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ALL-VIRGINIA BAND and ORCHESTRA Saturday, April 8, 2017
Virginia Band and Orchestra Directors’ Association ALL-VIRGINIA BAND and ORCHESTRA Saturday, April 8, 2017 Charles J. Colgan, Sr. High School Center for Fine and Performing Arts Manassas, VA Concert Band: Jamie Nix, Columbus State University Symphonic Band: Gary Green, the University of Miami Orchestra: Anthony Maiello, George Mason University Virginia Band and Orchestra Directors Association Past Presidents Stephen H. Rice (2014-2016) H. Gaylen Strunce (1974-1976) Allen Hall (2012-2014) Carroll R. Bailey (1972-1974) Keith Taylor (2010-2012) James Lunsford (1970-1972) Doug Armstrong (2008-2010) James Simmons (1968-1970) Rob Carroll (2006-2008) Harold Peterson (1966-1968) Denny Stokes (2004-2006) David Mitchell (1964-1966) T. Jonathan Hargis (2002-2004) John Perkins (1962-964) Jack Elgin (2000-2002) Ralph Shank (1960-1962) Joseph Tornello (1998-2000) Gerald M. Lewis (1958-1960) Linda J. Gammon (1996-1998) Leo Imperial (1956-1958) Stanley R. Schoonover (1994-1996) Philip J. Fuller (1953-1956) Dwight Leonard (1992-1994) Clyde Duvall (1952-1953) Diana Love (1990-1992) Russell Williams (1950-1952) Steve King (1988-1990) Sidney Berg (1948-1950) Scott Lambert (1986-1988) William Nicholas (1946-1948) Carl A. Bly (1984-1986) Sharon B. Hoose (1944-1946) Vincent J. Tornello (1982-1984) J.H. Donahue, Jr. (1943-1944) Daniel J. Schoemmell (1980-1982) G.T. Slusser (1942-1943) Edward Altman (1978-1980) Fred Felmet, Jr. (1941-1942) Fred Blake (1976-1978) Sharon B. Hoose (1940-1941) Gilbert F. Curtis (1930-1940) Virginia Band and Orchestra Directors Association 75th Anniversary In recognition of the 75th anniversary of the Virginia Band and Orchestra Directors Association, three works were commissioned to be written by composers with ties to Virginia. -
Perspectives on the American Concert March in Music Education Robert Clark
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Perspectives on the American Concert March in Music Education Robert Clark Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERSPECTIVES ON THE AMERICAN CONCERT MARCH IN MUSIC EDUCATION By ROBERT CLARK A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Robert Henry Clark defended on March 30, 2009. __________________________ Steven Kelly Professor Directing Thesis __________________________ Patrick Dunnigan Committee Member __________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation to Dr. Bobby Adams, Jack Crew, Dr. James Croft, Joe Kreines, and Paula Thornton, who freely gave of their time, opinions, teaching methods, and wisdom to make the completion of this research study possible. They were as genuine, engaging, inspiring and generous as I had hoped…and more. It was my pleasure to get to know them all better. I would also like to thank my thesis committee, Dr. Steven Kelly, Dr. Patrick Dunnigan and Dr. Christopher Moore for dedicating the time and effort to review my research. I would especially like to thank Dr. Steven Kelly for his work in helping me refine this study, and am further appreciative to him for the guidance he has provided me throughout my undergraduate and graduate studies. -
Virtual Musical Field Trip with Maestro Andrew Crust
