DOCSLIB.ORG

Dear Paul. Mr. William Mcclellan Music Library

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dear Paul. Mr. William Mcclellan Music Library Mr. William McClellan Music Library 'f.iusic Building Urbana IL 61801 Dear Paul. This is to acknowledge receipt of your recent gift of 52 scores and editions of music that you donated to the Music Library. These materials will be added to the resources of the Music Library. We appreciate your thoughtfulness and thank you for deliverinB them to the library. Although we caa't be quoted as the official source for estimatins the value ~these scores and editions, we have~stimated that the total collection (see checklist below} is worth $180.~ according to the current market value for this material. I hope that you are having a pleasant break between semesters. Zonn. LAtter - Images for Double - reed Quintet (1978) Hackbarth. Traiings for Trombone and ~ublebi&ss........ (1974) (2 scores) wylie. Imagi (scoreO Karline. Lamentations - In Memoriam (score) Zonn. Liberate. I (score) Zonn. Revolutions for solo clarinet Zonn. XOE for 4 timpani and snare drum (parts) Zonn. One Slow Turn ot the World (score) Zonn. Varia V (score) Zonn Li-Po, for contralto (or baritone) and Chamber Ensemble (score) Zonn. Duplum for violin and piano (p~aB) (score and part) Zonn. Red Wiggler for solo tuba Zonn. Organon for organ. Zonn. String quartet no. 1 (1960t (score and parts) Zonn Virtuoso Music solo violin Zonn Miroditties (soore) Zonn. Compositions for quartet: for flute, oboe, clarinet, bassoon (score and 4 parts) Zonn. Cello Music Zonn. Grunge, for solo flute Zonn. I love my lady: Madrigal tor 3 male voices and 3 clarinets (3 scores and 3 parts) r page 2 Zonn. Sonata for oboe and piano (score) Zonn. Viola sonata Zonn. Liberata III (score) Zonn. Asanomusic for solo bassoon Zonn. The Second Voyage for concert band (score) Zonn. Interiors for orchestra (score) Zonn. Canzoni, overo senate concertare conserere, for oboe and eight players(scoret Zonn. String quartet No. 4 (score) Zonn. Sonatina for clarin~t piano (score) Zonn. Boyage fo Columbus for trumpet and chamber ensembles. (score) Stravinsky. Theme with Variations from Sonata for two pianos. (score) Brahms. Sonata no. 2 in Eb for clarinet and piano (score and parts) Brahms Sonata no. 1 in F minor (op. 120t for clarinet and piano (score and part) 18 Sheet music titles (instrumental) Westergaard. An Introduction to Tonal TheDry (1975) Sincerely. William McClellan Music Librarian ! ' ' . ... >~· Ci N \\; / ' University of Illinois .UNIVERSITY LIBRARY at Urbana-Champaign Music Cataloging 217 333-2713 Music Building 1114 West Nevada Street Urbana Dlinois 61801 23 February 1989 Dear Paul, This is to acknowledge receipt of the collection of eleven titles of scores for music that you donated to the Music Library this past week. I have made a list of these compositions at the bottom of this letter. Once again, we thank you for helping to enrich the collection in the area of 2oth century music. It is greatly appreciated. Although we cannot be quoted as the official source for estimating the value of this gift, we have estimated that the total gift has a fair market value of $93.00. Best wishes. Sincerely, lVilliam McClellan Music Librarian Gift: Birchall, Steven. When in Darmstadt ... a rondo, for unorthodox percussion Blank, Allan. Coalitions, for 2 clarinets, trombone, piano, 2 percussionists, and soprano Fennell, Brian. Consort I, for trombone quintet (score and parts) Oliver, Harold. King of the cats, chamber opera (score) Von Gunden, Heidi. Triggers II, for two trombones and two celli (score) Washburn, Gary. Eight: a study in moods, figures & personality (score) Watts, .John. Warp, brass quintet and arp-realized tape (score) Wilson, Olly. Chanson innocent, soprano and two bassoons (score) Wirtel, Thomas. Five