One Voice for Flute and Clarinet Sheet Music
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally. -
Kraftmaschine
Kraftmaschine Instrumentation • Recorder 1: Baroque Sopranino Recorder in A=440Hz, Baroque Alto Recorder in A=415Hz, Baroque Sopranino Recorder in A=415Hz, Renaissance Soprano Recorder in A=440Hz. • Recorder 2: Baroque Soprano Recorder in A=440Hz, Baroque Alto Recorder in A=415Hz, Baroque Soprano Recorder in A=415Hz, Renaissance Soprano Recorder in A=440Hz. • Recorder 3: Baroque Tenor Recorder in A=440Hz, Baroque Alto Recorder in A=415Hz, Baroque Soprano Recorder in A=415Hz, Renaissance Soprano Recorder in A=440Hz, Baroque Soprano Recorder in A=415Hz. • Recorder 4: Baroque Sub-Bass Recorder in A=440Hz, Baroque Voice Flute (tenor in D) in A=415Hz, Kirchenratschen (ratchet), Baroque Soprano Recorder in A=415Hz, Baroque Alto Recorder in A=440Hz, Baroque Alto Recorder in A=415Hz. • Percussion 1: Marimba, Basque Tambourine, Snare Drum, Güiro. • Percussion 2: Litophone; Glockenspiel, Darabukka, Gran Cassa, Suspended Cymbal. • Percussion 3: Crash Cymbals, Snare Drum, Tom-toms (high-medium- low), Sake Pot, Wood Blocks (high-low). _____________________________________________________________ Kraftmaschine, for recorders and percussion. Duration: 10 minutes. ‘Kraftmaschine’ was commissioned by the Orff Zentrum and the ADevantgarde Festival in Munich and it was inspired by Carl Orff's approach into building musical structures out of basic rhythmical and melodic patterns. It uses a wide variety of Renaissance, Baroque and modern day recorders, bringing out their subtle differences of timbre. Due to its versatility and directness, this interesting instrumental ensemble (four recorder players & three percussion players) also encouraged me to incorporate elements from Peruvian folk music in four brief episodes that are playfully interrupted by an intrusive ratchet. In the final section, I make use of the aulos technique in which each of the four players is asked to play two recorders simultaneously in an obsessively repetitive –but nevertheless constantly shifting- group of five notes. -
KROSS Voice Name List
Voice Name List 1 Table of Contents Programs . .3 27(INT): Percussion Kit. 49 Category: PIANO . .3 28(INT): Orchestra&Ethno Kit . 50 Category: E.PIANO . .4 29(INT): BD&SD Catalog 1. 52 Category: ORGAN . .5 30(INT): BD&SD Catalog 2. 53 Category: BELL. .6 31(INT): Cymbal Catalog . 54 Category: STRINGS . .7 32(INT): Rock Kit 1 Mono. 55 Category: BRASS . .8 33(INT): Jazz Kit Mono . 56 Category: SYNTH LEAD . .9 34(INT): Wild Kit . 57 Category: SYNTH PAD . 10 35(INT): Breakin' Kit. 58 Category: GUITAR . 11 36(INT): R'n'B Kit. 59 Category: BASS . 12 37(INT): Trapper Kit. 60 Category: DRUM/SFX. 13 38(INT): Bigroom Kit . 61 39(INT): Tropical Kit . 62 Combinations. 15 40(INT): JazzyHop Kit . 63 Category: PIANO . 15 41(INT): Japanese Catalog . 64 Category: E.PIANO . 15 Category: ORGAN . 15 GM Drum Kits . 65 Category: BELL. 16 58(GM): STANDARD . 65 Category: STRINGS . 16 59(GM): ROOM . 66 Category: BRASS . 16 60(GM): POWER . 67 Category: SYNTH LEAD . 17 61(GM): ELECTRONIC . 68 Category: SYNTH PAD . 17 62(GM): ANALOG. 69 Category: GUITAR . 18 63(GM): JAZZ . 70 Category: BASS . 18 64(GM): BRUSH. 71 Category: DRUM/SFX. 19 65(GM): ORCHESTRA . 72 66(GM): SFX. 73 Favorites . 20 FAVORITES- A . 20 Preset Arpeggio Patterns/User Arpeggio Patterns 74 FAVORITES- B . 20 FAVORITES- C . 20 Drum Track Patterns/Pattern Presets. 79 FAVORITES- D. 20 Template songs . 82 Drum Kits. 21 P00: Pop . 82 P01: Rock . 82 00(INT): Basic Kit 1. 21 P02: Jazz . 82 01(INT): Basic Kit 2. -
Friday, January 13, 2017, 8 PM '62 Center for Theatre and Dance
Friday, January 13, 2017, 8 PM ‘62 Center for Theatre and Dance, CenterStage TAK Ensemble: Currents Erin Gee (b. 1974) Mouthpiece 28 (2016) for soprano, bass flute, bass clarinet, violin, and percussion Kate Soper (b. 1981) Only The Words Themselves Mean What They Say (2010-11) for soprano and flutes I.) Go Away II.) Head, Heart III.) Getting to Know Your Body Tyshawn Sorey (1980) Ornations (2014) for flute and bass clarinet Jacob Walls '11 (b. 1989) Lurking Beyond Thought (2016, rev.) for soprano voice, flute, violin, bass clarinet, and percussion ~ intermission ~ John Zorn (b. 1953) The Tempest (a masque) (2012) for flute, clarinets, and drum set Taylor Brook (b. 1985) Ecstatic Music (2012) for violin and percussion David Bird (b. 1990) Series Imposture (2012) for soprano, flute, clarinet, and percussion TAK Laura Cocks, flute; Liam Kinson, clarinet; Charlotte Mundy, voice; Marina Kifferstein, violin; Ellery Tafford, percussion About TAK TAK is a quintet that delivers energetic and virtuosic performances of contemporary classical music. Described