Asha Srinivasan Curriculum Vitae
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Bach Experience
MUSIC AT MARSH CHAPEL 10|11 Scott Allen Jarrett Music Director Sunday, December 12, 2010 – 9:45A.M. The Bach Experience BWV 62: ‘Nunn komm, der Heiden Heiland’ Marsh Chapel Choir and Collegium Scott Allen Jarrett, DMA, presenting General Information - Composed in Leipzig in 1724 for the first Sunday in Advent - Scored for two oboes, horn, continuo and strings; solos for soprano, alto, tenor and bass - Though celebratory as the musical start of the church year, the cantata balances the joyful anticipation of Christ’s coming with reflective gravity as depicted in Luther’s chorale - The text is based wholly on Luther’s 1524 chorale, ‘Nun komm, der Heiden Heiland.’ While the outer movements are taken directly from Luther, movements 2-5 are adaptations of the verses two through seven by an unknown librettist. - Duration: about 22 minutes Some helpful German words to know . Heiden heathen (nations) Heiland savior bewundert marvel höchste highest Beherrscher ruler Keuschheit purity nicht beflekket unblemished laufen to run streite struggle Schwachen the weak See the morning’s bulletin for a complete translation of Cantata 62. Some helpful music terms to know . Continuo – generally used in Baroque music to indicate the group of instruments who play the bass line, and thereby, establish harmony; usually includes the keyboard instrument (organ or harpsichord), and a combination of cello and bass, and sometimes bassoon. Da capo – literally means ‘from the head’ in Italian; in musical application this means to return to the beginning of the music. As a form (i.e. ‘da capo’ aria), it refers to a style in which a middle section, usually in a different tonal area or key, is followed by an restatement of the opening section: ABA. -
Pink – Wind Symphony Blue – Symphonic Band Green
CBDA CHAIR AUDITION RESULTS This does not include students who did not have to chair audition (WS tenor/bari sax, percussion, etc). Pink – Wind Symphony Blue – Symphonic Band Green – Concert Band First Last Inst School Grade Chair Dillon Halpin Flute Mira Mesa HS 12 1 Samantha Anderson Flute Valencia HS 11 2 Ashley Fang Flute Diamond Bar HS 12 3 Laura Gong Flute Westmont HS 11 4 Ellen Cheng Flute Homestead HS 10 5 Erica Wang Flute Torrey Pines HS 9 6 Ellie Huang Flute Amador Valley HS 11 1 Anna Lee Flute Orange County School of the Arts 11 2 Curtis Li Flute Amador Valley HS 10 3 Heidi Harris Flute Reedley HS 12 4 Jana Bridi Flute Harmony Magnet Academy 11 5 Ella Watson Flute Oak Ridge HS 11 6 Juliet Fang Flute University HS (Fresno) 10 7 Audrey Moeller Flute Santa Monica HS 11 8 Aadya Abhyankar Flute West Ranch HS 9 9 Joanna Hsieh Flute Los Altos HS 11 1 Caroline Gong Flute Head Royce School 10 2 Jennifer Su Flute Rio Americano HS 12 3 Minseo Kim Flute California HS 9 4 Elizabeth Rodriguez Flute Central HS 11 5 Ananya Navale Flute Dougherty Valley HS 11 6 Tansy Chen Flute Folsom HS 11 7 Annie Ping Flute Valley Christian HS 12 8 Alex Park Flute Northwood HS 9 9 Jasmine Yu Flute James Logan HS 10 10 Ashley Park Flute Crescenta Valley HS 10 11 Ivy Gin Flute Santiago HS 11 12 Cate Collard Flute Crescenta Valley HS 11 13 Phoebe Liu Flute Amador Valley HS 11 14 Jack Lichterman Flute Santa Monica HS 11 15 First Last Inst School Grade Chair Jackson Van Vooren Bb Clarinet Los Altos HS 11 1 Nicholas Kim Bb Clarinet Agoura HS 11 2 Nathan Nguyen -
Kisd Band Ms 3 Curriculum Year at a Glance
KISD BAND MS 3 CURRICULUM YEAR AT A GLANCE TEXT: Essential Elements for Band THE LEARNER WILL: 1st 9-Weeks 2nd 9-Weeks 3rd 9-Weeks 4th 9-Weeks Identify, define, write, and analyze whole, half, quarter, paired and single Identify, define, write, and analyze all previously learned elements adding eighth, sixteenth, dotted half, and dotted quarter notes with corresponding 9/8, 12/8, and 5/4 time signatures and the keys of G and Db. (1B, 1D, 1C, rests in simple time and dotted quarters and triplets in compound time; 2B, 3F) multi-measure rests; repeat, first and second endings, da capo al fine, dal segno al fine, da capo al coda, dal segno al coda; dynamics (pp-ff); staccato, Identify, define, write and analyze all previously learned elements in addition to the following: largo-presto, sforzando, fortepiano, chord structures legato, accent, marcato; crescendo, decrescendo; 2/4, 3/4 ,4/4, 2/2, 6/8; keys and tuning in a major key. (1B, 1D, 1C, 2B, 3F) of Bb, Eb, F; instrument names; musical forms; fermata; andante, moderato, ritardando, accelerando, largo, adagio, allegro. (1B, 1D, 1C, 2B, 3F) Perform a 2 octave chromatic scale with correct pitch, fingerings, and Perform from memory a 2 octave chromatic scale with correct pitch, Perform from memory a 2 octave chromatic scale with correct pitch, Perform from memory a 2 octave chromatic scale with correct pitch, accurate intonation. (1B) fingerings, and accurate intonation (quarter = 80bpm utilizing an eighth fingerings and accurate intonation (quarter = 100bpm utilizing an eighth fingerings, and accurate intonation (quarter = 100bpm utilizing a triplet note pattern). -
