By John Stevens, a Lecture Recital, Together with Three Recitals Of
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Tuba Syllabus / 2003 Edition
74058_TAP_SyllabusCovers_ART_Layout 1 2019-12-10 10:56 AM Page 36 Tuba SYLLABUS / 2003 EDITION SHIN SUGINO SHIN Message from the President The mission of The Royal Conservatory—to develop human potential through leadership in music and the arts—is based on the conviction that music and the arts are humanity’s greatest means to achieve personal growth and social cohesion. Since 1886 The Royal Conservatory has realized this mission by developing a structured system consisting of curriculum and assessment that fosters participation in music making and creative expression by millions of people. We believe that the curriculum at the core of our system is the finest in the world today. In order to ensure the quality, relevance, and effectiveness of our curriculum, we engage in an ongoing process of revitalization, which elicits the input of hundreds of leading teachers. The award-winning publications that support the use of the curriculum offer the widest selection of carefully selected and graded materials at all levels. Certificates and Diplomas from The Royal Conservatory of Music attained through examinations represent the gold standard in music education. The strength of the curriculum and assessment structure is reinforced by the distinguished College of Examiners—a group of outstanding musicians and teachers from Canada, the United States, and abroad who have been chosen for their experience, skill, and professionalism. An acclaimed adjudicator certification program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become an important partner with The Royal Conservatory in helping all people to open critical windows for reflection, to unleash their creativity, and to make deeper connections with others. -
Curriculum Vitae
Brian McWhorter associate professor of music University of Oregon Curriculum Vitae Current Academic Position University of Oregon Associate Professor of Music 2006- Other Positions Eugene Ballet Company Music Director 2017- Orchestra Next Music Director 2012- Orchestra Next Executive Director 2012- Previous Teaching Positions Manhattan School of Music Professor of Contemporary Music 2007-10 Louisiana State University Assistant Professor of Trumpet and Jazz Studies 2004-06 East Carolina University Robert L. Jones Distinguished Visiting Professor 2004-05 Princeton University Trumpet Teacher 2001-04 Kinhaven Summer Music School Trumpet / Chamber Music Teacher 2003-07 Greenwich House Music School Brass Teacher 1999-04 The Juilliard School Teaching Assistant - Music Technology 2000 Education The Juilliard School Master of Music in Trumpet Performance 2000 student of Raymond Mase Aspen Music Festival and School Fellowship Student 2000 student of Kevin Cobb University of Oregon Bachelor of Music in Trumpet Performance 1998 student of George Recker Aspen Music Festival and School Scholarship Student 1997 student of Chris Gekker Aristoxenos Summer Music School Performance Certificate 1996 student of Anthony Plog McWhorter 1 Research Affiliations Composers of Oregon Chamber Orch. guest conductor 2018 Anchorage Symphony guest conductor 2014- I Live for Art documentary featuring my work throughout 2014 Orchestra NEXT music director, conductor and founder 2012- Mark Gould & Pink Baby Monster composer and performer 2001- Beta Collide co-artistic director -
2007 Newsletter
merican rass uintet A FORTFORTY-EIGHTHY-EIGHTHB QSEASONS EASON Volume 16, Number 1 New York, January 2008 N ew sletter Juilliard Residency at 20 By Raymond Mase Rojak on the Road - 2007 This fall the American Brass By John Rojak Quintet quietly reached anoth - It must have been a dream. Through the haze of my er milestone in our nearly sleep-filled eyes, I heard, then saw the two cleaning women half-century history—that conducting their morning conversation at thirty paces. Could being the 20th anniversary we really be sleeping on airport chairs at Gate D6 in Dulles International Airport? Had we really missed our connection merican of our residency at The A Juilliard School. Over these and been unable to find a single room within 30 miles? (And rass uintet two decades, the was this the best way to be celebrating my birthday?!) B Q Last season started in spectacular fashion but we FORTY-EIGHTH SEASON ABQ/Juilliard collaboration has not only introduced many should have known that our good travel fortunes would mutate young players to the challenges into trials of patience and endurance. There were lessons that 1960-2008 and rewards of brass chamber we learned from our travails, so this season we decided to music and helped them refine those specific skills, but has make some long drives to avoid connecting flights and mis - also had a remarkable impact on the presence of brass cham - placed baggage. And on these drives we'll have a chance to ber music in New York. get our business meetings taken care of, unless the Yankees An ABQ residency wasn’t a new idea when Bob are on the radio. -
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. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
Performances from 1974 to 2020
