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For Alto Saxophone, Electric Guitar, Percussion, Piano, Violoncello, and Electric Bass
HAZE for alto saxophone, electric guitar, percussion, piano, violoncello, and electric bass Eric C. Honour, Jr. HAZE for alto saxophone, electric guitar, percussion, piano, violoncello, and electric bass Performance Notes 1. This piece comes in large part from the world of the rock band. It is thus recommended that the ensemble be treated in like manner. For performance, all instruments should be amplified, either with microphones, contact microphones or pick-ups. If available, the cellist may use electric cello. 2. The electric guitar should be played with distortion at all times. The performer should use a moderate amount of distortion, a lead distortion setting, as opposed to a maximum crunch, “headbanging” distortion. 3. Accidentals follow standard practice and last through the measure, only on the specific pitch marked (not in other octaves). 4. Percussion requirements are a marimba (low-A, to be played with hard mallets always) and a 6-piece drum set (4 toms, kick, and snare) with hihats, two crash cymbals, and a ride cymbal. Some players may be able to fit a marimba next to the drum set so that they can sit throughout the piece. 5. When presented with standard notation (in black), performers should treat the music in a traditional manner. When presented with other styles of notation, performers should not attempt to align their performance with that of other performers unless asked to do so. Only the large scale motion from box to box, which is to be cued by the conductor, is to be aligned between all the parts. Even then, performers are always permitted to carry their current activity into the next box, as needed. -
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ATHANASIOS ZERVAS | BIOGRAPHY BRIEF BIOGRAPHY ATHANASIOS ZERVAS is a prolific composer, theorist, performer, conductor, teacher, and scholar. He holds a DM in composition and a MM in saxophone performance from Northwestern University, and a BA in music from Chicago State University. He studied composition with Frank Garcia, M. William Karlins, William Russo, Stephen Syverud, Alan Stout, and Jay Alan Yim; saxophone with Frederick Hemke, and Wayne Richards; jazz saxophone and improvisation with Vernice “Bunky” Green, Joe Daley, and Paul Berliner. Dr. Athanasios Zervas is an Associate Professor of music theory-music creation at the University of Macedonia in Thessaloniki Greece, Professor of Saxophone at the Conservatory of Athens, editor for the online theory/composition journal mus-e-journal, and founder of the Athens Saxophone Quartet. COMPLETE BIOGRAPHY ATHANASIOS ZERVAS is a prolific composer, theorist, performer, conductor, teacher, and scholar. He has spent most of his career in Chicago and Greece, though his music has been performed around the globe and on dozens of recordings. He is a specialist on pitch-class set theory, contemporary music, composition, orchestration, improvisation, music of the Balkans and Middle East, and traditional Greek music. EDUCATION He holds a DM in composition and an MM in saxophone performance from Northwestern University, and a BA in music from Chicago State University. He studied composition with M. William Karlins, William Russo, Stephen L. Syverud, Alan Stout, and Jay Alan Yim; saxophone with Frederick Hemke and Wayne Richards; jazz saxophone and improvisation with Vernice ‘Bunky’ Green, Joe Daley, and Paul Berliner; and jazz orchestration/composition with William Russo. RESEARCH + WRITING Dr. -
Stall Song.Mus