as “stellar” (Oneirics), and full of “restless strands of ever shifting color and vigor” (Feast of Music), TAK concerts are consistently dynamic and engaging. The group frequently collaborates with video artists, installation artists, and experimental theater companies to create immersive concert experiences on a multi-media level. TAK has had the pleasure of working with esteemed composers Mario Diaz de Leon, Lewis Nielson, Tyshawn Sorey, Sam Pluta, Ashkan Behzadi, Natacha Diels, David Bird, and Taylor Brook, among many others. The members of TAK are each "individual virtuosos" in their own right (Lucy Shelton), and have performed individually across North America and Europe with ensembles such as the London Sinfonietta, International Contemporary Ensemble, JACK Quartet, Wet Ink Ensemble, and Grammy-winning ensemble Roomful of Teeth. -
Chamber Music for Flute by Marlos Nobre
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Chamber Works for Flute by Marlos Nobre Carlos Feller Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CHAMBER WORKS FOR FLUTE BY MARLOS NOBRE By CARLOS FELLER A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Carlos Henrique Feller defended this treatise on March 16, 2012. The members of the supervisory committee were: Eva Amsler Chair of the Committee Jane Piper Clendinning University Representative Jeff Keesecker Committee Member Prof. Eric Ohlsson Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS This work would not have been completed without the encouragement and guidance of my former flute teachers, professor Giampiero Pilatti and Dr. Danilo Mezzadri, the mentorship of Prof. Eva Amsler, my current teacher, and the expertise and advice of the members of my committee. I thank composer Marlos Nobre for sharing his music with me, and for being prompt to help with all the other material and information needed. Most of all, I could not thank my family enough for their continuous support: my father Waldemar Feller for having introduced me to music, my mother Tecla Casanova Feller for always encouragingly enduring the distance and time apart, my extended American family Mr. -
The Leaguer, November/December 1982
Nov/Dec, 1982 Volume 67 Issue Three USPS 267-840 Photo by Bobby Malish He dates back lo the pre-rulei day*, when play ers were openly recruited and he helped put a lid on athletic abuses, in part by helping develop the Baseball Plan. For his many contributions to Making the UIL, Bobby Cannon of Kerrville was present ed a Plaque of Appreciation during the Legisla tive Council meeting. waives OTHER COUNCIL ACTION: Music committee page 3 Literary committee page 8 Appeals board, study Athletics and policy P«9* 7 The decision of the hearings officer may committee okayed be appealed to the Appeals Board by the The Special Study Committee will consist Once dubbed "the land of no exceptions," of representatives of school administrator the UIL recently took the first step to rid associations, school boards as well as the itself of that title. president and president elect of the Legisla The Legislative Council voted unani tive Council. A consultant has also been mously to establish a rules waiver officer employed to arrange meetings, compile and an appeals board, both of which will data and draw up final recommendations. consider requests from students who have Fie meetings will be held, with the first lost eligibility for League contests due to being from 4 to 6 p.m. December 15 at the circumstances beyond their control. Education Service Center in Austin. Other In addition, the Council voted to commis meeting will be held in the Dallas-Fort sion a special study committee, which will Worth metroplex, Houston, Lubbock and travel the state to gather public input on a San Antonio, with the final meeting expect number of the most pressing questions con ed in late May. -
Lessons from Inventories and Sales of Flutes and Recorders, 1650-1800
DAVID LASOCKI Lessons from inventories and sales of flutes and recorders, 1650-1800 In 2003, I was invited to give a lecture at the Utrecht Symposium on "The Renais• sance Flute and Recorder Consort". In order to prepare myself for that symposium, I compiled some lists relating to the instruments: surviving music, surviving instru• ments, early and modern writings, and performers. Eventually, I remembered that I had seen some inventories mentioned in books and articles that contained entries relating to flutes and recorders. I started from there, with the famous inventories - Henry VIII's in London, Madrid, Stuttgart, Innsbruck - which modern writers seemed to have cited largely for the total number of flutes or recorders present, as if owning instruments was some kind of European Cup competition. Puzzled