pieces for chamber ensemble (score) Yannay, Yehuda. Concertina for violin and chamber orchestra (score & violin part) Yasui, Byron K. Tr.ree pieces for woodwind quartet (score and :parts) DONATION OF PAUL ZONN Received by Music Library, University of Illinois October 1988 Barata, Antonio G. Blackwater sinfonia (score) Blankenship, Shirley Meyer. Visions and revisions, for instrumental ensemble (score) Carl, Robert Ebb and flow, for twelve instra~entalists (score) Cervetti, Sergio. Raga I, flute, clarinet, trombone, bass, electric guitar, percussion and tape (score) Cervetti, Sergio. Six sequences for dance (score) Chance, Nancy L. Rilke songs [songs, for soprano, flute, English horn, and cello. Text by Rainer Maria RilkeJ (score) Connolly, Justin. Chamber music III: obbligati I, for 13 players (score) Consoli, Marc-Antonio. Vuci siculani, for mezzo-soprano, flute (soprano recorder), clar:i:net, guitar and string quartet (score) Coulter, Fred. Contingency, for orchestra (score) Christopher. Michael M. Ostipri, for chamber ensemble (score) Davidson, Roger Conrad. The dragon's march (for horns, trumpets, trombone, tuba, timpani, and percussion) (score and parts) De Young, Lyden. Texture, for organ, harp, celesta (score) Downey, John. A dolphin, for alto flute, viola, piano, voice, and vibraphone (3 copies of score) Eisma, Will. Le Gibet, for baritone, instruments and live-electronic (score) Fennelly, Brian. Wind quintet (score) Zonn Donation (continued) - 2 - Fleisher, Robert. A song of war, for soprano and ensemble (score) Fredrickson, Thomas. Music for five instruments (set of 5 parts) Fredrickson, Thomas. Silence, for S.A.T.B. (score) Freund, Don. Dissolving music: rockpiece for soprano and six instruments (score) Friedman, Stan. Transients for 12 solo instrumentalists (score) Ghezzo, Dinu. Thalla, for pianos and 16 players (10 copies of score) Goldmann, Marcel. ~vel, cantate pour 6 instruments et 5 recitants (score) Grahn, Ulf. Soundscape I, for flute, English horn, bass clarinet, and percussion (score) Green, George. Repose of rivers, for mezzo-soprano and orchestra (text by Hart Crane) (score) Hackbarth, Glenn. Metropolis, for solo alto saxophone and orchestra (score) Raimo, Ethan. Fantasy for solo cello Raimo, Ethan. Quartet for oboe, violin, viola, and cello (score) Halen, Walter J. Two poems of dance (score) Hanzelin, Fred. Albescence and acclamation (score) Harris, Donald. For the night to wear, for mezzo-soprano and orchestra (from Hortense Flexner poems( (score) Hayden, Paul. Op. 2, for chamber ensemble (score) Hervig, Richard. Antiphon II "Quid est Musica?," for 12 voices and 8 instrumentalists (score) Zonn Donation (continued) - 3 - Hicks, Michael. Akeldama, for chamber ensemble (score) Ichiyanagi, Toshi. Appearance, for 3 instruments, 2 oscillators, and 2 ring modulators (score) Jeffers, Robert E. Subsets on Mar Vista, for clarinet, bass clarinet, percussion, harp, --~andolin, and viola (score) Kallis, Russ. Trio for woodwinds (4 copies of score) Kam, Dennis. Ad hoc (score, reduced in size) Kelly, Robert. Sonata, for oboe and harp, op. 27 (oboe part only?) Kiss, Janos. Flute concerto in three movements (piano score and flute part) Kiss, Janos. Josepha, quintet for alto recorder, violin, viola, cello, harp (score) Kiss, Janos. Two pictures, woodwind quintet with harp or piano (score and parts) Kitzke, Jerome P. The snow crazy copybook (score) Korte, Karl. Matrix-7 (for winds and percussion) (score) Lamb, Marvin. Concerto for tenor saxophone and orchestra (score) Lamb, Marvin. Intonazione, for tape, lights, and sculpture (score and tape) Lawrence, Lucinda. Wildflowers, for flute, clarinet, bass clarinet, violin, trombone, double bass, and percussion (score) Lehmann, Hans Ulrich. Dis-cantus I, fUr Oboe und Streicher (score) Louie, Alexina. Lotus (for ensemble and