Pedal Harp Prices - June 2020
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PCC Cat 20-21 Jan Changes-Without Highlights
PENSACOLA CHRISTIAN COLLEGER 2020 – 2021 CATA LO G PENSACOLA CHRISTIAN COLLEGE PENSACOLA 1 UNDERGRADUATE 2 – EMPOWERING CHRISTIAN LEADERS R TO INFLUENCE THE WORLD 20 CATALOG 37426101-2/20 AS Sophomores, Juniors, and Seniors, Come Experience PCC for Yourself at College Days! Nov. 18–20, 2020 • Mar. 24–26, 2021 • Apr. 7–9, 2021 Yes, you can come any time, but no other time is quite like College Days. You’ll get a glimpse of college academics as you visit classrooms and labs. You’ll find out what students are like as you stay in a resi- dence hall. You can go to special activities planned just for you. But that’s not all. Beyond that, you’ll experience chapel in the Crowne Centre, go to meals in the Four Winds or Varsity, and head to the Sports Center for rock climbing and more. That’s just a start of what you can do during College Days. When you’re done looking through these pages, you’ll know a good bit about PCC. But it’s not the same as being here! See for yourself what PCC is really like. Ask questions in person. And get a better idea if this is the next step God has for you. Find out more today at pcci.edu/CollegeDays or call 1-800-PCC-INFO, ext. 4, to reserve your spot. pcci.edu • [email protected] 1-800-PCC-INFO (722-4636) for new student admissions (850) 478-8496 for all other info. @ConnectPCC Pensacola Christian College @ConnectPCC PensacolaChristianCollege catalog available online at pcci.edu/Catalog PENSACOLA CHRISTIAN COLLEGER 1 UNDERGRADUATE 2 – 20 CATALOG CONTENTS General Information ............................... -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
NEC Youth Philharmonic Orchestra – Seating Auditions 2018
NEC Youth Philharmonic Orchestra – Seating Auditions 2018 NEC Youth Philharmonic Orchestra seating audition requirements: YPO students should prepare one solo work or movement of their choice. Additionally, students should prepare the required excerpts for their instrument which can be found below. YPO Seating audition – Wind, brass, and harp excerpts All excerpts from Shostakovich Symphony No.5, unless otherwise noted. Flute and piccolo excerpts Piccolo – Please prepare both of the following excerpts. Required of all flutists. 1. Figure 45 to 4 bars after Figure 45 2. Figure 53 to Figure 54 2018-19 YPO Seating auditions – Wind/Brass/Harp excerpts Flute – please prepare both of the following excerpts 1. 1st Flute: Figure 79 to Figure 81 2018-19 YPO Seating auditions – Wind/Brass/Harp excerpts Flute excerpts cont. 2. 1st Flute: 4 bars before Figure 98 (with pickup) to Figure 101 2018-19 YPO Seating auditions – Wind/Brass/Harp excerpts Oboe and English horn Oboe - please prepare both of the following excerpts 1. 1st oboe: Figure 42 to Figure 43 2. 1st oboe: Figure 53 to Figure 54 2018-19 YPO Seating auditions – Wind/Brass/Harp excerpts Oboe and English horn excerpts cont. English horn - please prepare the following excerpt. (Optional but encouraged) Berlioz-Roman Carnival Overture, andante sostenuto to 2 bars before Figure 3 Clarinets - please prepare both of the following excerpts 1. 1st Clarinet: 2 bars after Figure 41 to Figure 43 2018-19 YPO Seating auditions – Wind/Brass/Harp excerpts Clarinet excerpts cont. 2. 1st Clarinet: 4 bars before Figure 98 (with pickup) to Figure 101) E-flat Clarinet - please prepare the following excerpt. -
7Thirtythursdays
7ThirtyThursdays Harp Ensemble Cathy Clayton, director Utah Composers Collective Thursday, June 10, 2021 Virtual Venue - https://music.utah.edu/libby-live/index.php 7:30 p.m. Program Harp Ensemble Sign of the Times Harry Styles (b. 1994) arr. Megan Sowby When I’m Sixty-Four John Lennon (1940-1980) Paul McCartney (b. 1942) arr. Misty Williams While My Guitar Gently Weeps John Lennon George Harrison (1943-2001) arr. Chloe Barry Harpists Chloe Barry Annabelle Buchanan Maryruth Culver Katie Damon Lillian Dukes Saylee Johnson Addison Line Marienna Smith Megan Sowby Filming and editing by Maryruth Culver and Chloe Barry Utah Composers Collective Corrections Christopher Newman Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Saylee Johnson, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Croquis de France, Movement VII Jacob Whitchurch Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Saylee Johnson, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Soundlence Dallas Herndon Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Alexah Coon, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Procrastination Natalie Van Horn Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Alexah Coon, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Lakeshore Zheng Zhou Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Alexah Coon, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Cinema Suite Garret Jay Christian Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Kaytie Kerr, harp Yu-Feng Huang, conductor Dreams Like Snow Young Jo Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Kaytie Kerr, harp Young Jo, piano Yu-Feng Huang, conductor Adagio and Allegro for Woodwind Trio Joshua Goodell Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon This event is supported in part by Fine Arts Fees. -
