales y técnicas de cons- trucción, así como por sus características musicales representativas. La población afrodes- cendiente de la provincia de Esmeraldas, conformada progresivamente desde la diáspora afroamericana hasta nuestros días, constituye a la marimba como un ícono de su cultura, un cálido timbre que la representa. Palabras clave: marimba, sonoridad, afrodescendiente, diáspora, Esmeraldas, Ecuador, África, Iberoamérica. Musical instruments reflect a social-historical process and a specific cultural reality in their sonorities, the materials from which they were built and their physical layout. They serve as vehicles for interpreting the different cultures of which they form part. This article examines the socio-cultural, historical and organological context of the musical instrument representative of Afro-descendant culture from the Pacific coast of the north of Ecuador: the marimba. It looks at its origins, materials and construction techniques, as well as its representative musical characteristics.
[Show full text]
Mayan Language Revitalization, Hip Hop, and Ethnic Identity in Guatemala
University of Kentucky UKnowledge Linguistics Faculty Publications Linguistics 3-2016 Mayan Language Revitalization, Hip Hop, and Ethnic Identity in Guatemala Rusty Barrett University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits oy u. Follow this and additional works at: https://uknowledge.uky.edu/lin_facpub Part of the Communication Commons, Language Interpretation and Translation Commons, and the Linguistics Commons Repository Citation Barrett, Rusty, "Mayan Language Revitalization, Hip Hop, and Ethnic Identity in Guatemala" (2016). Linguistics Faculty Publications. 72. https://uknowledge.uky.edu/lin_facpub/72 This Article is brought to you for free and open access by the Linguistics at UKnowledge. It has been accepted for inclusion in Linguistics Faculty Publications by an authorized administrator of UKnowledge. For more information, please contact [email protected]. Mayan Language Revitalization, Hip Hop, and Ethnic Identity in Guatemala Notes/Citation Information Published in Language & Communication, v. 47, p. 144-153. Copyright © 2015 Elsevier Ltd. This manuscript version is made available under the CC-BY-NC-ND 4.0 license http://creativecommons.org/licenses/by-nc-nd/4.0/. The document available for download is the authors' post-peer-review final draft of the ra ticle. Digital Object Identifier (DOI) https://doi.org/10.1016/j.langcom.2015.08.005 This article is available at UKnowledge: https://uknowledge.uky.edu/lin_facpub/72 Mayan language revitalization, hip hop, and ethnic identity in Guatemala Rusty Barrett, University of Kentucky to appear, Language & Communiction (46) Abstract: This paper analyzes the language ideologies and linguistic practices of Mayan-language hip hop in Guatemala, focusing on the work of the group B’alam Ajpu.
[Show full text]
Relationship with Percussion Instruments
Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument.
[Show full text]
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction .............................................
[Show full text]
Requirements for Audition Sub-Principal Percussion
Requirements for Audition 1 Requirements for Audition Sub-Principal Percussion March 2019 The NZSO tunes at A440. Auditions must be unaccompanied. Solo 01 | BACH | LUTE SUITE IN E MINOR MVT. 6 – COMPLETE (NO REPEATS) 02 | DELÉCLUSE | ETUDE NO. 9 FROM DOUZE ETUDES - COMPLETE Excerpts BASS DRUM 7 03 | BRITTEN | YOUNG PERSON’S GUIDE TO THE ORCHESTRA .................................. 7 04 | MAHLER | SYMPHONY NO. 3 MVT. 1 ......................................................................... 8 05 | PROKOFIEV | SYMPHONY NO. 3 MVT. 4 .................................................................... 