Stall Song for oboe and two guitars "Practice Saves" Eric C. Honour, Jr. Program Notes Stall Song began as a piece for soprano and two guitars, on texts copied from a bathroom stall in the Utt Music Building on Central Missouri State University's campus. The text was not risqué; instead, it consisted of a rather amusing argument about religion and music practice schedules. It began with the words "Practice Saves," which apparently offended another person, who responded "Jesus Saves." A well-reasoned discussion ensued, covering most of the walls of the toilet stall. As the piece developed, the melodic line began to be difficult to sing. Rather than abandon the line – I was quite fond of it – I decided to abandon the soprano and the text, and they were replaced with an oboe. The singing, lyrical nature of the piece is retained and the rhythmic stresses in the oboe recitative near the beginning of the work come from the stress patterns of the original text. The text and the soprano will appear in Stall Song II. ERIC HONOUR is director of music technology at Central Missouri State University. He holds degrees in saxophone performance and composition from the University of Florida and Northwestern University. He studied composition with Jay Alan Yim, Stephen Syverud, M. William Karlins, Alan Stout, and Budd Udell. His music has been performed in concerts, festivals, and conferences throughout the United States and in Europe. His work as an audio engineer is in demand, with credits on albums released by artists based in Kansas City, London, New York and Virginia Beach. -
Liner Notes, Visit Our Web Site: Purifoy Foundation © 2017
CMYK JON GIBSON (b. 1940) RELATIVE CALM GEORGE LEWI assemblage S 1. Relative Calm (Rise) (1981) 16:58 Jon Gibson,winds,keyboards,autoharp,ambient recording; ENSEMBLE DAL NIENTE Joseph Kubera,keyboards; David Van Tieghem,percussion 1. (2012) 13:45 2. Q-Music (Race) (1981)(b. 1952) 18:23Mnemosis GEORGE LEWIS (flute, clarinet, violin, viola, cello, piano, percussion) assemblageJon Gibson,Joseph Kubera,keyboards ENSEMBLE DAL NIENTE 2. Hexis (2013) 13:00 3. Extensions RC (Reach) (1981) (flute,16:37 clarinet, violin, cello, piano, percussion) Jon Gibson,soprano saxophones (overlaid) 3. The Mangle of Practice (2014) 12:54 4. Return (Return) (1981) 16:54 (violin & piano) Jon Gibson,saxophone; Joseph Kubera,keyboards; David Van Tieghem,percussion 4. Assemblage (2013) 14:37 (flute, clarinet, saxophone, violin, viola, cello, harp, piano, percussion) Emma Hospelhorn, flutes; Katie Schoepflin, clarinets; TT: 69:06 Taimur Sullivan, saxophone; Tarn Travers, violin; Minghuan Xu, violin; Ammie Brod, viola; Chris Wild, cello; Ben Melsky, harp; Winston Choi, piano; Mabel Kwan, piano; John Corkill, percussion; Gregory Beyer, percussion; Lucinda Childs, Relative Calm, 19 81 Michael Lewanski, conductor TT: 54:28 New World Records, 20 Jay Street, Suite 1001, Brooklyn, NY 11201 New World Records,20 Jay Street, Suite 1001,Brooklyn,NY112 01 Tel (212) 290-1680 Fax (646) 224-9638 Tel (212) 290-1680 Fax (646) 224-9638 [email protected] www.newworldrecords.org [email protected] www.newworldrecords.org ൿ & © 2017 Anthology of Recorded Music, Inc. All -
Operations RG.03
Operations RG.03 This finding aid was produced using ArchivesSpace on January 24, 2019. Describing Archives: A Content Standard The papers of the American Academy in Rome 7 East 60 Street New York, New York 10022 [email protected] URL: http://www.aarome.org Operations RG.03 Table of Contents Summary Information .................................................................................................................................... 3 Scope and Contents ........................................................................................................................................ 3 Arrangement ................................................................................................................................................... 3 Administrative Information ............................................................................................................................ 4 Collection Inventory ....................................................................................................................................... 4 - Page 2 - Operations RG.03 Summary Information Repository: The papers of the American Academy in Rome Title: Operations ID: RG.03 Date [inclusive]: 1895-2018 Physical Description: 209.45 Linear Feet Language of the English Material: ^ Return to Table of Contents Scope and Contents This Record Group is comprised of records that document the functions of the American Academy in Rome (AAR). Records in this group include administrative files that document the daily operations -