String Instruments 1
String Instruments 1 STRINGS 318-1 Harp Technique and Pedagogy I (0.5 Unit) Pedagogical STRING INSTRUMENTS instruction and demonstration of teaching techniques for all levels and ages. music.northwestern.edu/academics/areas-of-study/strings STRINGS 318-2 Harp Technique and Pedagogy II (0.5 Unit) Pedagogical Majors in string instruments prepare for professional performance and instruction and demonstration of teaching techniques for all levels and teaching as well as for advanced study. The curriculum is built around ages. individual study and ensemble participation, including chamber music STRINGS 318-3 Harp Technique and Pedagogy III (0.5 Unit) Pedagogical and orchestra, with orchestral repertoire studies and string pedagogy instruction and demonstration of teaching techniques for all levels and available to qualified juniors and seniors. A junior recital and a senior ages. recital are required. Students in this program may major in violin, viola, STRINGS 319-1 Orchestral Repertoire I (Violin,Viola,Cello,Dbl Bass,Harp) cello, double bass, harp, or classical guitar. (0.5 Unit) Program of Study STRINGS 319-2 Orchestral Repertoire II (Violin,Viola,Cello,Dbl Bass,Harp) (0.5 Unit) • String Instruments Major (https://catalogs.northwestern.edu/ undergraduate/music/string-instruments/string-instruments-major/) STRINGS 319-3 Orchestral Repertoire III (Violin,Viola,Cello,Dbl Bass,Harp) (0.5 Unit) STRINGS 141-0 Applied Violin for Music Majors (1 Unit) STRINGS 335-0 Selected Topics (0.5-1 Unit) Topics vary; announced STRINGS 142-0 Applied Viola for -
The Devolution of the Shepherd Trumpet and Its Seminal
Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet ADDEN DUM TO “THE DEVOLUTI ON OF THE SHEPHERD TRUMPET AND ITS SEMINAL IMP ORTANCE IN MUSIC HISTORY” BY AINDRIAS HIRT January 2015 • Revision 2 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution. -
Gemma New, Conductor Mark Sparks, Flute Allegra Lilly, Harp
Gemma New, conductor Friday, April 5, 2019 at 10:30am Mark Sparks, flute Saturday, April 6, 2019 at 8:00pm Allegra Lilly, harp Sunday, April 7, 2019 at 3:00pm THOMAS ADÈS Three Studies from Couperin (2006) (b. 1971) Les Amusemens Les Tours de Passe-passe L’Âme-en-Peine MOZART Concerto in C major for Flute & Harp, K. 299 (1778) (1756-1791) Allegro Andantino Rondo: Allegro Mark Sparks, flute Allegra Lilly, harp INTERMISSION R. STRAUSS Suite from Le Bourgeois gentilhomme (1864-1949) (Der Bürger als Edelmann), op. 60 (1917) Ouvertüre zum 1. Aufzug (Overture to Act I) Menuett (Minuet) Der Fechtmeister (The Fencing-Master) Auftritt und Tanz der Schneider (The Entrance and Dance of the Tailors) Das Menuett des Lully (The Minuet of Lully) Courante Auftritt des Cléonte, nach Lully (Entrance of Cléonte, after Lully) Vorspiel zum 2. Aufzug (Prelude to Act II) Das Diner: Tafelmusik und Tanz des Küchenjungen (The Dinner: Table-music and Dance of the Kitchen-boys) ACKNOWLEDGMENTS The 2018/2019 Classical Series is presented by World Wide Technology and The Steward Family Foundation. These concerts are presented by AON. The concert of Friday, April 5, is underwritten in part by a generous gift from Mr. and Mrs. Walter G. Shifrin. The concert of Saturday, April 6, is the Joanne and Joel Iskiwitch Concert. The concert of Saturday, April 6, is underwritten in part by a generous gift from Fred* and Sara Epstein. The concert of Sunday, April 7, is underwritten in part by a generous gift from Gilbert and Yelena Standen. Pre-concert conversations are sponsored by Washington University Physicians. -
Gavin D. Douglas Curriculum Vitae
Gavin D. Douglas Curriculum Vitae email: [email protected] Academic Position 2008-present Associate Professor, Ethnomusicology (Music Studies Dept. Head 2012-2016) UNC Greensboro. School of Music, Theatre and Dance 2002-2008 Assistant Professor, Ethnomusicology UNC Greensboro. School of Music Education 2001 PHD (Ethnomusicology) — University of Washington Dissertation: State Patronage of Burmese Traditional Music 1993 MMUS (Musicology/Ethnomusicology) — University of Texas at Austin Thesis: Popular Music in Canada: Globalism and the Struggle for National Identity 1991 BA (Philosophy) — Queen’s University 1990 BMUS (Performance Classical Guitar) — Queen’s University Publications (Books) 2010 Music in Mainland Southeast Asia: Experiencing Music Expressing Culture. New York, Oxford: Oxford University Press. Publications (Articles, peer reviewed) Forthcoming “Sound Authority in Burma,” in Sounds of Hierarchy and Power in Southeast Asia. Nathan Porath, ed. NIAS Press In Press ““Buddhist Soundscapes in Myanmar: Dhamma Instruments and Divine States of Consciousness.” Proceedings of the 4th Symposium of the ICTM Study Group on Performing Arts of Southeast Asia. Mohd Anis Md Nor and Patricia Matusky (eds.) Denpasar, Bali: Institut Seni Indonesia (ISI). In Press “Burma/Myanmar: History, Culture, Geography,” in The Sage Encyclopedia of Ethnomusicology, Janet Sturman J. and Geoffrey Golson, eds. In Press “Burma/Myanmar: Contemporary Performance Practice,” in The Sage Encyclopedia of Ethnomusicology, Janet Sturman and Geoffrey Golson, eds. 2015 “Buddhist -
