DOCSLIB.ORG

Rebekah Heller Repertoire List Commissions and World Premieres

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rebekah Heller Repertoire List Commissions and World Premieres Rebekah Heller Repertoire List Commissions and World Premieres SOLO Sabrina Schroeder (b. 1979) – LOVE MACHINE, for amplified solo bassoon + live electronics (2018) ​ ​ *Co-commissioned for Rebekah Heller by ICE Ensemble and the Banff Centre for Arts and Creativity, with lead support from Claire ​ ​ ​ ​ ​ ​ Chase More Information Michele Abondano (b. 1979) – Infinitely Ethereal, for solo bassoon (2018) ​ ​ (video link - almost ready!) Composer notes WATCH NOW Mario Diaz de Leon (b. 1979) – Labrys, for solo bassoon and synthesizer (2016) ​ ​ *written for Rebekah Heller, commissioned through International Contemporary Ensemble’s First Page Program, with lead support from Connie Steensma and Rick Prins WATCH NOW Program Notes + Score Felipe Lara (b. 1979) – Metafagote, for solo bassoon and 6 pre-recorded (or live) bassoons and contrabassoons (2015) ​ ​ *written for Rebekah Heller, commissioned with support from the International Contemporary Ensemble and NMUSA LISTEN WATCH NOW Score Dai Fujikura (b. 1977) – Following, for solo bassoon (2014) ​ ​ *written for Rebekah Heller Watch now on youtube - with Score follower! AND a VIDEO of REBEKAH Jason Eckardt (b. 1971) – A Compendium of Catskill Native Botanicals, from Book 2: Asarum canadense, “Wild Ginger" for solo ​ ​ bassoon (2014) *written for Rebekah Heller LISTEN Performance Notes + Score Du Yun (b. 1977) – 10pm, Ixtab (2013) ​ ​ *written for Rebekah Heller LISTEN Rand Steiger (b. 1957) – Concatenation, for solo bassoon and live processing (2013) ​ ​ *written for Rebekah Heller WATCH NOW Performance Notes + Score Marcelo Toledo (b. 1964) – Qualia II, for solo bassoon and pre-recorded sounds (2012) ​ ​ *written for Rebekah Heller LISTEN WATCH NOW - At Teatro Amazonas in Manaus, BRAZIL ​ Dai Fujikura (b. 1977) – Calling, for solo bassoon (2011) ​ ​ *written for Rebekah Heller, commissioned with generous support from Cathey Falvo WATCH NOW Score Marcos Balter (b. 1974) – …and also a fountain, for solo bassoon, voice, and small percussion instruments (2011) ​ ​ text by Gertrude Stein *written for Rebekah Heller WATCH NOW ANd NOW - At Teatro Amazonas in Manaus, BRAZIL ​ Nathan Davis (b. 1973) – on speaking a hundred names, for solo bassoon and live processing (2010) ​ ​ *written for Rebekah Heller, commissioned with generous support from Cathey Falvo WATCH NOW Purchase the Score Edgar Guzman (b. 1981) – ∞¿?, for solo bassoon and tape (2008) ​ ​ *Commissioned by the International Contemporary Ensemble, in honor of Rebekah Heller’s first solo concert as an ICEensmemble member Listen on Spotify SMALL CHAMBER WORKS (2-4 players) Ashley Fure (b. 1982) – Filament, trio for bassoon, bass and trumpet (2018) ​ ​ (Album forthcoming) Suzanne Farrin (b. 1977) – “Prisoner Poems” from Dolce la Morte, duo for bassoon and high voice (2017) ​ ​ Commissioned by the International Contemporary Ensemble Watch the World Premiere Performance!! Featuring Rebekah Heller and Anthony Roth Costanzo ​ More Information (photo of Rebekah and Anthony - in drive) Jessie Cox (b. 1995) – Earth, for two bassoons (2017) ​ ​ WATCH NOW Wojtek Blecharz (b. 1981) – Music for Invisible Places for flute, bassoon, clarinet, saxophone (2017) ​ ​ WATCH A PREVIEW WATCH THE 30 MINUTE WORK Mario Diaz de Leon (b. 1979) – Mysterium, for flute, bassoon, clarinet, and tape (2016) ​ ​ WATCH NOW (score info included) ​ Natacha Diels (b. 1981) –- Words to Sleep By, for voice, bassoon and saxophone (2016) ​ ​ ​ ​ ​ ​ WATCH NOW Watch a WILD music video made by Natacha ANOTHER VIDEO :) Édgar Guzmán (b. 1981) – THE PURLOINED LETTER, duo for saxophone and bassoon with or without electronics (2016) ​ ​ ​ ​ Commissioned by the International Contemporary Ensemble, dedicated to Rebekah Heller and Ryan Muncy Olga Neuwirth (b. 1968) – In nacht und eis, for bassoon and cello with ring modulator (2006, rev. 2015) ​ ​ *revised for two bassoons in 2015 for a performance at National Sawdust in Brooklyn, with Pascal