YOUR PASSPORT TO A VIRTUAL MUSICAL FIELD TRIP WITH MAESTRO ANDREW CRUST Premier Education Partner Za The Conductor Today, you met Andrew Crust, the Vancouver Symphony Orchestra’s Assistant Conductor. He joined the VSO this season in September of 2019. He grew up in Kansas City, and his main instrument is the trumpet. He studied music education and conducting, and has worked with orchestras in Canada, the United States, Italy, Germany, the Czech Republic, Chile, and many other exotic places. The conductor keeps the orchestra in time and together. The conductor serves as a messenger for the composer. It is their responsibility to understand the music and convey it through movements so clearly that the musicians in the orchestra understand it perfectly. Those musicians can then send a unified vision of the music out to the audience. Conductors usually beat time with their right hand. This leaves their left hand free to show the various instruments when they have entries (when they start playing) or to show them to play louder or softer. Most conductors have a stick called a “baton”. It makes it easier for people at the back of large orchestras or choirs to see the beat. Other conductors prefer not to use a baton. A conductor stands on a small platform called a “rostrum”. To be a good conductor is not easy. It is not just a question of giving a steady beat. A good conductor has to know the music extremely well so that they can hear any wrong notes. They need to be able to imagine exactly the sound they want the orchestra to make. -
Hilbert Circle Theatre
HILBERTCIRCLETHEATRE KRZYSZTOFURBAŃSKI MUSIC DIRECTOR | JACKEVERLY PRINCIPAL POPS CONDUCTOR Vadim Gluzman Plays Bruch Bronfman Plays Beethoven Sibelius Symphony No. 5 Music of U2 Side-by-Side The Sounds of Simon & Garfunkel MARCH | VOLUME 5 Jump in, IT’SJump PERFECT in, From diving into our heated pool to joining neighbors for a day trip From divingIT’S into our heated PERFECTpool to joining neighbors for a day trip Careful planning, talent and passion are on to taking a dance class, life feels amazingly good here. Add not-for- Fromto taking diving IT’Sa dance into our class, heated life feels PERFECTpool amazingly to joining goodneighbors here. for Add a day not-for- trip pro t ownership, a local board of directors, and CCAC accreditation, display at today’s performance. proFromto t takingownership, diving a danceinto a our local class, heated board life feels pool of directors,amazingly to joining andgood neighbors CCAC here. forAddaccreditation, a daynot-for- trip and Marque e truly is the place to be. proto ttaking ownership, a dance a local class, board lifeand feels ofMarque directors,amazingly e and trulygood CCAC ishere. the accreditation, Add place not-for- to be. pro t ownership, a local board of directors, and CCAC accreditation, At Citizens Energy Group, we understand the value of working hard and Marque e truly is the place to be. behind the scenes to deliver quality on a daily basis. We strive to To learn more, call, visit our websiteand Marque or stop e truly by isour the community. place to be. replicate that ensemble effort in our work and are proud to support To learn more, call, visit our website or stop by our community. -
PROGRAM Thank You to Our Sponsors
Symphony Number One returns on Sunday, November 20, 2016, 6:00 pm at Emmanuel Episcopal Church 811 Cathedral St., Baltimore, MD 21201 for Beethoven’s Kitchen: Piano Quintets featuring Elizabeth Hill, Piano SYMPHONY NUMBER ONE Nikita Borisevich, Violin Kristen Bakkegard, Violin Jordan Randall Smith, Music Director Colin Webb, Viola Joe Isom, Cello SEASON 2 Nicholas Bentz, Featured Composer Song of the Earth St. Ignatius Catholic Church Learn more at www.symphonynumber.one Saturday, November 5, 2016, 8:00 pm Sunday, November 6, 2016, 3:00 pm PROGRAM Thank you to our Sponsors Song of the Earth Thank you to our Sponsors Personnel Advocates (100+) Bill Smyth Christina Muncey Violin Anonymous Michael Sturgis Jesse Page Nikita Borisevich, Daniel & Janne Heifetz Concertmaster Jessica Abel James Turner Russell Perry Hanbing Jia Trevor Auman Chris Walls Mike & Marla Porter Donald Benton Viola Loren Western Brian & Heather Reardon Pipier Bewlay Karin Kilper, Principal Viola Ryan