The Baroque. 3.3: Vocal Music: the Da Capo Aria and Other Types of Arias
UNIT 3: THE BAROQUE. 3.3: VOCAL MUSIC: THE DA CAPO ARIA AND OTHER TYPES OF ARIAS EXPLANATION 3.3: THE DA CAPO ARIA AND OTHER TYPES OF ARIAS. THE ARIA The aria in the operas is the part sung by the soloist. It is opposed to the recitative, which uses the recitative style. In the arias the composer shows and exploits the dramatic and emotional situations, it becomes the equivalent of a soliloquy (one person speach) in the spoken plays. In the arias, the interpreters showed their technique, they showed off, even in excess, which provoked a lot of criticism from poets and musicians. They were often sung by castrati: soprano men undergoing a surgical operation so as not to change their voice when they grew up. One of them, the most famous, Farinelli, acquired international fame for his great technique and vocal expression. He lived twenty-five years in Spain. THE DA CAPO ARIA The Da Capo aria is a vocal work in three parts or sections (tripartite form). It began to be used in the Baroque in operas, oratorios and cantatas. The form is A - B - A, the last part being a repetition of the first. 1. The first section is a complete musical entity, that is to say, it could be sung alone and musically it would have complete meaning since it ends in the tonic. The tonic is the first grade or note of a scale. 2. The second section contrasts with the first section in tonality, texture, mood and sometimes in tempo (speed). 3. -
800.4Wenger (800.493.6437) • Instrument and Garment Storage
“Wenger instrument storage cabinets are our first choice because they hold up well and look good. Wenger has been around a long time – they’ve worked out all the kinks. They offer many different cabinet options – doors, sizes – and are helpful in planning the proper layout.” – Rick Ghinelli, Performing & Visual Arts Director Spring Independent School District, Houston, Texas Sequoia High School, Redwood, California 800.4WENGER (800.493.6437) • www.wengercorp.com INSTRUMENT AND GARMENT STORAGE Instrument Storage AcoustiCabinets ™ Attic Storage Percussion Cabinets Page 51 Page 54 Workstation Pages 48-53 Page 60 Instrument storage cabinets New soft-sided storage The most trusted way to that are designed to be an protects equipment and A lockable, mobile storage secure and protect valuable integral part of your room’s creates storage space on solution and practical work instruments. Available in a acoustical treatment. top of your instrument area all rolled into one single variety of colors, sizes and storage cabinets. durable tool. styles. Tuba/Sousaphone Stringed Instrument Stringed Instrument Rack ’n Roll ® Rack Cabinet Racks Garment Rack Page 61 Page 62 Page 63 Page 64 Move and store any Store a variety of stringed Safely store and transport The easy way to move combination of tubas and instruments easily and Cellos, Basses, Violins and garments from place sousaphones safely and securely in one location. Violas. to place. securely. Garment Storage Music Library System Music Sorting Rack Folio Cabinets Cabinets Page 66 Page 67 Pages 68-69 Page 65 Cut your sheet music A portable, rolling cabinet Keep all your folios Whether it’s band uniforms, storage space needs by for sorting and distributing organized and right where choir robes, or theatre more than 50% with our sheet music. -
Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................. -
Explore Music 7–9: Appendices