tape) (score) Manion, M. Delta (for chamber ensemble: winds, percussion and 2 synthesizers) (score) Zonn Donation (continued) - 4 - Matuszczak, Bernadetta. Musica da camera (score and set of parts) McKay, Neil. Kubla Khan, for soprano and chamber ensemble (score) Moryl, Richard. Repercussions for two percussion, piano, and tape recorder (2 copies of score) Munn, Debra Zae. Inhowoweed: chant on hunger (score) Newell, Andrew David. Lost in legends, for flute, clarinet, trumpet, trombone, violoncello, piano, and percussion (score). Note: Composer's name covered over on cover and copyright statement. Pfeil, Clifford. ruth ann's horse, for amplified cello Pfischner, Jan. Aureate earth, for tenor, piano, prepared piano, and percussion (3 copies of score) Plum, Abram M. Ineractions, for soprano, flute, clarinet, trombone, and piano (5 copies of score) Price, John E. Scherzo I, for clarinet and orchestra (piano reduction) Ranta, Michael. Hovinouchi, flir Schlagzeug, Gitarre, und ein improvisiender Solist (score) Rovics, Howard. Cybernetic study no. 2 for clarinet, bassoon and piano (2 copies of score) Schirmer, T. Dihedron, for flute and tuba (score) Schmidt, Gary. Four songs on poems by Hesse, for 2 sopranos, piano, violin, flute, and percussion (score) Schmidt, Gary. Die Liebenolen, for narrator, flute, oboe, harp, viola, cello (score) Schwartz, Geraldine. Birds of America, for mezzo-soprano and piano (score) Schwartz, Geraldine. Conversation for 5 (flute, clarinet, violin, cello, piano) (score) Senn Dan. In glass, for oboe/flute and B-flat clarinet (score) Zonn Donation (continued) - 5 - Shaffer, Warren. Eliot dimembered for soprano and ensemble (score) Shinohara, Makoto. Alternance, pour percussion (score) Stalvey, Dorrance. Celebration-Sequent I, for ensemble (score) Stidfole, A. Vocalise (score) Stout, Alan. Movements for clarinet and string quartet (score) Stout, Alan. SPES, op. 59, no. 10, hymn for high sopranom alto flute, and accompanying instruments (score) Testi, Flavio. Cantata seconda (devouring time) op. 24, per tenore
Load more

Recommended publications
  • Jlaister of ^Iiilo^Tip^P in ENGLISH
    A CRITICAL STUDY OF ROBERT BRIDGES' EARLY POETRY DISSERTATION SUBMITTED FOR THE AWARD OF THE DEGREE OF jlaiSter of ^Iiilo^tip^p IN ENGLISH BY S. MUSAVVIR HUSAIN RIZVI UNDER THE SUPERVISION OF PROFESSOR IQBAL HASAN DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 1994 DS2618 PS^Cl^ r£ <-> ^'^si,,^'^'"' 2 7 FEB W96 n t• Ir \ 1 ! on- '^003 Ted in Co.Tipm6* DEPART Ml EIMT OF ENGLISH ALIGARH MUSLIM UNIVERSITY AND ALIGAR H —202002 (INDIA) MODERN EUROPEAN LANGUAGES TO WHOM IT MAY CONCERN This is to certify that Mr. S. Muaavvir Husain Rizvi has prepared his M.Phil, dissertation under my supervision. The conclusions which he has drawn are the outcome of his study of the primary source material. )^U H^^ Prof. IQBAL HASAN 31.5.'95 Supervisor DEDICAT MY PARENTS AND TEACHERS •iljC K N O W LED G E^MfEjNJT 5 I bow in reverence to the Almighty God whose benign benediction gave me the required zeal for completion of this work. I take this opportunity to express my deep sense of gratitude to my revered supervisor, Prof. Iqbal Hasan, Department of English, for his illuminating guidance and creative supervision of this work right from its inception to its culmination in the present shape. Without his unceasing encouragement and cooperation this work would not have been completed. I am also grateful to Prof. Maqbool Hasan Khan, Chairman, Department of English, for providing me facilities and continuous encouragement. I would be remiss in my gratitude if I do not express my warmest thanks to Dr. Sardar Ali Zaidi, Prof.
    [Show full text]
  • University Microiilms, a XERQ\Company, Ann Arbor, Michigan
    71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ...............................................