9 06 | SHOSTAKOVICH | SYMPHONY NO. 11 MVT. 1 .........................................................10 07 | STRAVINSKY | RITE OF SPRING ...............................................................................10 08 | TCHAIKOVSKY | SYMPHONY NO. 4 MVT. 4 ..............................................................12 BASS DRUM WITH CYMBAL ATTACHMENT 13 09 | STRAVINSKY | PETRUSHKA (1947) ...........................................................................13 New Zealand Symphony Orchestra | Sub-Principal Percussion | March 2019 2 Requirements for Audition CYMBALS 14 10 | DVOŘÁK | SCHERZO CAPRICCIOSO ........................................................................14 11 | MUSSORGSKY | NIGHT ON BALD MOUNTAIN .........................................................14 12 | RACHMANINOV | PIANO CONCERTO NO. 2 MVT. 3 ................................................15 13 | SIBELIUS | FINLANDIA ................................................................................................15
[Show full text]
Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños De
Georgia State University ScholarWorks @ Georgia State University World Languages and Cultures Theses Department of World Languages and Cultures 4-21-2009 El Reguetón: Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños Ashley Elizabeth Wood Follow this and additional works at: https://scholarworks.gsu.edu/mcl_theses Part of the Other Languages, Societies, and Cultures Commons Recommended Citation Wood, Ashley Elizabeth, "El Reguetón: Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/mcl_theses/6 This Thesis is brought to you for free and open access by the Department of World Languages and Cultures at ScholarWorks @ Georgia State University. It has been accepted for inclusion in World Languages and Cultures Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EL REGUETÓN: ANÁLISIS DEL LÉXICO DE LA MÚSICA DE LOS REGUETONEROS PUERTORRIQUEÑOS by ASHLEY ELIZABETH WOOD Under the Direction of Carmen Schlig ABSTRACT This paper examines some of the linguistic qualities of reggaeton in order to determine to which extent the music represents the speech of the urban residents of Puerto Rico. The lyrics are analyzed in order to see if they are used only within the context of reggaeton or if they are part of the Puerto Rican lexicon in general. The political context of Puerto Rico with respect to the United States is taken in to consideration with the formation of Anglicisms and the use of English. The paper summarizes the current knowledge of the Puerto Rican lexicon and highlights two linguistic studies that focus on reggaeton in addition to providing general background information about the genre.
[Show full text]
Una Aproximación Urbana a La Música De Marimba
Una aproximación urbana a la Música de Marimba ADRIAN SABOGAL PALOMINO ASESOR: RICHARD NARVÁEZ PROYECTO DE GRADO PONTIFICIA UNIVERSIDAD JAVERIANA FACULTAD DE ARTES Carrera de Estudios Musicales con Énfasis en Jazz (Guitarra) Bogotá D.C. 2010 5 Agradecimientos Quiero agradecer a Dios, a mis padres y a toda mi familia, por ser toda fuente de alivio y fortaleza en mi vida. Agradezco a Richard Narváez y a todos los maestros que me brindaron de una u otra forma sus conocimientos. Agradezco a todos los músicos que fueron entrevistados por su disposición y gran aporte al presente trabajo. Finalmente quiero hacer un agradecimiento especial al Taita Oscar Mojomboy y a Gaviota Acevedo quien ha sido un apoyo constante y esencial en todo momento. 6 Tabla de contenidos. Pág. I Abstract 8 II Introducción 9 1. Antecedentes 10 2. Objetivos 2.1. General 11 2.2. Específicos 12 2.3 Justificación 12 3. Metodología 3.1 Recopilación de material bibliográfico y transcripciones. 13 3.2 Relatos de la Música urbana inspirada en la tradición de la Marimba. 14 3.3 Trabajo de campo. 15 3.4 Análisis 18 Una aproximación urbana a la Música de Marimba. Capítulo 1 Música de Marimba a) Roles de cada instrumento 19 b) Forma del currulao 22 Capítulo 2 Algunos antecedentes de la síntesis de géneros musicales. a) Primitivismo: Música del siglo XX 24 b) Jazz Fusión 25 Capítulo 3 Análisis y Síntesis de componentes musicales. a) Currulao Acurrucao- J.S Monsalve 27 b) La Rana- Adrian Sabogal 31 Capítulo 4 Conclusión 33 Bibliografía 35 Discografía 36 Videografía 36 Entrevistas 37 Anexos A.