MTO 22.4: Gotham, Pitch Properties of the Pedal Harp
Volume 22, Number 4, December 2016 Copyright © 2016 Society for Music Theory Pitch Properties of the Pedal Harp, with an Interactive Guide * Mark R. H. Gotham and Iain A. D. Gunn KEYWORDS: harp, pitch, pitch-class set theory, composition, analysis ABSTRACT: This article is aimed at two groups of readers. First, we present an interactive guide to pitch on the pedal harp for anyone wishing to teach or learn about harp pedaling and its associated pitch possibilities. We originally created this in response to a pedagogical need for such a resource in the teaching of composition and orchestration. Secondly, for composers and theorists seeking a more comprehensive understanding of what can be done on this unique instrument, we present a range of empirical-theoretical observations about the properties and prevalence of pitch structures on the pedal harp and the routes among them. This is particularly relevant to those interested in extended-tonal and atonal repertoires. A concluding section discusses prospective theoretical developments and analytical applications. 1 of 21 Received June 2016 I. Introduction [1.1] Most instruments have a relatively clear pitch universe: some have easy access to continuous pitch (unfretted string instruments, voices, the trombone), others are constrained by the 12-tone chromatic scale (most keyboards), and still others are limited to notes of the diatonic or pentatonic scales (many non-Western-orchestral members of the xylophone family). The pedal harp, by contrast, falls somewhere between those last two categories: it is organized around a diatonic configuration, but can reach all 12 notes of the chromatic scale, and most (but not all) pitch-class sets. -
Preliminary Thoughts on Burmese Modes
UC Irvine UC Irvine Previously Published Works Title Preliminary Thoughts on Burmese Modes Permalink https://escholarship.org/uc/item/1pd9g1bf Journal Asian Music, VIII(I) Author Garfias, R Publication Date 1975 License CC BY 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Preliminary Thoughts on Burmese Modes Author(s): Robert Garfias Source: Asian Music, Vol. 7, No. 1, Southeast Asia Issue (1975), pp. 39-49 Published by: University of Texas Press Stable URL: http://www.jstor.org/stable/833926 Accessed: 16-05-2017 22:09 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms University of Texas Press is collaborating with JSTOR to digitize, preserve and extend access to Asian Music This content downloaded from 128.200.102.71 on Tue, 16 May 2017 22:09:55 UTC All use subject to http://about.jstor.org/terms PRELIMINARY THOUGHTS ON BURMESE MODES by Robert Garfias Little precise written information exists concerning the theory of Burmese music. Upon closely investigating the present performance practice of Burmese musicians, however, it becomes apparent that a rather complex orally transmitted theory of the music exists. It is never taught as theory per se, but the knowledge is acquired as the musician adds one composition after another to his repertoire. -
The Migration of the Arched Harp from India to Burma Author(S): Judith Becker Source: the Galpin Society Journal, Vol. 20, (Mar., 1967), Pp
The Migration of the Arched Harp from India to Burma Author(s): Judith Becker Source: The Galpin Society Journal, Vol. 20, (Mar., 1967), pp. 17-23 Published by: Galpin Society Stable URL: http://www.jstor.org/stable/841500 Accessed: 10/06/2008 14:58 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=gal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org JUDITH BECKER The Migration of the Arched Harp from India to Burma W HILEH the general route of the arched harp from Sumeria to India to Burma is widely accepted in its broad outline, the details are as yet uncertain. -
Surrounded by Sound. Experienced Orchestral Harpists' Professional
Surrounded by Sound. Experienced Orchestral Harpists’ Professional Knowledge and Learning Lonnert, Lia 2015 Link to publication Citation for published version (APA): Lonnert, L. (2015). Surrounded by Sound. Experienced Orchestral Harpists’ Professional Knowledge and Learning. Lund University, Faculty of Fine and Performing Arts, Malmö Academy of Music, Department of Research in Music Education. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Surrounded by Sound Experienced Orchestral Harpists’ Professional Knowledge and Learning Lia Lonnert 3 © Lia Lonnert Malmö Faculty of Fine and Performing Arts Malmö Academy of Music ISBN 978-91-982297-1-4 ISSN 1404-6539 Printed in Sweden by Media-Tryck, Lund University Lund 2015 En del av Förpacknings- och Tidningsinsamlingen (FTI) 4 Contents Prelude ...............................................................................................................