by why courts and cities would want to own dozens of instruments, I had a feeling that the detail of the inventories would prove more interesting and more revealing. So I set to work to find as many inventories as possible, then transcribe and translate the entries relating to flutes and recorders. Soon I discovered that references to pur• chases of instruments were equally valuable. For the Utrecht symposium, I began in the Middle Ages (with what I thought was the first reference to the purchase of a recorder in 1388)1 and went through to 1630 (when I believed that the Renaissance recorder consort had died out).2 Eventually, my listing of entries from inventories and purchases, along with English translations, took up more than 100 pages in the published proceedings of the Utrecht symposium, which appeared in 2005.3 The listing also appears on my website,4 and will be kept up to date there. -
Hybridity in Flute Music of Four Contemporary Composers
HYBRIDITY IN FLUTE MUSIC OF FOUR CONTEMPORARY COMPOSERS Yeji Kim 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 December 2012 Committee: Marilyn Shrude, Advisor Robert W. Midden Graduate Faculty Representative Mary Natvig John Sampen © 2012 Yeji Kim All Rights Reserved iii ABSTRACT Marilyn Shrude, Advisor Hybridity is a concept that is widely discussed in the field of cultural studies. The term can be applied to anything that exhibits a fusion or mixture of elements and fades the demarcation between the elements. In music it is evident in the fusion of such disparate elements as old and new styles; electronic and acoustic media; Western and non-Western music; audio and visual components; classical and popular music; and the use of quotation. These elements are often combined in works that contribute to a hybrid musical vocabulary with a distinctive style, so that the points of departure are often blurred. Many recently composed works for flute demonstrate hybridity. The purpose of this document is to explore the concept of hybridity as evidenced in the flute works of four contemporary American composers and flutists: Cynthia Folio (b. 1954), Anne La Berge (b. 1955), Janice Misurell-Mitchell (b. 1946), and Maggi Payne (b. 1945). The study examines what brought about their hybrid approach to composition, as well as the relationship between their roles as both creator and presenter of works that demonstrate hybridity. Extensive email interviews, consultation of available sources, and analyses of compositions are the essential research tools. -
N O V E M B E R 2 0
Published by the American Recorder Society, Vol. XLIV, No. 5 november 2003 A Flanders Recorder Quartet Guide for Recorder Players and Teachers BART SPANHOVE With a historical Chapter by DAVID LASOCKI The purpose of this book is to help recorder players become better ensemble members. Bart Spanhove has written the book in response to numerous requests from both amateurs and professionals to set down some practical suggestions based on his own experience and thereby fill a long-felt gap in the literature Alamire Music Publishers about the recorder. Toekomstlaan 5B, BE-3910 Neerpelt Price: 22,06 Euro T. +32 11 610 510 Orders can be placed at F. +32 11 610 511 www.alamire.com [email protected] EDITOR’S ______NOTE ______ ______ ______ ______ Volume XLIV, Number 5 November 2003 Death and music are no strangers. FEATURES Death is often found in operatic context— A Recorder Icon Interviewed . 8 the tragic ending in Giacomo Puccini’s A Talk with Anthony Rowland-Jones, Tosca when the title figure leaps to her by Sue Groskreutz death, and the stirring music composed by The Recorder in the Nineteenth Century. 16 Richard Wagner for Siegfried’s funeral near by Douglas MacMillan the end of the four-part epic Ring cycle, af- 4 Arranging an Orchestral Work for Recorder Quintet . 22 ter which Brunhilde flings herself on the The eleventh in a series of articles by composers and arrangers hero’s funeral pyre and sings for another discussing how they write and arrange music for recorder, 10 minutes or so. by Carolyn Peskin Death’s knock shows up in Tchaikovsky’s symphonies and, under- scoring the underlying sorrow of war, in DEPARTMENTS the theme song from M*A*S*H—titled Advertiser Index . -
RENTAL CATALOG C - E.B
