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Ithaca College Concert Band Ithaca College Concert Band
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-14-2016 Concert: Ithaca College Concert Band Ithaca College Concert Band Jason M. Silveira Justin Cusick Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Concert Band; Silveira, Jason M.; and Cusick, Justin, "Concert: Ithaca College Concert Band" (2016). All Concert & Recital Programs. 1779. http://digitalcommons.ithaca.edu/music_programs/1779 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Concert Band "Road Trip!" Jason M. Silveira, conductor Justin Cusick, graduate conductor Ford Hall Thursday, April 14th, 2016 8:15 pm Program New England Tritych (1957) William Schuman I. Be Glad Then, America (1910–1992) II. When Jesus Wept 17' III. Chester More Old Wine in New Bottles (1977) Gordon Jacob I. Down among the Dead Men (1895–1984) II. The Oak and the Ash 11' III. The Lincolnshire Poacher IV. Joan to the Maypole Justin Cusick, graduate conductor Intermission Four Cornish Dances (1966/1975) Malcolm Arnold I. Vivace arr. Thad Marciniak II. Andantino (1921–2006) III. Con moto e sempre senza parodia 10' IV. Allegro ma non troppo Homecoming (2008) Alex Shapiro (b. 1962) 7' The Klaxon (1929/1984) Henry Fillmore arr. Frederick Fennell (1881–1956) 3' Jason M. Silveira is assistant professor of music education at Ithaca College. He received his Bachelor of Music and Master of Music degrees in music education from Ithaca College, and his Ph. -
Firehouse Jig
Kjos String Orchestra Grade 4 Full Conductor Score SO405F $7.00 Kirt Mosier Firehouse Jig SAMPLE Neil A. Kjos Music Company • Publisher 2 The Composer Internationally known composer and conductor, Kirt Mosier was director of orchestras at Lee’s Summit West High School in Lee’s Summit, Missouri. He has also taught orchestration and arranging as an adjunct professor at University of Missouri-Kansas City Conservatory of Music in Kansas City, Missouri. Mr. Mosier has many published orchestral works and has twice won national composition awards. His first occurred in 1993 with his original work, Baltic Dance, which won the National School Orchestra Association Composition Contest. In 2004, American Reel, won the 2004 Merle J. Isaac National Composition Contest. In the professional performance arena, the Portland Ballet Company of Portland, Maine, commissioned Mr. Mosier to write an original score to their production of The Legend of Sleepy Hollow (2010). The Kansas City Symphony premiered one of Mosier’s holiday arrangements in December of 2017. From 1990 to present, Kirt Mosier has conducted numerous orchestras and served as keynote speaker throughout the United States and abroad. He conducted the National High School Honors Orchestra as well as the National Junior High School Honors Orchestra at Carnegie Hall in 2016. In 2017, he traveled throughout the United States, including two trips to Carnegie Hall, and had two world premiere performances at the Midwest International Clinic in Chicago. Internationally, Mr. Mosier conducted the 2015 International Strings Festival in Bangkok, Thailand and the 2017 International Strings Festival in Jakarta, Indonesia. He has also conducted in Reykjavik, Iceland and continues to have conducting appearances throughout the United States, Singapore, the Netherlands, and Sydney, Australia. -
College of Piping and Drumming Bass & Tenor Drum Booklet 1
Royal New Zealand Pipe Bands’ Association EDUCATION GROUP College of Piping and Drumming Bass & Tenor Drum Curriculum and Guidelines December 1999 Booklet 1 Intermediate & Advanced INTERMEDIATE CERTIFICATE BASS AND TENOR DRUMMING SYLLABUS SECTION ONE -THEORYAND KNOWLEDGE (a) Requirements for Preliminary and Elementary Theory. (b) Understand the use of (i) accent and (ii) rhythm. (c) Understand (i) tempo and (ii) time. (d) Recognise time signatures of tunes played by the examiner which may include;2 4 (e) march, 2 4 hornpipe, 4 4 march, 4 4 strathspey, 3 4 march, 2 2 reel, 6 8 march, 6 8 jig. (e) Identify written up beats and down beats. (f) Present three tunes (of four parts each) written correctly by the candidate, in 2/4 march 4/4 strathspey 2/2 