NME Syllabus

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Course: New Music Ensemble Course number: MUS 180K for Graduate Students, ENS 107 for Undergraduates Meeting times: MWF 12-2 pm, MRH 6.222 Instructor: Professor Dan Welcher This ensemble presents music of the 20th and 21st centuries, for mixed chamber ensembles ranging from 4 to 18 players. Woodwind, brass, and percussion players are drawn from the same rotation pool as the UT Wind Ensemble and UT Symphony Orchestra, and are assigned to the NME one concert at a time. Pianists and String players are assigned separately by audition, and with the recommendation of the appropriate faculty. The ensemble gives six concerts annually; three in the fall semester and three in the spring. One major feature of the series is the Visiting Composers Series, which brings a number of internationally known composers to the UT campus for three day intensive visits, culminating with performances of their works. The Visiting Composers also work with UT Composition majors, and each one presents a public lecture on his or her music. Past visitors include John Adams, George Crumb, John Corigliano, Joan Tower, Chen Yi, John Harbison, and Melinda Wagner. Another feature of the ensemble is the presentation of a new work by a UT student composer on every concert. This makes the New Music Ensemble one of the premiere exposure media for UT composers, and recordings from these concerts have gained major prizes (such as the ASCAP and BMI Young Composer Awards) for UT students. The instructor is Professor Dan Welcher, prizewinning composer and conductor. Professor Welcher has earned fellowships and grants from the Guggenheim Foundation, the Rockefeller Foundation, the National Endowment for the Arts, and many other agencies. His music has been played by more than fifty orchestras worldwide, and is well-represented in both recordings and publications. .

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Horizons '83, Meet the Composer, and New Romanticism's New Marketplace
Horizons ’83, Meet the Composer, and New Romanticism’s New Marketplace Downloaded from https://academic.oup.com/mq/advance-article-abstract/doi/10.1093/musqtl/gdz015/5653100 by guest on 06 December 2019 William Robin The New York Philharmonic was not entirely confident about the pros- pects for a new festival dedicated entirely to contemporary music, to be mounted over two weeks in June 1983. Although more than $80,000 had been budgeted toward advertising and promotion—nearly a tenth of the festival’s total anticipated expenses––advance ticket sales had been slow, perhaps demonstrating that despite recent aesthetic shifts in new music toward styles like minimalism and neo-Romanticism, audiences still felt that contemporary composition was inaccessible, academic, or full of alienating and atonal sounds. On the first night of the festival, dubbed Horizons ’83, the Philharmonic had opened only one of its box office windows at Avery Fisher Hall. But, to everyone’s surprise, a large audi- ence soon appeared, and the queue for same-day tickets quickly stretched out into Lincoln Center’s plaza. As the Philharmonic’s composer-in-residence Jacob Druckman, who curated the Horizons festi- val, later described, “There were 1,500 people lined up around the square and we were frantically telephoning to get somebody to open up other windows.”1 Horizons ’83 was a hit. It would go on to fill Avery Fisher Hall to an average of 70 percent capacity over the festival’s six concerts: A major box office coup for contemporary music, and one com- parable to the orchestra’s ticket sales for standard fare like Beethoven or Mozart.
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Red Note New Music Festival Program, 2013 School of Music Illinois State University
Illinois State University ISU ReD: Research and eData Red Note New Music Festival Music 2013 Red Note New Music Festival Program, 2013 School of Music Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/rnf Part of the Music Commons Recommended Citation School of Music, "Red Note New Music Festival Program, 2013" (2013). Red Note New Music Festival. 7. https://ir.library.illinoisstate.edu/rnf/7 This Book is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in Red Note New Music Festival by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. calendar of events SUNDAY, MARCH 3, 2013 3 PM COMPOSER PRESENTATION CENTER FOR THE PERFORMING ARTS David Kirkland Garner centennial east building, room 229 2 - 2:50 pm the illinois state university wind symphony, conducted by daniel belongia, performs music composer david kirkland garner, winner of the by scott lindroth, john mackey, and paul dooley, composition competition, presents on his music as well as marcus maroney’s “rochambeau” (winner of the red note call for scores). COMPOSER Q&A - Tony Solitro MONDAY, MARCH 4, 2013 2-4 PM Kemp Recital Hall 4 - 5:30 pm KEMP RECITAL HALL composer tony solitro discusses his vocal music and career as a composer of opera and songs chicago-based spektral quartet leads a master class for string students in the illinois state university school of music string studio. TUESDAY, MARCH 5, 2013 8 PM KEMP RECITAL HALL MONDAY, MARCH 4, 2013 8 PM KEMP RECITAL HALL illinois state university faculty members and guest pianist blair mcmillen perform works of guest composer joan tower.
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A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
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11\Yt'f,V -- ~~ NEW MUSIC at RICE
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Tower + Bach Thursday, April 17, 2014
Aleba & Co. 134 Henry Street • New York, NY 10002 212 206 1450 • [email protected] FOR IMMEDIATE RELEASE Press Contacts: March 17, 2014 Aleba Gartner, 212/206-1450; [email protected] InFormation: 212/854-7799; millertheatre.com Charlotte Levitt, 212/854-2380; [email protected] “a compoSer whoSe directneSS and eclecticiSm make her muSic inStantly acceSSible, and whoSe imaginative SenSe oF development gives it an original, distinctive personality.” – The New York Times on Joan Tower Miller Theatre at Columbia University School of the Arts continues the 2013-14 Bach, Revisited series with Tower + Bach Thursday, April 17, 2014 JOAN TOWER interSperSeS her chamber muSic with movementS oF the 5th brandenburg featuring Curtis 20/21 Ensemble Miller Theatre at Columbia University (2960 Broadway at 116th Street) Tickets: $25-$35 • Students with valid ID: $15-$21 From Miller Theatre Executive Director Melissa Smey: “We had a FantaStic time working with Joan Tower and the CurtiS 20/21 EnSemble three yearS ago on our CompoSer PortraitS SerieS, and I’m delighted that they’re returning to Miller for this concert. Joan’S unique muSical voice haS earned her a well-deserved place amongSt America’S moSt important contemporary compoSerS.” BACH, REVISITED “An alluring series.” — The New York Times, 1/30/14 The Bach series has evolved over the years, encompassing both historically informed performances and modern interpretations, and offering listeners a wide variety of musical lenses through which to view Bach's masterful oeuvre. In its current incarnation, the Bach, Revisited series explores Bach’s legacy and continuing influence on modern works, pairing Bach’s work with that of contemporary composers.
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Joan TOWER Violin Concerto Stroke Chamber Dance
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My Father Knew Charles Ives Harmonielehre
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Charles Wuorinen
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Fanfares for the Uncommon Woman
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Joan Tower Celebration FRIDAY FEBRUARY 9, 2018 8:00 Joan Tower Celebration
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Press Kit About the Nashville Symphony
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