Explore Music 7–9: Appendices Explore Music 7–9: Appendices (Revised 2020) Page 1 Explore Music 7–9: Appendices (Draft 2011) Page 2 Contents Appendices Appendix A: The Art of Practicing ....................................................................................... 5 Appendix B: Planning Charts ............................................................................................... 16 Appendix C: Listening to Music ........................................................................................... 20 Appendix D: Assessment Resources .................................................................................... 22 Appendix E: Creating Music Using Graphic Notation ......................................................... 39 Appendix F: Composition Resources ................................................................................... 50 Appendix G: The Physical Environment .............................................................................. 53 Appendix H: Advocacy — Why We Teach Music ............................................................... 55 Explore Music 7–9: Appendices (Draft 2011) Page 3 Explore Music 7–9: Appendices (Draft 2011) Page 4 Appendix A: The Art of Practicing Adapted (with permission) from How to Practice Your Band Music by Jack Brownell Note: Teachers may find the information in this appendix to be useful in encouraging students to practice. The goal of this information is to help guide you in learning how to practice. You will be more effective if you plan what to achieve -
Contemporary Youth Orchestra Says Happy 80Th Birthday to Joan Tower by Mike Telin
Contemporary Youth Orchestra says happy 80th birthday to Joan Tower by Mike Telin On September 6 of 2018, Joan Tower celebrated her 80th birthday. On Saturday, March 9 at 7:00 pm, in Cuyahoga Community College’s Metro Auditorium, the Contemporary Youth Orchestra, under the direction of Liza Grossman, will honor that occasion with a concert dedicated to the eminent composer’s music. The program will include the Ohio premieres of Fanfare for the Uncommon Woman No. 6, Stroke, and In Memory (For String Orchestra), as well as Tambor. Tickets are available online. Among her numerous accolades — Tower has just been named the recipient of the League of American Orchestra’s 2019 Gold Baton Award — she was the first woman to win the Grawemeyer Award for Music in 1990. The New Yorker called her “one of the most successful woman composers of all time,” and she has served as a source of inspiration to Grossman dating back to CYO’s fourth season in 1998. “I was researching women composers and Joan was one of the first to come up,” Grossman said during a telephone conversation. The conductor said that she quickly became “fascinated” with Tower’s music and history. “The way she was carving a path for women composers and inspiring them to write really was inspirational to me.” Still, it was not until August of 2000 that Grossman decided that the orchestra was ready to play one of Tower’s works. “I got ahold of her number and I called and left a message — and she called me back. -
Style and Performance Considerations in Three Works Involving Flute by Joan Tower
Style and Performance Considerations in Three Works Involving Flute by Joan Tower: Snow Dreams , Valentine Trills , and A Little Gift by TAMMY EVANS YONCE (Under the Direction of Angela Jones-Reus and David Haas) ABSTRACT Joan Tower is a highly regarded contemporary composer who is known for her early serial style and subsequent organic style. Her compositional process is most frequently a collaborative one; a performer herself, she prefers to work with the musicians for whom she is writing. In addition to her Hexachords for solo flute (1972) and Flute Concerto (1989), which are her most commonly studied flute works, she has also written seventeen other chamber or solo works involving flute. This document contains a biography of the composer and an analysis of three chamber and solo works involving flute: Snow Dreams , Valentine Trills, and A Little Gift . A listing of Tower’s chamber and solo works involving flute and an interview with the composer are included as appendices. In addition to identifying formal aspects of the works, specific musical elements that are most salient to each work will be discussed. One of these elements in particular, density, will be analyzed in relation to how it creates or dispels intensity. Tower often employs the same compositional features in all three works to create this feeling of motion versus stasis, which is well illuminated through the analysis of the most salient musical elements. INDEX WORDS: Joan Tower, Snow Dreams , Valentine Trills , A Little Gift , A Gift, Flute, Chamber Music, Solo Music -
Ternary Form Ternary Form Is a Three-Part Form