Performances from 1974 to 2020 2019-20 December 1 & 2, 2018 Michael Slon, Conductor September 28 & 29, 2019 Family Holiday Concerts Benjamin Rous, Conductor MOZART Symphony No. 32 February 16 & 17, 2019 ROUSTOM Ramal Benjamin Rous, Conductor BRAHMS Piano Concerto No. 2 in B-flat Major RAVEL Pavane pour une infante défunte RAVEL Piano Concerto in G Major November 16 & 17, 2019 MOYA Siempre Lunes, Siempre Marzo Benjamin Rous & Michael Slon, Conductors KODALY Variations on a HunGarian FolksonG MONTGOMERY Caught by the Wind ‘The Peacock’ RICHARD STRAUSS Horn Concerto No. 1 in E-flat Major March 23 & 24, 2019 MENDELSSOHN Psalm 42 Benjamin Rous, Conductor BRUCKNER Te Deum in C Major BARTOK Violin Concerto No. 2 MENDELSSOHN Symphony No. 4 in A Major December 6 & 7, 2019 Michael Slon, Conductor April 27 & 28, 2019 Family Holiday Concerts Benjamin Rous, Conductor WAGNER Prelude from Parsifal February 15 & 16, 2020 SCHUMANN Piano Concerto in A minor Benjamin Rous, Conductor SHATIN PipinG the Earth BUTTERWORTH A Shropshire Lad RESPIGHI Pines of Rome BRITTEN Nocturne GRACE WILLIAMS Elegy for String Orchestra June 1, 2019 VAUGHAN WILLIAMS On Wenlock Edge Benjamin Rous, Conductor ARNOLD Tam o’Shanter Overture Pops at the Paramount 2018-19 2017-18 September 29 & 30, 2018 September 23 & 24, 2017 Benjamin Rous, Conductor Benjamin Rous, Conductor BOWEN Concerto in C minor for Viola WALKER Lyric for StrinGs and Orchestra ADAMS Short Ride in a Fast Machine MUSGRAVE SonG of the Enchanter MOZART Clarinet Concerto in A Major SIBELIUS Symphony No. 2 in D Major BEETHOVEN Symphony No. 7 in A Major November 17 & 18, 2018 October 6, 2017 Damon Gupton, Conductor Michael Slon, Conductor ROSSINI Overture to Semiramide UVA Bicentennial Celebration BARBER Violin Concerto WALKER Lyric for StrinGs TCHAIKOVSKY Symphony No. -
Benedictine College Music Handbook
Music Handbook Revised October, 2019 Resources for Students and Faculty TABLE OF CONTENTS Overview of the Music Handbook ...................................................................................................... 1 Mission Statement ............................................................................................................................... 1 Accreditation ....................................................................................................................................... 1 Goals .................................................................................................................................................... 1 Kansas State Department of Education Music Standards .................................................................... 2 Degree Programs in Music .................................................................................................................. 4 Music Faculty & Staff ......................................................................................................................... 5 General Information Accompanists ................................................................................................................................. 6 Advising ........................................................................................................................................ 7 Applied Music ............................................................................................................................... 7 Auditorium -
“I Want to Do More Than Survive — I Want to Thrive”
Queens Performing Artists & Workspace “I Want to Do More Than Survive — I Want to Thrive” June 2014 Exploring the Metropolis, Inc. Workspace Solutions for NYC’s Performing Arts Communities Queens Workspace Initiative Queens Performing Artists & Workspace Table of Contents Executive Summary . 3 EtM History and Background . 5 I. Introduction Reason for Undertaking QWI . 8 What is QWI? . 8 Process . 8 II. Queens Overview Basic Demographics . 10 Arts Landscape . 13 Cultural Data Project . 13 III. Opportunities and Challenges Opportunities . 15 Challenges . 16 IV. Survey Findings Artists . 16 Facilities . 19 Survey Conclusions . 22 V. Analysis: Jamaica Opportunities . 23 Challenges . 23 By the Numbers . 24 VI. Conclusions Rehearsal Space Pricing and Utilization . 25 Availability of Pianos . 26 Jamaica . 26 VII. Final Thoughts and Next Steps . 27 Appendix Exploring the Metropolis QWI Project Team . 28 Acknowledgments . 28 Recommenders . 29 QWI Steering Committee . 30 Focus Group of Queens-based Artists . 30 Focus Group of Queens-based Facilities and Policymakers . 30 Funder Credits . 31 Research/Data Sets . 31 2 | Queens Performing Artists & Workspace | Table of Contents Executive Summary Reason for Undertaking QWI Exploring the Metropolis (EtM) has a singular focus on infrastructure, the physical workspace and funding/support systems that enable performing artists to create, rehearse and perform. Our purpose is to enable performing artists to maximize their artistry and to enlist cultural facilities in realizing this goal while broadening community exposure to the performing arts. As performing/multidisciplinary artists have been priced out of Manhattan and, increasingly, Brooklyn, the geographically and demographically diverse borough of Queens appears to have growing concentrations of these artists and groups. -
Brass Quintet Literature of Thom Ritter George
A GUIDE FOR THE PREPARATION, ANALYSIS AND PERFORMANCE OF THE BRASS QUINTET LITERATURE OF THOM RITTER GEORGE, WITH THREE RECITALS OF SELECTED WORKS BY BACH, BITSCH, HANDEL, TORELLI, SUDERBERG, KETTING AND OTHERS William J. Stowman, B.S., M.A., M.M.E. APPROVED: Major Professop Minor Pro s or Committee Member Dean of the Co ege of Music Dean of the Robert B. Toulouse School of Graduate Studies A GUIDE FOR THE PREPARATION, ANALYSIS AND PERFORMANCE OF THE BRASS QUINTET LITERATURE OF THOM RITTER GEORGE, WITH THREE RECITALS OF SELECTED WORKS BY BACH, BITSCH, HANDEL, TORELLI, SUDERBERG, KETTING AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By William J. Stowman, B.S., M.A., MME. Denton, Texas May, 1998 Stowman, William J. A Guide for the Preparation. Analysis. and Performance of the Brass Quintet Literature of Thom Ritter George. Doctor of Musical Arts (Performance), May, 1998, 72 pp., 52 bibliography. An examination of the musical style, compositional techniques and performance practice issues of American Composer Thom Ritter George with special attention paid to his Quintet No. 4 written in 1986. The document also includes a short history of brass instruments in chamber music, history of the brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet, and background information on the composer. A detailed analysis of Quintet No. 4 is provided. Issues of performance practice are discussed through theoretical analysis and in interviews with the composer. -