About Us Keiser Music Publishing - Lauren Lauren Keiser Music Publishing © LKMP 2012 Veteran music publisher Lauren Keiser started Lauren Keiser Music Publishing (ASCAP) and Keiser Classical (BMI) from the purchase of MMB Music's assets of St. Louis in 2008, strengthening it with new deals free downloads and editions. His almost forty years of being involved with Alfred, Cherry Lane, and Carl Fischer, the latter two where he served as CEO/ Download scores and audio President, provided a foundation for a new music publishing company samples selected from our based on his experience. In 2012, he acquired the 75 year old music catalog. As we continue to add publisher Southern Music, adding this established firm to the new more works, we strive to create company. In addition to his publishing industry experience, he is a an increasingly valuable resource successful composer whose works have been performed at home and for your programming needs. abroad. The firm publishes and administers performance and music Whether you’re looking for copyrights of gifted composers, in addition to producing publications of chamber, orchestra, wind talented musicians, writers and artists. ensemble, or opera music, we invite you to visit frequently and Southern Music Company offer feedback on your experience. Keiser Classical - Southern Musi Since its founding in 1937 in San Antonio, Texas, Southern Music has served students, private teachers, musicians, music educators and music keisersouthernmusic.com stores around the globe with music of all types. The publications catalog includes over 5,000 titles for band, choir, orchestra and for all individual instruments for use by students from beginning to advanced levels. -
Recorder Diploma Repertoire List
RECORDER DIPLOMA REPERTOIRE LIST January 2021 edition (updated May 2021) • Candidates should compile and perform a programme displaying a range of moods, styles and tempi. • Programmes must consist of a minimum of two works. • All works should be performed complete, except where single movements are specified. • The music performed can: – be drawn entirely from the appropriate repertoire list below – combine pieces from the appropriate repertoire list with own-choice pieces* – contain only own-choice pieces* * Any programme which includes own-choice repertoire must be pre-approved. • Own-choice pieces must demonstrate a level of technical and musical demand comparable to the pieces listed in the relevant repertoire list. • At least two different sizes of recorder must be used. • Candidates should perform on the recorder that is appropriate to the repertoire. • Where possible, a keyboard with the appropriate tuning should be used. A digital harpsichord may be used. • Candidates planning accompaniment on harpsichord or other continuo grouping must discuss arrangements with the local representative well in advance of the closing date for the session concerned. Candidates are responsible for providing, insuring and tuning any harpsichord used. The instrument must be installed before the first exam of the day and must not be removed until a point at which the exam timetable will not be disrupted, which might be after the last exam of the day. • Timings are as follows: Diploma Performance Exam level duration duration ATCL 32-38 minutes 40 minutes LTCL 37-43 minutes 45 minutes FTCL 42-48 minutes 50 minutes • Candidates must provide a written programme and copies of all pieces to be performed. -
The Oboe Music of ‘Les Six’
ABSTRACT Title of Dissertation: THE OBOE MUSIC OF ‘LES SIX’ James Michael Homme, Doctor of Musical Arts, 2019. Dissertation directed by: Professor Mark Hill, School of Music Established in the 1920s, ‘Les Six’ was a group of young composers looking to find their way in the musical world in France during a tumultuous time in Europe. After World War I, the path to success for a composer had changed dramatically, forcing composers to develop new methods and opportunities to have their works performed. Georges Auric (1899–1983), Louis Durey (1899–1979), Arthur Honegger (1892–1955), Darius Milhaud (1892–1974), Francis Poulenc (1899–1963), and Germaine Tailleferre (1892–1983), coined ‘Les Six’ by Henri Collet, and led by Jean Cocteau found a viable model through which their works would be performed. Though they only worked together for a short time, with vastly different styles, they endeavored to forge a new distinctively French sound during a time of rising musical nationalism. Post-war Paris was a place of international collaborations, with Stravinsky making waves, and the Ballet Russes becoming a fixture. Though collaborations were happening on an international scale, musically, a new ideal of a distinct French sound was occurring. This international collaboration should not be understated, as members of ‘Les Six’ would also take part in these partnerships. After World War I, the hopes of much of Europe were to create an international stage of artists, and though successful during the 1920s, nationalism was once again rising, separating cultures and eventually leading to World War II. This dissertation focuses on some of the music written for the oboe by these six composers.