music theory for musicians and normal people by toby w. rush Ternary Form ternary form is a three-part form. rather than using three completely different sections, most pieces in ternary form consist of two sections, the first of which is reprised. in ternary form, the a section appears both at the beginning and at the end; like binary form, the b section is contrasting in character. the reprised a section may be an exact repeat of the first A, or it may be slightly different, but the of A B A length the a sections should be similar. ternary form this is different from rounded binary, where the reprised a section (which we called a prime) is significantly shorter than the first a section. Fine Da capo the minuet and trio is a variation on al Fine ternary form used for instrumental music. instead of writing out the reprised a section, the score will place the minuet instruction “da capo al fine” after the trio b section, which means to return to the A B beginning, play through the a section, minuet & trio form and end the piece. this same form is commonly used in baroque and classical opera, where it is called a da capo aria. In both minuet & trio and da capo aria, any repeats are ignored when playing through the reprised a section. it’s worth mentioning that there is a common form that is descended from minuet and trio form: the military march form favored by john philip trio sousa and other american fanfare march composers. -
The Music of Joan Tower • 2008 Karel Husa Visiting Professor of Composition
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 2-5-2008 Concert: The uM sic of Joan Tower Karel Husa Ithaca College Symphony Orchestra Kulmusik Contemporary Chamber Ensemble Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Husa, Karel; Ithaca College Symphony Orchestra; and Kulmusik Contemporary Chamber Ensemble, "Concert: The usicM of Joan Tower" (2008). All Concert & Recital Programs. 4180. https://digitalcommons.ithaca.edu/music_programs/4180 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. The Music of Joan Tower • 2008 Karel Husa Visiting Professor of Composition Ford Auditorium Tuesday, February 5, 2008 8:15 p.m. PROGRAM Fanfare for the Uncommon Woman #1 \ Members of the Ithaca College Symphony Orchestra • Hom: Lori Roy, principal; Liz Teucke, assistant Rachel Haselbauer; Ella Nace; Andrea Silvestrini Trumpet: Omar Williams, principal; Ethan Urtz; Caro!Jumper; Trombone: Aiice Rogers, principal; Erin Lindon; Phil Truex, bass Tuba: Bryan Lewis Percussion: Andrew Sickmeier, timpani; Seth Nicoletti, principal; Lee Treat Jeffery Meyer*, conductor Ascent Jean Radice*, organ Big Sky Susan Waterbury*, violin 'Elizabeth Simkin*, cello Jennifer Hayghe*, piano Petroushskates • Members of Kulmusik Lisa Thornton, flute Adam Butalewicz, clarinet Susan Waterbury*, violin Sara Wolfe, cello Mary Holzhauer, piano DNA Colleen Clark, Nate Dominy, Chris Ganey, Peter Kielar, Kaye Sevier, percussion Aian Dust, conductor * Ithaca College faculty • Photographic, video, and sound recording and/ or transmitting devices are not permitted in the Whalen Center concert halls. -
Repetition and Codas
Repetition and codas Tremolo A rapidly repeated note. If the tremolo is between two notes, then they are played in rapid alternation. The number of slashes through the stem (or number of diagonal bars between two notes) indicates the frequency at which the note is to be repeated (or alternated). As shown here, the note is to be repeated at a demisemiquaver (thirty-second note) rate. Repeat signs Enclose a passage that is to be played more than once. If there is no left repeat sign, the right repeat sign sends the performer back to the start of the piece or the nearest double bar. Simile marks Denote that preceding groups of beats or measures are to be repeated. In the examples here, the first usually means to repeat the previous measure, and the second usually means to repeat the previous two measures. Volta brackets (1st and 2nd endings, or 1st- and 2nd-time bars) A repeated passage is to be played with different endings on different playings; it is possible to have more than two endings (1st, 2nd, 3rd ...). Da capo (lit. "From top") Tells the performer to repeat playing of the music from its beginning. This is usually followed by al fine (lit. "to the end"), which means to repeat to the word fine and stop, or al coda (lit. "to the coda (sign)"), which means repeat to the coda sign and then jump forward. Dal segno (lit. "From the sign") Tells the performer to repeat playing of the music starting at the nearest segno. This is followed by al fine or al coda just as with da capo.