reel time signatures respectively, which incorporate the embellishments and groups of the Preliminary, Elementary and Intermediate Certificates. In addition present a 6 8, 9 8, or 12 8 march (also of four parts, and also written out by the candidate). SECTION TWO -PRACTICAL (a) Correctly play exercises on a hard surface. The candidate will be asked to perform one of the two intermediate exercise sheets chosen by the examiner from Bass & Tenor Drumming Booklet 3 (Intermediate Certificate). (b) Demonstrate how to tune a bass drum. (c) Play by memory the 68' 98, or 128 march, and the march strathspey and reel presented above (on the drum). OPTIONAL SECTION THREE -FLOURISHING (a) Swing notation to be understood and performed: - alternate figure 3 - forward cartwheel - forward cartwheel with flicks - figure of 8 - double forte variation (b) Correctly play exercises on a hard surface. -
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. -
Thesis- Pedagogical Concepts for Marching Percussion
PEDAGOGICAL CONCEPTS 1 Running head: PEDAGOGICAL CONCEPTS PEDAGOGICAL CONCEPTS FOR MARCHING PERCUSSION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC EDUCATION: STUDIO PEDAGOGY EMPHASIS THOMAS JOHN FORD UNIVERSITY OF WISCONSIN-STEVENS POINT MAY, 2019 PEDAGOGICAL CONCEPTS 2 Abstract This document serves as a guide for recent music education graduates who are put in the position of having to teach marching percussion to students who have joined the marching band, specifically in the drumline. To have a well-rounded understanding of the drumline, teachers will need to know the instruments of the drumline, and the associated sticks and mallets. This document also discusses pedagogical concepts for all of the instruments, including playing techniques required to achieve a balanced sound throughout the ensemble, and how to properly care for marching percussion equipment. Keywords: marching percussion, drumline, battery, snare drums, tenor drums, bass drums, crash cymbals PEDAGOGICAL CONCEPTS 3 Table of Contents Abstract 2 Acknowledgements 5 List of Figures 8 Introduction 9 Chapter I: Marching Percussion Equipment 12 Snare Drums 12 Tenor Drums 14 Bass Drums 16 Crash Cymbals 17 Other Equipment 18 Chapter II: Pedagogical Concepts for Marching Percussion 21 Posture 21 Playing Positions 21 Grips and General Playing Techniques 25 Stroke Types and Dynamics 31 The Exercise and Technical Development Program 32 Timing Strategies 37 Chapter III: Marching Percussion Care and Maintenance 39 Changing and Replacing Heads 39 Repairing Broken and Loose Drum Equipment 40 Cymbal Straps 42 Cleaning and Storing Equipment 43 PEDAGOGICAL CONCEPTS 4 Conclusion 45 References 46 Appendix A 49 PEDAGOGICAL CONCEPTS 5 ACKNOWLEDGEMENTS There are so many people who I want and am obligated to thank for helping me in this whole process of graduate school and writing my thesis. -
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. -
INSTRUMENTS for NEW MUSIC Luminos Is the Open Access Monograph Publishing Program from UC Press
SOUND, TECHNOLOGY, AND MODERNISM TECHNOLOGY, SOUND, THOMAS PATTESON THOMAS FOR NEW MUSIC NEW FOR INSTRUMENTS INSTRUMENTS PATTESON | INSTRUMENTS FOR NEW MUSIC Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserv- ing and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher gratefully acknowledges the generous contribu- tion to this book provided by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. The publisher also gratefully acknowledges the generous contribution to this book provided by the Curtis Institute of Music, which is committed to supporting its faculty in pursuit of scholarship. Instruments for New Music Instruments for New Music Sound, Technology, and Modernism Thomas Patteson UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distin- guished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activi- ties are supported by the UC Press Foundation and by philanthropic contributions from individuals and institu- tions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2016 by Thomas Patteson This work is licensed under a Creative Commons CC BY- NC-SA license. To view a copy of the license, visit http:// creativecommons.org/licenses. -