Williams Jeanette Rosenberg J Andrew Cerda Brigette Willner Cynthia Sambataro Cello Robert & Gayle Susan K. Wright Alyssa Sapia Michael Newman, Associate Principal Cello Chesebro Amy Schardein Dorothy R. Coby Supporters ($50+) Elizabeth Sherbow Contrabass Huxley Conklin Anonymous Ellen Shrum Michael Rittling, Principal Contrabass Janis Cookson Sergio Acosta Marilois Snowman Robin Daniel T. Nichelle Appleby Michael D. Terry Flute Michael Everson Karen Bakkegard Brandy Triplett Willie Santiago Vern C. Falby Kristi Barnes Alida Woods Denyce Graves Catherine Boerner Ari Yoshioka -
The Sonata for Alto Saxophone and Piano (1988) by David Maslanka
THE SONATA FOR ALTO SAXOPHONE AND PIANO (1988) BY DAVID MASLANKA: AN ANALYTIC AND PERFORMANCE GUIDE. by CAMILLE LOUISE OLIN (Under the Direction of Kenneth Fischer) ABSTRACT In recent years, the Sonata for Alto Saxophone and Piano by David Maslanka has come to the forefront of saxophone literature, with many university professors and graduate students aspiring to perform this extremely demanding work. His writing encompasses a range of traditional and modern elements. The traditional elements involved include the use of “classical” forms, a simple harmonic language, and the lyrical, vocal qualities of the saxophone. The contemporary elements include the use of extended techniques such as multiphonics, slap tongue, manipulation of pitch, extreme dynamic ranges, and the multitude of notes in the altissimo range. Therefore, a theoretical understanding of the musical roots of this composition, as well as a practical guide to approaching the performance techniques utilized, will be a valuable aid and resource for saxophonists wishing to approach this composition. INDEX WORDS: David Maslanka, saxophone, performer’s guide, extended techniques, altissimo fingerings. THE SONATA FOR ALTO SAXOPHONE AND PIANO (1988) BY DAVID MASLANKA: AN ANALYTIC AND PERFORMANCE GUIDE. by CAMILLE OLIN B. Mus. Perf., Queensland Conservatorium Griffith University, Australia, 2000 M.M., The University of Georgia, 2003 A Dissertation Submitted to the Graduate Faculty of the University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2006 © 2007 Camille Olin All Rights Reserved THE SONATA FOR ALTO SAXOPHONE AND PIANO (1988) BY DAVID MASLANKA: AN ANALYTIC AND PERFORMANCE GUIDE. by CAMILLE OLIN Major ProfEssor: KEnnEth FischEr CommittEE: Adrian Childs AngEla JonEs-REus D. -
EAS 23 July 2020 Program.Pdf
Green Mountain Online Emerging Artists Series Thursday, July 23, 2020 7:30 pm EDT GMCMF Emerging Artists YouTube Channel Suite No. 5 in C minor, BWV 1011 Johann Sebastian Bach Prelude (1685-1750) Todd Humphrey, cello Suite No. 5 in C minor, BWV 1010 Johann Sebastian Bach Allemande Courante Matthew Wiest, cello Sonata No. 2 in A minor, BWV 1003 Johann Sebasitan Bach Grave Luciano Marsalli, violin Caprice in C minor, Op. 1, no. 4 Niccolò Paganini (1782-1840) Simon Ho Yin Cheng, violin Caprice in A minor, Op. 1, no. 5 Niccolò Paganini Abigail Yoon, violin Capricen B flat major, Op. 1, no. 13 Niccolò Paganini Jessie Zimmermann, violin Introduction and Allegro, Op. 44 Miklós Rózsa (1907-1995) Ashley Park, viola Suite No. 1 in G minor, Op. 131d Max Reger Molto sostenuto (1873-1916) Vivace Andante sostenuto Molto vivace Colin Henley, viola Sonata, Op. 27, No. 5 Eugène Ysaÿe L'Aurore (1858-1931) Danse rustique Maitreyi Muralidharan, violin Piano Sonata No. 2 in D minor, Op. 14 Sergei Prokofiev Allegro, ma non troppo (1891-1953) Sofia Marina, piano Fantasiestücke, Op. 12 Robert Schumann In der Nacht (1810-1856) Fabel Traumes Wirren Ende vom Lied Ellie Taylor, piano Todd Humphrey, 22, is from Atlanta, Georgia. He completed his undergraduate degree at Florida State University where he studied with Greg Sauer. At Florida State, Todd served as principal cellist of the University Philharmonia Orchestra and was cellist of the Lux String Quartet. This ensemble was known for its heartfelt and engaging performances along with its numerous community outreach events. Currently Todd is completing his masters at Miami University of Ohio where he studies with Sarah Kim. -