    [Show full text]
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Sonata for Clarinet Choir Donald S
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1962 Sonata for Clarinet Choir Donald S. Lewellen Eastern Illinois University Recommended Citation Lewellen, Donald S., "Sonata for Clarinet Choir" (1962). Masters Theses. 4371. https://thekeep.eiu.edu/theses/4371 This Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. -SONATA POR CLARINET CHOIR A PAPER PRESENTED TO THE FACULTY OF TILE DEPARTMENT OF MUSIC EASTERN ILLINOIS UNIVERSITY IN PARTIAL FULFILLMENT OF TIIB REQUIREMENTS FOR IBE DEGREE MASTER OF SCIENCE IN EDUCATION DONALDS. LEWELLEN '""'."'.···-,-·. JULY, 1962' TABLE OF CONTENTS :le Page • • • • • • • . • .. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • i ile of Contents . .. ii iface ••.•....•...•........••....... •· ...•......•.•...• iii ::tion I ! Orchestra and Band ································· 1 lrinet Choir New Concept of Sound •••••••••••••••••• 2 3.rinet Choir Medium of Musical Expression . .. 2 arinet Choir Instrumentation . 3 ction II nata for Clarinet Choir - Analysis . .. 6 mmary • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 8 bliography ••••.•••••••••••••••••••••••.•••••••••••••• 10 PREFACE The available literature for clarinet choir is quite limited, and much of this literature is an arrangement of orchestral music.
    [Show full text]
  • Dayton C. Miller Flute Collection
    Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright
    [Show full text]
  • Song Lyrics ©Marshall Mitchell All Rights Reserved
    You Don’t Know - Song Lyrics ©Marshall Mitchell All Rights Reserved Freckled Face Girl - Marshall Mitchell © All Rights Reserved A freckled face girl in the front row of my class Headin’ Outta Wichita - Harvey Toalson/Marshall Mitchell On the playground she runs way too fast © All Rights Reserved And I can’t catch her so I can let her know I think she is pretty and I love her so Headin’ outta Wichita; we’re headed into Little Rock tonight And we could’ve had a bigger crowd but I think the band was sounding pretty tight She has pigtails and ribbons in her hair With three long weeks on this road there ain’t nothing left to do, you just listen to the radio When she smiles my heart jumps into the air And your mind keeps a’reachin’ back to find that old flat land you have the nerve to call your home And all through high school I wanted her to know That I thought she was pretty and I loved her so Now, you can’t take time setting up because before you know it’s time for you to play And you give until you’re giving blood then you realize they ain’t a’listenin’ anyway I could yell it in assembly And then you tell yourself that it can’t get worse and it does, and all you can think about is breaking down I could write it on the wall And then you find yourself back on the road following a dotted line to another town Because when I am around her I just cannot seem to speak at all I wanna see a starlit night and I wanna hold my baby tight again While in college I saw her now and then And I’m really tired of this grind and I’d sure like to see the face
    [Show full text]
  • The Rise and Fall of the Bass Clarinet in a the RISE and FALL of the BASS CLARINET in A
    Keith Bowen - The rise and fall of the bass clarinet in A THE RISE AND FALL OF THE BASS CLARINET IN A Keith Bowen The bass clarinet in A was introduced by Wagner in Lohengrin in 1848. Unlike the bass instruments in C and Bb, it is not known to have a history in wind bands. Its appearance was not, so far as is known, accompanied by any negotiations with makers. Over the next century, it was called for by over twenty other composers in over sixty works. The last works to use the bass in A are, I believe, Strauss’ Sonatine für Blaser, 1942, and Messiaen’s Turangalîla-Symphonie (1948, revised 1990) and Gunther Schuller’s Duo Sonata (1949) for clarinet and bass clarinet. The instrument has all but disappeared from orchestral use and there are very few left in the world. It is now often called obsolete, despite the historically-informed performance movement over the last half century which emphasizes, inter alia, performance on the instruments originally specified by the composer. And the instrument has been largely neglected by scholars. Leeson1 drew attention to the one-time popularity and current neglect of the instrument, in an article that inspired the current study, and Joppig2 has disussed the use of the various tonalities of clarinet, including the bass in A, by Gustav Mahler. He pointed out that the use of both A and Bb clarinets in both soprano and bass registers was absolutely normal in Mahler’s time, citing Heinrich Schenker writing as Artur Niloff in 19083. Otherwise it has been as neglected in the literature as it is in the orchestra.