Groove Explorer: an Intelligent Visual Interface for Drum Loop Library Navigation
Groove Explorer: An Intelligent Visual Interface for Drum Loop Library Navigation Fred Bruford Mathieu Barthet Centre for Digital Music, Centre for Digital Music Queen Mary University of London Queen Mary University of London London, UK London, UK [email protected] [email protected] SKoT McDonald Mark Sandler ROLI Ltd. Centre for Digital Music London, UK Queen Mary University of London [email protected] London, UK [email protected] ABSTRACT 1 INTRODUCTION Music producers nowadays rely on increasingly large libraries of Since the early days of Music Information Retrieval (MIR) as a loops, samples and virtual instrument sounds as part of the compo- research field, one significant topic of research has been inthein- sition process. Intelligent interfaces are therefore useful in enabling telligent visual organization of music data as a means of managing navigation of these databases in a way that supports the production and understanding the increasingly large quantities of data arising workflow. Within virtual drumming software, producers typically from advances in music content digitization [1]. Within digital au- rely on large libraries of symbolic drum loops. Due to their large dio workstation (DAW)-based music production environments, the size, navigating and exploring these libraries can be a difficult pro- searching and mining of music databases for production content cess. To address this, preliminary work is presented into the Groove is a common task. Producers frequently make use of assembled Explorer. Using Self-Organizing Maps, a large library of symbolic libraries of various different types of data, such as samples, loops, drum loops is automatically mapped on a 2D space according to synthesizer presents and virtual instruments. -
Acknowledgments
ACKNOWLEDGMENTS I would like to acknowledge and express my sincerest thanks to the many people without whom the completion ofthis document would have been impossible: My wife, Amy, whose patience, support, and encouragement was unending, and whose proofreading, word processing, and taping skills were invaluable. My children, Charlie, Will, and Mary Emma, for willingly giving up many, many hours of "quality time" with their dad, which rightfully belonged to them. Professor Richard Blatti of The Ohio State University for his priceless knowledge of the wind-band repertoire, and for the guidance, suggestions, and time (of which he has very little) he was willing to give me and this project. Dr. James L. Moore, for his kindness, support, and willingness to proofread parts of this document, and for donating valuable materials from his own research which concerned this topic. Dr. A Peter Costanza, for his willingness to proofread parts of this document during a time in which he could have devoted all available time and energy into overseeing the 1995 OMEA State Convention. Craig Young, for the many times he helped me find what I needed in the OSU Band Music Library. Professor H. Robert Reynolds of the University of Michigan, for making that university's band music library available to me, and to Ms. Maggie St. Clair and Mr. Bill Kellerman for their wonderful hospitality and professionalism in assisting me while on campus. The many percussionists and conductors who responded to my surveys, submitting valuable suggestions ofpieces which represented the core ofmy research. My father-in-law, Dr. L. R. -
New Music Festival November 5-9, 2018
University of Louisville School of Music Presents the Annual New Music Festival November 5-9, 2018 FEATURED GUEST COMPOSER Amy Williams GUEST ARTISTS Sam Pluta Elysian Trombone Consort A/Tonal Ensemble New Music Festival November 5-9, 2018 Amy Williams featured composer Table of Contents Greetings From Dr. Christopher Doane, Dean of the School of Music 3 Biography Amy Williams, Featured Composer 5 Sunday, November 4 Morton Feldman: His Life & Works Program 6 Monday, November 5 Faculty Chamber Music Program 10 Tuesday, November 6 Electronic Music Program 18 Wednesday, November 7 University Symphony Orchestra Program 22 Personnel 25 Thursday, November 8 Collegiate