570403 Bk Peabody US
570465 bk Reflections US 7/30/07 11:02 AM Page 5 Craig Morris John Adler, Trumpet Scott Davis, Horn Wan-Chun Liao, Percussion Ronald Rivera, Michael Anderson, Peter Elliot, Clarinet Guglielmo Manfredi, Horn English Horn WIND BAND CLASSICS Craig Morris is currently the Professor of Trumpet at the University of Miami, Frost Trombone Alice Esposito, Tuba Anthony McFarlane, Cristhian Rodriguez, School of Music, where he devotes himself to his teaching and his career as a soloist and Beth Behrman, Horn Giovanni Garcia, Horn Euphonium Clarinet Sam Berkstrom, Bassoon Joseph Giammalvo, Andrew McGuire, Jeremy Rogers, Clarinet chamber musician. He has been a prominent orchestral musician, most notably holding David Birrow, Percussion Bassoon Percussion Tammy Saurman, the prestigious post of Principal Trumpet in the Chicago Symphony Orchestra. He came Yehonahton Bostick- Greg Goldfarb, Flute Doug Mead, Oboe Saxophone to Chicago from the San Francisco Symphony where he held the position of Associate Epperson, Clarinet Michael Hancock, Clarinet Cara Morantz, Trumpet Tracey Siepser, Bassoon REFLECTIONS Principal for three years. Prior to joining the SFS, he was briefly a member of the Jonathan Braithwaite, Gary Heath, Euphonium Matt Mulvaney, Saxophone Caitlyn Smith, Horn Chicago Symphony Orchestra, performing as Fourth/Utility Trumpet in 1998. He has Clarinet Joel Keene, Trombone George Nicholson, Scott Smith, Oboe been a member of the Dallas Brass, an international touring brass quintet, and was Nick Bryan, Clarinet Susan Kirschbaum, Horn String Bass Rod Squance, Percussion David Maslanka: Symphony No. 3 Principal Trumpet of the Sacramento Symphony Orchestra, Opera and Ballet. He has Maria Castillo, Flute Jason Kush, Saxophone Chris O’Farrill, Trumpet Nicholas Thompson, Oboe been featured as soloist with the Chicago Symphony Orchestra, playing Bach’s Jonathan Cofino, Bassoon Robert LaDue, Percussion Stacey Osborn, Bassoon Joshua Tetreault, Trumpet Brandenburg Concerto No. -
Maslanka Symphony No. 10
Wind Ensemble Presents Maslanka Symphony No. 10 World Premiere Scott Hagen, conductor Tuesday, April 3, 2018 Libby Gardner Concert Hall Pre-Concert Discussion: 6:45 p.m. Performance: 7:30 p.m. Program (Please hold applause until the end of each section and turn off all electronic devices that could disrupt the concert.) First Light David Maslanka (1943-2017) The Seeker David Maslanka Intermission Symphony No. 10 : The River of Time David Maslanka I. Alison with Matthew Maslanka II. Mother and Boy Watching the River of Time (1982- ) III. David IV. One Breath in Peace Please join us immediately following the concert for a reception in Thompson Chamber Music Hall Wind Ensemble Personnel Piccolo Bass Clarinet Bass Trombone Ali Parra Raymond Hernandez Peyton Wong Flute Contra Bass Clarinet Euphonium Mitchell Atencio Carla Ray Michael Bigelow* Sara Beck Matthew Maslanka Ali Parra Saxophone Garret Woll Diego Plata* Cameron Carter McKayla Wolf Max Ishihara Tuba Chloe Wright David Kidd James Andrus Timothy Kidder Matthew Lindahl* Oboe Lisa Lamb Brenden McCauley Haehyun Jung Erik Newland* Erika Qureshi* Jordan Wright Timpani Yolane Rodriguez Andy Baldwin Robin Vorkink Horn Taylor Blackley Percussion English Horn Sean Dulger Troy Irish Robin Vorkink Korynn Fink Nick Montoya Bradley Sampson Cris Stiles Bassoon Kaitlyn Seymour* Olivia Torgersen Hans Fronberg Amber Tuckness