[Show full text]
Maximizing Your Vibes & Marimba: Expanding Mallets
FREQUENTLY ASKED MALLET INSTRUMENT QUESTIONS & ANSWERS by Arthur Lipner As presented at The Midwest Clinic, December 2003, Chicago, IL VIBRAPHONE Q: Does the position of the fans affect the sound? A: TOTALLY. Your own experimentation in a quiet room will prove it. Closed fans block the resonance (less fundamental) and give a more percussive sound, reflecting the mallet attack. Open fans yield a deeper tone from more fundamental, but less mallet sound. I recommend opening the fans about 2/3 of the way to balance these factors. My vibes are broken... Q: I’m missing the belt. Do I need it? A: YES. Even if you don’t use the motor, it keeps the resonators in a fixed position. For Musser belts contact, MalletWorks Music, www.malletworks.com. (203) 762-8083. For other brands try Steve Weiss Music tel (215) 659-0100. Q: The cord supporting the notes is really loose. Does this matter? A: YES. The bars are sitting unsuspended. Maximum resonance is achieved when they are properly suspended above the resonators. Go to the hardware store and buy four springs, about a buck each. Tie one on each of the four ends and make it pretty tight. Check it again in a few weeks; the cord probably will have stretched a bit. Q: The cord is shot. Can I use the cord-du-jour from my kitchen drawer? A: NO. It will stretch too easily or shred from the tension. Proper cord will last longer and save you headaches. About $15 to re-string an instrument, call Steve Weiss Music (215) 659-0100.
[Show full text]
NORTHWESTERN UNIVERSITY an Annotated Catalog of Marimba
NORTHWESTERN UNIVERSITY An Annotated Catalog of Marimba Concertos with Winds A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Field of Percussion Performance By Anthony Joseph Calabrese EVANSTON, ILLINOIS June 2014 2 © Copyright by Anthony Joseph Calabrese 2014 All Rights Reserved 3 ABSTRACT An Annotated Catalog of Marimba Concertos with Winds Anthony J. Calabrese This document is a musical catalog of concertos for one or two solo marimbas originally written with wind accompaniment. Chapter One summarizes the development of the marimba since the early 1900s. Chapter Two presents charts and descriptions of 45 works in this genre, based on works written between 1974 and 2013. Composers of these works are based in Australia, Belgium, England, Germany, Japan, the Netherlands, Norway, Spain, Taiwan, and across the United States. The descriptions address composition dates, instrumentation and timing, solo instrument range and technical requirements, including cadenzas, publishers, arrangements, recordings, commissions and premieres, style, and other details in the scores. Musical incipits are provided where available. Sixteen works are detailed here for the first time, including the first known works in the genre. Readers should also see Andrew Lance Dancy’s document (2008) for complementary information on certain works. Chapter Three examines similarities and differences, and trends among all 45 works in the genre based on the catalog’s details. Ideas on how to solicit new works are identified from past studies and applied to the wind ensemble idiom. This study informs percussionists and conductors as they select concertos for performance, it informs composers of past works, and identifies trends.
[Show full text]
October 2011 Percussion News
percussion news The newsletter of the PERCUSSIVE ARTS SOCIETY OCTOBER 2011 IN THIS ISSUE: SocIETy UpdaTE 3 PASIC After Dark pEoplE aNd placES 4 EvEnIng ConCErtS wIll kEEP InDy groovIng IN MEMorIaM: davId SEarcy 5 In less than 60 days, the Indiana Convention Center and Westin Ho- tel–Indianapolis will be bustling with the sounds of percussionists and SUMMEr caMpS aNd drummers from around the world—all celebrating the 50th Anniversary FESTIvalS 16 of the Percussive Arts Society and enjoying the special offerings of PA- PASIc poSTErS 22 SIC 2011. As always, this year’s PASIC will present spectacular concerts 2011 drUM corpS every evening that are sure to intrigue the ears of every attendee. INTErNaTIoNal World cHaMpIoNSHIpS 24 wEDnESDAy EvEnIng (nov. 9) IN MEMorIaM: The star-studded concert presented by the New Music/Research Commit- MarTy HUrlEy 27 tee will feature the best performers of a generation of percussionists focused on INdUSTry NEWS 28 the creation and performance of new music. This retrospective of important works of recent years will include compositions by Iannis Xenakis, Brian Ferneyhough, David Lang, claSSIFIEdS 35 Michael Gordon, and Julia Wolfe, and a tribute to Chinese composers Qu Xiao-song, Tan Dun, and Guo Wen-Jing. Performers will include Steven Schick, Percussion Group Cincinnati, Douglas Perkins, So Percussion and Mantra Percussion. tHUrSDAy EvEnIng (nov. 10) PONTIAC IL PASIC 2011 will present the world premiere of “Concerto No. 2 for Percussion Section, Timpani and Orchestra” by Joseph PERMIT NO. 19 th NON PROFIT ORG. U.S. POSTAGE PAID U.S. POSTAGE Schwantner, in the making since 2006 and specifically written for the Percussive Arts Society’s 50 Anniversary.
[Show full text]