    [Show full text]
  • Eino Tamberg: a Catalogue of the Orchestral Music 1954
    EINO TAMBERG: A CATALOGUE OF THE ORCHESTRAL MUSIC 1954: Oratorio “For the Liberty of the Nation” for mezzo-soprano, baritone, chorus and orchestra, op.1: 46 minutes 1955: Symphonic Suite “Prince Gabriel” for orchestra, op.2: 19 minutes 1955/2002: “To the Fatherland” for chorus and orchestra, op.116: 6 minutes 1956: Concerto Grosso for chamber orchestra, op.5: 24 minutes + (Bis and Antes cds) 1957: Symphonic Dances for orchestra, op.6: 21 minutes + (Bis cd) 1959: Ballet-Symphony, op.10: 40 minutes (and Ballet) 1962: “The Moonshine Oratorio” for soprano, baritone, two reciters, chorus and orchestra, op. 17: 46 minutes 1963: Ballet “The Boy and the Butterfly”, op.20: 36 minutes 1964: Suite “King Oedipus” for chorus and orchestra, op.11a 1967: Toccata for orchestra, op. 31: 5 minutes 1970: Ballet “Joanna Tentata”, op.37: 85 minutes (and 1972 Ballet Suite, op.37a: 30 minutes- + (Bis cd)) 1970/2006: Music for Trumpet and String Orchestra, op.126 1972: Trumpet Concerto No.1, op. 42: 16 minutes + (Bis cd) 1975: Cantata “Victory Fanfares” for baritone, chorus and orchestra, op.46: 7 minutes 1975/2001: Opening Fanfares for orchestra, op.112: 3 minutes 1977: Overture “October Fanfares”, op. 54: 8 minutes 1978: Symphony No.1, op.57: 22 minutes + (Antes cd) 1979: Cantata “To the Music” for chorus and orchestra, op.60: 12 minutes 1981: Violin Concerto, op. 64: 17 minutes + (Antes cd) Oratorio “Amores” for soprano, mezzo-soprano, tenor, baritone, chorus and orchestra, op.65: 32 minutes Cantata “Vivat Estonia” for six soloists, chorus and orchestra, op.66: 6 minutes 1982: Cantata “Alma Mater” for bass, chorus and orchestra, op.67: 12 minutes 1983: Cantata “People in Soldiers’ Coats” for baritone, chorus and orchestra, op.
    [Show full text]
  • Orchestra Bells As a Chamber and Solo Instrument: a Survey Of
    ORCHESTRA BELLS AS A CHAMBER AND SOLO INSTRUMENT: A SURVEY OF WORKS BY STEVE REICH, MORTON FELDMAN, FRANCO DONATONI, ROBERT MORRIS, MARTA PTASZYŃSKA, WILL OGDON, STUART SAUNDERS SMITH, LAFAYETTE GILCHRIST AND ROSCOE MITCHELL Mark Samuel Douglass, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Mark Ford, Major Professor Joseph Klein, Relative Field Professor David Bard-Schwarz, Committee Member Benjamin Brand, Director of Graduate Studies and Dean of the College of Music Douglass, Mark Samuel. Orchestra Bells as a Chamber and Solo Instrument: A Survey of Works by Steve Reich, Morton Feldman, Franco Donatoni, Robert Morris, Marta Ptaszyńska, Will Ogdon, Stuart Saunders Smith, Lafayette Gilchrist and Roscoe Mitchell. Doctor of Musical Arts (Performance), May 2016, 96 pp., 73 musical examples, 11 figures, references, 59 titles. This dissertation considers the use of orchestra bells as a solo instrument. I use three examples taken from chamber literature (Drumming by Steve Reich, Why Patterns? by Morton Feldman, and Ave by Franco Donatoni) to demonstrate uses of the instrument in an ensemble setting. I use six solo, unaccompanied orchestra bell pieces (Twelve Bell Canons by Robert Morris, Katarynka by Marta Ptaszyńska, Over by Stuart Saunders Smith, A Little Suite and an Encore Tango by Will Ogdon, Breaks Through by Lafayette Gilchrist, and Bells for New Orleans by Roscoe Mitchell) to illustrate the instrument’s expressive, communicative ability. In the discussion of each piece, I include brief background information, the composer’s m usical language in the piece and performance considerations. I interviewed composers of these solo works to complete the research for this document to discuss their musical language and their thoughts on writing for solo orchestra bells.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
    2008-2009 SEASON i**f Bernard Haitink Conducto M& Seiji Ozawa Music Director Laureate . the Clarendon BACK BAY The Way to Live D nyi m H ' • utt. win j m: in* i ! || |Ifi| »!i»U IB, p !i« on IIP !CfU ' !' r,-—1_ x, 1IINHI Hi !! li ' !! : Ill HI. IHI mil : Il; U J 'I K • ? I! ,1 m nil ; t i :: ^ - INTRODUCING FIVE STAR LIVING™ WITH UNPRECEDENTED SERVICES AND AMENITIES DESIGNED BY ROBERT A.M. STERN ARCHITECTS, LLP ONE TO FOUR BEDROOM LUXURY CONDOMINIUM RESIDENCES STARTING ON THE 15TH FLOOF CORNER OF CLARENDON AND STUART STREETS THE CLARENDON SALES AND DESIGN GALLERY, 14 NEWBURY STREET, BOSTON, MA 617.267.4001 www.theclarendonbackbay.com BRELATED DC/\Lcompai REGISTERED WITH THE U.S. GREEN BUILDING COUN( ANTICIPATED LEED SILVER CERTIFICATION fg> The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, v, No S subject to change without notice. No guarantee is made that said features will be built, or. if built, will be of the same type, size, or nature as depicted or described. prohit agency has judged the merits or value, if any, of this property. This is not an offer where registration is reguired prior to any offer being made. Void where Table of Contents | Week 19 15 BSO NEWS 21 ON DISPLAY IN SYMPHONY HALL 23 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 29 A BRIEF HISTORY OF SYMPHONY HALL 33 A "MULTIPLICITY OF MUSICS": THE PREMIERE OF CHARLES IVES'S SYMPHONY NO.