New Music Festival 2014 1
ILLINOIS STATE UNIVERSITY SCHOOL OF MUSIC REDNEW MUSIC NOTEFESTIVAL 2014 SUNDAY, MARCH 30TH – THURSDAY, APRIL 3RD CO-DIRECTORS YAO CHEN & CARL SCHIMMEL GUEST COMPOSER LEE HYLA GUEST ENSEMBLES ENSEMBLE DAL NIENTE CONCORDANCE ENSEMBLE RED NOTE New Music Festival 2014 1 CALENDAR OF EVENTS SUNDAY, MARCH 30TH 3 PM, CENTER FOR THE PERFORMING ARTS Illinois State University Symphony Orchestra and Chamber Orchestra Dr. Glenn Block, conductor Justin Vickers, tenor Christine Hansen, horn Kim Pereira, narrator Music by David Biedenbender, Benjamin Britten, Michael-Thomas Foumai, and Carl Schimmel $10.00 General admission, $8.00 Faculty/Staff, $6.00 Students/Seniors MONDAY, MARCH 31ST 8 PM, KEMP RECITAL HALL Ensemble Dal Niente Music by Lee Hyla (Guest Composer), Raphaël Cendo, Gerard Grisey, and Kaija Saariaho TUESDAY, APRIL 1ST 1 PM, CENTER FOR THE PERFORMING ARTS READING SESSION - Ensemble Dal Niente Reading Session for ISU Student Composers 8 PM, KEMP RECITAL HALL Premieres of participants in the RED NOTE New Music Festival Composition Workshop Music by Luciano Leite Barbosa, Jiyoun Chung, Paul Frucht, Ian Gottlieb, Pierce Gradone, Emily Koh, Kaito Nakahori, and Lorenzo Restagno WEDNESDAY, APRIL 2ND 8 PM, KEMP RECITAL HALL Concordance Ensemble Patricia Morehead, guest composer and oboe Music by Midwestern composers Amy Dunker, David Gillingham, Patricia Morehead, James Stephenson, David Vayo, and others THURSDAY, APRIL 3RD 8 PM, KEMP RECITAL HALL ISU Faculty and Students Music by John Luther Adams, Mark Applebaum, Yao Chen, Paul Crabtree, John David Earnest, and Martha Horst as well as the winning piece in the RED NOTE New Music Festival Chamber Composition Competition, Specific Gravity 2.72, by Lansing McLoskey 2 RED NOTE Composition Competition 2014 RED NOTE NEW MUSIC FESTIVAL COMPOSITION COMPETITION CATEGORY A (Chamber Ensemble) There were 355 submissions in this year’s RED NOTE New Music Festival Composition Com- petition - Category A (Chamber Ensemble). -
Concerto for Clarinet for Solo B Clarinet, Chamber Orchestra and Electronics B
MITYA Concerto for Clarinet for solo B clarinet, chamber orchestra and electronics b Taylor Brook 2010 Score in C Instrumentation flute (+ piccolo) oboe Bb clarinet tenor saxophone baritone saxophone Bassoon horn trumpet in C (cup, straight and harmon mutes) trombone (cup, straight and harmon mutes) tuba solo Bb clarinet 2 percussion: I - 3 sizzle cymbals I - 3 suspended cymbals I - vibraphone I - almglocken (A3, D4, E4, A4 and B4) I - crotale (G6 only) I - lion’s roar I - bass drum I - pitched gongs (D3 and A3) II - almglocken (B3, C#4, F#4 and G#4) II - 3 sizzle cymbals II - pitched gongs (E3, A3 and D4) II - 3 timpani (32”, 29” and 26”) II - wine glass (D5) II - tubular bells harp 2 violins viola cello contrabass MIDI keyboard (77 or more keys) electronics (see performance instructions for details) Concert Notes Mitya, a clarinet concerto by Taylor Brook, was composed in partial fulfilment of the Master’s of Music degree at McGill University, under the supervision of Brian Cherney and Sean Ferguson. Mitya is dedicated to the clarinetist Mark Bradley. The title of this clarinet concerto is a reference to Kitty and Levin’s son in Leo Tolstoy’s Anna Karenina. In the final chapters of the novel, Tolstoy describes the process of conception, pregnancy, birth and infancy from the perspective of the father. Simply put, the emotional state of the father, Levin, moves from confusion and fear to understanding and acceptance. In addition to informing the composition on a purely abstract level, I also used passages of the novel to develop the large-scale form and structure of the work. -
2018 Co-Directors