Chorale & Cardinal Singers Program 26 Personnel 32 Friday, November 9 New Music Ensemble & Wind Ensemble Program 34 Personnel 40 Guest Artist Biographies 41 Composer Biographies 43 1 Media partnership provided by Louisville Public Media 502-852-6907 louisville.edu/music facebook.com/uoflmusic Additional 2018 New Music Festival Events: Monday, November 5, 2018 Music Building Room LL28 Computer Music Composition Seminar with Sam Pluta Wednesday, November 7, 2018 Music Building Room 125 Composition Seminar with Amy Williams Thursday, November 8, 2018 Bird Recital Hall Convocation Lecture with Amy Williams To access the New Music Festival program: For Apple users, please scan the accompanying QR code. For Android users, please visit www.qrstuff.com/scan and allow the website to access your device’s camera. The New Music Festival Organizing Committee Dr. John Ritz, chair Dr. Kent Hatteberg Professor Kimcherie Lloyd Dr. Frederick Speck Dr. Krzysztof Wołek 2 The School of Music at the University of Louisville is strongly identified with the performance of contemporary music and the creation of new music. -
SYMPHONY GRAND Digital Piano
SYMPHONY GRAND digital piano owner's manual IMPORTANT SAFETY INSTRUCTIONS • Do not use near water. • Clean only with a soft, dry cloth. • Do not block any ventilation openings. • Do not place near any heat sources such as radiators, heat registers, stoves, or any other apparatus (including amplifiers) that produces heat. • Do not remove the polarized or grounding-type plug. • Protect the power cord from being walked on or pinched. • Only use the included attachments/accessories. • Unplug this apparatus during lightning storms or when unused for a long period of time. • Refer all servicing to qualified service personnel. Servicing is equiredr when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped. FCC STATEMENTS 1. Caution: Changes or modifications to this unit not expressly approved by the party responsible for compliance could void the user’s authority to operate the equipment. 2. NOTE: This equipment has been tested and found to comply with a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guar- antee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna. -
Rental Catalog Orchestra, Band, and Opera
Rental Catalog Orchestra, Band, and Opera E. C. Schirmer • Galaxy • MorningStar Edition Delrieu-Hexamusic • Layali Music Publishing • Randol Bass Music • Stainer & Bell, Ltd. • Vireo Press Casa Gian-Antonio 2 THIS CATALOG contains all orchestral and instrumental works (with and without voices) available through the rental department of ECS Publishing Group; includes the combined catalogs of E. C. Schirmer Music Company, Galaxy Music Corporation, Highgate Press, Ione Press, Edition Delrieu-Hexamusic, Layali Music Publishing, MorningStar Music Publishers, Randol Bass Music, Stainer & Bell Ltd, and Vireo Press. Part One (pp. 3–28) is a master list of all works arranged alphabetically by composer and containing arranger’s name (if any), approximate duration (in minutes), instrumentation, soloists, and choral voicing. Part Two (pp. 2–46) contains subject and genre indices. Please direct all inquiries to RENTAL DEPARTMENT ECS Publishing Group 1727 Larkin Williams Road Fenton, MO 63026 Phone (636) 305-0100 | (800) 647-2117 Fax: (636) 305-0121 www.ecspublishing.com [email protected] European customers may contact Stainer & Bell, Ltd., London. European inquiries for Randol Bass Music or Layali Music Publishing (Kareem Roustom) may contact ECS directly. The ECS Publishing Rental Department will be happy to supply detailed information about instrumentation, versions, fees, perusal scores, and more. If you are planning a performance, please visit our website to submit a rental request form (http://ecspublishing.com/rental/rental-request-form). Frequently asked questions: www.ecspublishing.com/rental/rentalfaq How to read instrumentation Instrumentation is arranged in groups. Flute Oboe Clarinet Bassoon — Horn Trumpet Trombone Tuba — Timpani+Percussion Players — Harp, Key- boards — Strings — Special Instruments — Solo Instruments, Solo Voices, Chorus, Other A period separates players, and a slash indicates doublings.