    [Show full text]
  • 2015,3 Interview with Johnny Reinhard
    Рецензии, интервью • Reviews, Interviews 2015,3 INTERVIEW WITH JOHNNY REINHARD Anton Rovner: Can you tell me about your the Pompidou Centre. I have held important concert activities with the microtonal festival? concerts of microtonal music in Switzerland, What cities have you performed in the United for which I took eight people from New York, States besides New York, as well as what other where we introduced the music of Harry Partch countries? for concerts in Zurich and Kreuzlingen, and a Johnny Reinhard: I started my musical Zurich Radio broadcast. activities as a bassoonist. During my graduate AR: Can you tell about your microtonal studies in bassoon at the Manhattan School of festival, how it began, where do you perform Music and in ethnomusicology at Columbia and what kind of music do you perform there? University, I began to be interested in JR: In 1980 I received my Master’s degree microtonal music, which I decided to devote from Manhattan School of Music, and I learned to my full time to. In 1981 I founded the American play quartertones on the bassoon, so composers Festival of Microtonal Music, which has been began writing pieces for me. I enrolled in the in existence since then. The festival has held Music Department of Columbia University, performances of numerous musical works where I studied ethnomusicology, and I started incorporating microtones and alternate tunings to learn that different types of music of different by many composers throughout the world, peoples of past ages had different tunings. As both contemporary and from earlier times. In a result, I came up with the idea of a festival addition to that, I have performed with recitals of microtonal music, which would be inter- on the bassoon and with concerts of microtonal stylistic, where I would put together on one stage music in most European countries, different such diverse types of music as Middle Ages and cities across Canada – St.
    [Show full text]
  • Clarinet Tips
    Teacher’s Guide by the late Nilo HoveyClarinet Nilo W. Hovey The late Nilo W.Hovey was actively engaged in the school band movement since 1925. From 1926 to 1944 he was Director of School Instrumental Music in the Hammond, Indiana, public schools. From 1944 to 1957 he was Chairman of the Music Education Department and Director of the Concert Band at Butler University, Indianapolis, Indiana. During this period he was the recipient of the J.I. Holcomb award for his contribution to the advancement of the University and the Arthur W. Baxter award for superior teaching. Hovey served as lecturer, clinician, adjudicator and guest conductor in all sections of the United States and in Ontario, Canada. In the latter capacity he appeared with the United States Navy Band, the United States Army Band, the Canadian Air Force Band, and many Intercollegiate and All-State High School Bands. Numerous instrumental methods and books of instructional material written or edited by Hovey are widely used in the schools of the United States and Canada. Hovey was an active member of the American Bandmasters Association for over twenty years and served as its President in 1970-71. He was President of the Music Industry Council in 1962-64. He was an honorary member of the Canadian Bandmasters Association, of Kappa Kappa Psi and Phi Beta Mu. Hovey was also a member of Phi Kappa Phi,Honorary scholastic fraternity,Phi Delta Kappa, fraternity of men in education, and Phi Mu Alpha (Sinfonia). Publications The following Clarinet materials have been written or edited by Mr.
    [Show full text]