Illinois State University RED NOTE new music festival March 26th – March 29th, 2018 co-directors , distinguished guest composer , distinguished guest composer , guest performers CALENDAR OF EVENTS MONDAY, MARCH 26TH 8 pm, Center for the Performing Arts The Festival opens with a concert featuring the Illinois State University Wind Symphony and Illinois State University choruses. Professor Anthony Marinello conducts the ISU Wind Symphony in a performance of the winning work in this year’s Composition Competition for Wind Ensemble, Patrick Lenz’s Pillar of Fire. The Wind Symphony also performs guest composer William Bolcom’s Concerto for Soprano Saxophone with ISU faculty Paul Nolen, and the world premiere of faculty composer Martha Horst’s work Who Has Seen the Wind? The ISU Concert Choir and Madrigal Singers, conducted by Dr. Karyl Carlson, perform the winning piece in the Composition Competition for Chorus, Wind on the Island by Michael D’Ambrosio, as well as William Bolcom’s Song for Saint Cecilia’s Day. TUESDAY, MARCH 27TH 7:30 pm, Kemp Recital Hall ISU students and faculty present a program of works by featured guest composers Gabriela Lena Frank and William Bolcom. The concert will also include the winning work in this year’s Composition Competition for Chamber Ensemble, Downloads, by Jack Frerer. WEDNESDAY, MARCH 28TH 7:30 pm, Kemp Recital Hall Ensemble Dal Niente takes the stage to perform music of contemporary European composers, including Salvatore Sciarrino, Kaija Saariaho, and György Kurtag. THURSDAY, MARCH 29TH 7:30 pm, Kemp Recital Hall The Festival concludes with a concert of premieres by the participants in the RED NOTE New Music Festival Composition Workshop: James Chu, Joshua Hey, Howie Kenty, Joungmin Lee, Minzuo Lu, Mert Morali, Erik Ransom, and Mac Vinetz. -
Modèles D'instruments Pour L'aide À L'orchestration
THESE DE DOCTORAT DE L’UNIVERSITE PIERRE ET MARIE CURIE Spécialité Acoustique, traitement du signal et informatique appliqués à la musique Présentée par M. Damien Tardieu Pour obtenir le grade de DOCTEUR de l’UNIVERSITÉ PIERRE ET MARIE CURIE Sujet de la thèse : Modèles d’instruments pour l’aide à l’orchestration soutenue le 15/12/2008 devant le jury composé de : M. Xavier Rodet Directeur de thèse M. Philippe Leray Rapporteur M. François Pachet Rapporteur M.Gaël Richard Examinateur M.Stephen McAdams Examinateur M.Jean Dominique Polack Examinateur M.Geoffroy Peeters Examinateur Université Pierre & Marie Curie - Paris 6 Tél. Secrétariat : 01 42 34 68 35 Bureau d’accueil, inscription des doctorants et base de Fax : 01 42 34 68 40 données Tél. pour les étudiants de A à EL : 01 42 34 69 54 Esc G, 2ème étage Tél. pour les étudiants de EM à ME : 01 42 34 68 41 15 rue de l’école de médecine Tél. pour les étudiants de MF à Z : 01 42 34 68 51 75270-PARIS CEDEX 06 E-mail : [email protected] 2 3 Résumé Modèles d’instruments pour l’aide à l’orchestration Cette thèse traite de la conception d’une nouvelle méthode d’orchestration assistée par ordinateur. L’orchestration est considérée ici comme l’art de manipuler le timbre d’un orchestre par l’assemblage des timbres des différents instruments. Nous proposons la formulation suivante du problème de l’or- chestration assistée par ordinateur : Il consiste à trouver les combinaisons de sons instrumentaux dont le timbre se rapproche le plus possible d’un timbre cible fournit par le compositeur. -
Perceptual and Semantic Dimensions of Sound Mass
PERCEPTUAL AND SEMANTIC DIMENSIONS OF SOUND MASS Jason Noble Composition Area Department of Music Research Schulich School of Music McGill University, Montreal April 2018 A dissertation submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Jason Noble 2018 In memory of Eleanor Stubley, Clifford Crawley, and James Bradley, for whose guidance and inspiration I am eternally grateful Table of Contents Abstract ...............................................................................................................................v Résumé ................................................................................................................................viii Acknowledgments................................................................................................................xi Contributions of Authors ......................................................................................................xiii List of Figures ......................................................................................................................xiv List of Tables .......................................................................................................................xvii Introduction ....................................................................................................................1 Chapter 1: Perceptual Dimensions of Sound Mass .............................................5 1.1 Introduction: Defining ‘Sound Mass’ .........................................................................5 -