Monah Valentine Dylan Neff* Taylor Van Bibber Brandon Williams* Kylie Lincoln* Trumpet Piano Contra Bassoon Zach Buie* Carson Malen Hans Fronberg Jacob Greer Zach Janis Celeste Eb Clarinet Eddie Johnson McKayla Wolf Maggie Burke Reed LeCheminant Peyden Shelton String Bass Clarinet George Voellinger Hillary Fuller Maggie Burke Jacob Whitchurch Myroslava Hagen Elihue Wright Harp Janelle Johnson Melody Cribbs* Samuel Noyce Trombone Alex Sadler Shaun Hellige *principal player Michal Tvrdik Ammon Helms* Jairo Velazquez* Alex Hunter* Erin Voellinger Brian Keegan This performance and recording project are genersously supported by the Thomas D. -
An Examination of David Maslanka's
DEPICTION THROUGH EVOCATION, REPRESENTATION, AND INTROSPECTION: AN EXAMINATION OF DAVID MASLANKA’S UNACCOMPANIED MARIMBA SOLOS Corey R. Robinson, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Mark Ford, Major Professor Warren Henry, Committee Member Christopher Deane, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Robinson, Corey R. Depiction through Evocation, Representation, and Introspection: An Examination of David Maslanka’s Unaccompanied Marimba Solos. Doctor of Musical Arts (Performance), August 2018, 94 pp., 48 figures, bibliography, 46 titles. The primary purpose of this study is to provide connections between a formal motivic analysis and the programmatic content of David Maslanka’s three works for unaccompanied marimba: Variations on Lost Love (1977), My Lady White (1980), and A Solemn Music (2013). A comparison of the compositional process of each of these works is proposed through terms of Maslanka’s use of depiction. Depiction is the action or result of representing through drawing, painting, or other art form, in this case, music. In each work for unaccompanied marimba, Maslanka uses this process of depiction in a unique way. The depictive mediums are categorized as evocative, representative, and introspective and these distinct approaches to depiction lead to three drastically different musical works. The different methods of depicting source materials are the distinguishing characteristics that separate these three works for solo marimba. -
Stage Acoustics for Symphony Orchestras in Concert Halls This Is the Medium Resolution (96Dpi) Version
akuTEK www.akutek.info PRESENTS The PhD thesis by Jens Jørgen Dammerud: Stage Acoustics for Symphony Orchestras in Concert Halls This is the medium resolution (96dpi) version. Click for full resolution (5.5MB) akuTEK navigation: Home Papers Title Index Stage Acoustics Concert Hall Acoustics STAGE ACOUSTICS FOR SYMPHONY ORCHESTRAS IN CONCERT HALLS Submitted by Jens Jørgen Dammerud for the degree of Doctor of Philosophy of the University of Bath September 2009 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with its author. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no information derived from it may be published without the prior written consent of the author. This thesis may be made available for consultation within the University library and may be photocopied or lent to other libraries for the purposes of consultation. Acknowledgments I would like to thank everyone who has generously contributed to the work forming this thesis: First of all the musicians of professional symphony orchestras who have taken part in discussions (in alphabetical order): David Daly, Chris Gale, Gunnar Ihlen, Kevin Morgan, Finn Orestad, Torbjørn Ottersen, Mike Smith, Geir Solum and Bengt Arstad.˚ I would also like to thank all the musicians who responded to questionnaires, the contact persons within all the symphony orchestras who kindly collaborated in this project and my wife Silje Marie Skeie for all useful input as -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love.