Americanbrass Quintet
merican rass uintet A FORTFORTY-SIXTHY-SIXTHB SEASONS EASONQ Volume 15, Number 1 New York, November 2006 ew sletter It's All in the Timing— N New Works in the Works By Raymond Mase Rojak on the Road - 2006 By John Rojak As we prepared for our 45th Once again, the ABQ hit the road for another season anniversary last season, I was of touring. This being the quintet's 45th anniversary, there was relieved to see that things an air of great events anticipated, as well as some excitement were falling into place so about our new repertoire and recordings. Our fall season was that our year would include book-ended by engagements within a few hours drive from merican several major new works. home. It's nice to have some of the stress removed from trav - A Sometimes the timing of el–avoiding check-in, security, luggage that may or may not Brass Quintet new pieces can't be com - arrive at the same airport as us, and who knows what else. In FORTY-SIXTH SEASON pletely predicted, but thank - between those venues, which were Wesleyan College in fully our 45th anniversary year Middletown, Connecticut, and Gretna Concerts in 1960-2006 worked out perfectly. One stroke Elizabethtown, Pennsylvania, we traveled to Minnesota, and of luck was that our 45th just hap - spent a week in uptown New York City, recording our brass pened to coincide with the Juilliard Centennial, and as part of band cd, which you will read about elsewhere in this newslet - that celebration, Juilliard had commissioned Joan Tower to ter. -
A Curriculum for Tuba Performance in a Commercial Brass
A CURRICULUM FOR TUBA PERFORMANCE IN A COMMERCIAL BRASS QUINTET BY PAUL CARLSON Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Music. ___________________________________ Daniel Perantoni __________________________________ Kyle Adams __________________________________ Jeffrey Nelsen __________________________________ John Rommel ii Preface While a curriculum for any type of performance could be synthesized by theoretical reasoning based upon knowledge of how to learn any new genre or style of music, it is tradition that students turn to leaders in the field to gain insight and knowledge into the specific craft that they wish to pursue. While pure scholarship and study of a repertoire is an excellent way to gain insight into a performance arena, time spent in the field actually performing a certain style of music as a member of a professional ensemble gives a perspective that is intrinsically valuable to a project such as this. In addition to the sources listed in the bibliography and the extensive research done concerning this project, I have been a member of the Dallas Brass Quintet since September of 2010. I currently continue to serve as their tubist. Being a member of this ensemble, which is one of the most active touring commercial styled brass quintets in existence today, has greatly informed me concerning this project in terms of the demands of this type of performance. As I prepared to write this document, I took inventory of the skills and preparation that have allowed me to perform successfully in a commercial brass quintet. -
Works by Martin Bresnick, Mel Powell, Ronald Roseman, Ralph Shapey
Works by Martin Bresnick, Mel Powell, Ronald Roseman, Ralph Shapey New World 80413-2 The woodwind quintet is to the wind instruments as the string quartet is to the strings. Composers have treated the heterogenous ensemble of flute, oboe, clarinet, bassoon, and horn as a unity for so long now that it has become a musical commonplace. The challenge in composing for the woodwind quintet is to weave a consistent musical fabric while respecting the disparate characters of the five instruments. The four composers represented on this recording meet this challenge with imagination and mastery. Ronald Roseman (born 1933 in Brooklyn, New York) is well known as an oboist, with over fifty-five solo and chamber recordings to his credit. He is also a composer whose teachers were Henry Cowell, Ben Weber, Karol Rathaus, and Elliott Carter. He is currently a professor at Yale, Queens College, and The Juilliard School. Roseman's Double Quintet for woodwind and brass was written in 1987 on commission from Yale's Norfolk Chamber Music Festival and is dedicated to Joan Panetti, the director of the festival. The Double Quintet opens with a moody slow introduction followed by an Allegro energico, reminiscent of Stravinsky's Octet and Symphonies of Wind Instruments. Here neoclassical gestures are supplemented by several quasi-improvisatory and extended instrumental techniques. All ten players are given a chance to shine in solos, and there is plenty of virtuoso passagework. The Adagio mesto creates a mournful misterioso atmosphere with low muted brass supporting exotic wind melodies. As in the first movement, there is judicious use of techniques culled from the notational and orchestrational experiments of the Sixties and Seventies.