Phil Taylor Composer (Bmi) |Boulder, Co |
PHIL TAYLOR COMPOSER (BMI) |BOULDER, CO | WWW.PHILTAYLOR.XYZ CURRENT AND RECENT PROJECTS Commissions for new works 2017-19 from the following ensembles and individuals: • Santa Fe Chamber Music Festival (Santa Fe, • Playground Ensemble (Denver, CO) NM) • Latitude 49 (Chicago, IL/Ann Arbor, MI) • Ensemble Échappé (New York, NY) • Third Angle New Music (Portland, OR) • Joseph Lulloff, saxophone (East Lansing, MI) • Alia Musica Pittsburgh (Pittsburgh, PA) • Music from Copland House (Mount Kisco, • ~Nois (Chicago, IL) NY) • College of the Ozarks (Branson, MO) Co-curator, Intricate Machines Project and Tour with Aizuri Quartet, March-April 2019. Five- stop tour in PA and NY featuring all recently composed music by five young American composers. $20,000 budget, grants and sponsoring from: • NewMusicUSA • Alice M. Ditson Fund • Amphion Foundation • American Composers Forum • Aaron Copland Fund • Weis Center for Performing Arts SELECT HONORS AND FESTIVALS Minnesota Orchestra Composer Institute Fellow, 2017. BMI Student Composer Awards, 2016; 2014 (William Schuman Prize); 2009. New York Youth Symphony First Music Honorable Mention, 2018. ASCAP Morton Gould Young Composer Award Honorable Mention, 2016. USA International Harp Composition Competition Finalist, 2016. Fellow, Copland House CULTIVATE, Mount Kisco, NY; June 2018. Sheila and Richard J. Schwartz Honorary Fellowship. Fellow, Wellesley Composers Conference, Wellesley, MA; July 2016. Fellow, Aspen Music Festival, Aspen, CO; June-August 2015. Susan and Ford Schumann Fellowship. EDUCATION Ph.D., University of Chicago, Chicago, IL. Music composition. June 2016. B.Mus., summa cum laude, Willamette University, Salem, OR. Music composition. May 2011. RECENT COMPOSITION STUDY Augusta Read Thomas, University of Chicago, Sep. 2011 – Jun. 2016 Shulamit Ran, University of Chicago, Mar. -
An Approach to Latin American Music a Research
NORTHWESTERN UNIVERSITY THE CONCEPT OF IDENTITY: AN APPROACH TO LATIN AMERICAN MUSIC A RESEARCH DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Composition By José Miguel Arellano EVANSTON, ILLINOIS February, 2018 This work is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/. 1 ABSTRACT The Concept of Identity: An Approach to Latin American Music José Miguel Arellano Since the beginning of the 21st century, the idea of building a Latin American musical discourse has returned to the artistic discussion, taking into account the peculiarities of cultural syncretism that manifest in the different countries of the region. From the most diverse aesthetics and through different musical media, a great number of composers have begun to rethink the possibility of articulating their artistic language through different mechanisms that could be considered as typical of Latin American culture: rediscovery of Aboriginal music, utilization of vernacular instruments, non-tempered melodic and harmonic systems, rhythmic irregularities, and mixture between art forms among many different other approaches. This dissertation proposes a historical review of different moments in Latin American history in which composers, artists and intellectuals tried to elaborate a local identity, analyzing the diverse problems that might have arisen from the cultural, social, and political contexts of the different periods studied. A second part of this work will be the articulation of a personal approach to the study of music and processes of identity formation in Latin America, with a special emphasis on the particular case of Chile and its development from the late 19th century to the present day.