Gallois WATCH NOW Anna Thorvaldsdottir (b. 1977) – Sequences, for low wind quartet (2015) ​ ​ Commissioned by the International Contemporary Ensemble WATCH NOW LISTEN on Spotify Édgar Guzmán (b. 1981) – Low End DJ, for bassoon, violoncello and stereo audio file (2015) ​ ​ ​ Commissioned by Rebekah Heller WATCH NOW Score + More info Marcos Balter (b. 1974) – Codex Seraphininus, for flute, bassoon, saxophone, viola (2014) ​ ​ WATCH NOW Felipe Lara (b. 1979) – Voz Dos Vento, for flute, clarinet, and bassoon (2014) ​ ​ WATCH NOW Morgan Krauss (b. 185) – Divide Its White Laughter Into Two, for saxophone and bassoon (2014) ​ ​ WATCH NOW Maria Stakova (b. 1984) – La bouche, for clarinet and bassoon (2013) ​ ​ WATCH NOW *commissioned by the International Contemporary Ensemble as part of ICELab Tyshawn Sorey (b. 1979) – Ode to Gust Burns for bassoon, guitar, piano, and percussion (2012) ​ ​ *commissioned by the International Contemporary Ensemble, as part of ICELab WATCH NOW Marcelo Toledo (b.1964) – MaDos Miradas Fugaces A La Noche, for two bassoons (2012) ​ ​ LISTEN on Soundcloud LARGE CHAMBER/ SOLO WITH ORCHESTRA (5 players or more) Matana Roberts (b. 1975) – I call america: Sandy Speaks... (2019) ​ ​ ​ *Commissioned by The Earle Brown Music Foundation Charitable Trust Jessie Cox (b. 1995) – After-Were(l)ds: Mey(n)t / Meaning, for ensemble with voice (2019) ​ ​ Written for International Contemporary Ensemble as part of the National Composers Intensive of the LaPhil ​ ​ Camila Agosto (b. 1995) – Tybontoan, for amplified large chamber ensemble (2019) ​ ​ MORE INFO Written for International Contemporary Ensemble as part of the National Composers Intensive of the LaPhil ​ ​ Ash Fure (b. 1982) – Library on Lightening for bassoon, bass, trumpet soloists, megaphonists and large orchestra (2018) ​ ​ *Commissioned by the New York Philharmonic Ann Cleare (b. 1983) – teeth of light, tongue of waves for solo voice, solo bassoon, and small ensemble (2018) ​ ​ WATCH NOW Composer Notes Phyllis Chen and Nathan Davis – In Plain Air, for solo organ and small ensemble (2018) ​ ​ WATCH A DOCUMENTARY ABOUT THE PIECE Nicole Mitchell – Inescapable Spiral, for flexible ensemble (2017) ​ ​ *Commissioned by the International Contemporary Ensemble with lead support from Oscar Gerardo WATCH NOW Ash Fure (b. 1982) & Adam Fure (b. 1980) – The Force of Things (2017) ​ ​ ​ ​ WATCH NOW Igor Stravinsky arr. Cliff Colnot - The Rite of Spring, chamber ensemble version (2017) ​ ​ WATCH NOW, World Premiere at the Ojai Festival ​ Tyshawn Sorey (b. 1979) – Perle Noire: Meditations for Joséphine for soprano, flute, sax, bassoon, violin, guitar, and piano / percussion ​ ​ (2016) *Commissioned by the International Contemporary Ensemble with lead support from Elizabeth and Justus Schlichting WATCH EXCERPT Nathan Davis (b. 1976) - Hagoromo, for 5 instrumentalists, 2 vocal soloists, children’s choir and 2 dancers (2015) ​ ​ WATCH NOW *Commissioned through International Contemporary Ensemble’s First Page Program, with lead support from Van Cleef & Arpels, Claude J Arpels and Marisa Arpels Zosha Di Castri & David Adamcyk – Phonobellow, for violin, saxophone, bassoon, piano, percussion and musical sculpture (2015) ​ ​ ​ ​ WATCH NOW * Commissioned by International Contemporary Ensemble as part of ICELab Christian Wolff - Pete, for violin, flute, saxophone, bassoon, trumpet, horn, and percussion (2014) ​ ​ WATCH NOW Felipe Lara (b. 1979) – Tiento, for large ensemble (2013) ​ ​ WATCH NOW Vijay Iyer (b. 1971) and Prashant Bhargava (1973-2015) - Radhe Radhe, the rites of Holi, a suite for three winds, three strings, two ​ ​ percussion, two pianos, and electronics, in live counterpoint with cinematic episodes compiled from footage of the eight days and nights of Holi festivities in Mathura, India (2013) WATCH PREVIEW HERE BUY VISUAL ALBUM HERE Rand Steiger (b. 1957) – Coalescence, for large Ensemble and electronics (2013) ​ ​ WATCH NOW George Lewis (b. 1952) – Born Obbligato for Septet (2013) ​ ​ Watch an EXCERPT HERE *Commissioned by the International Contemporary Ensemble Dai Fujikura (b. 1979) – Minina, for bassoon, flute, clarinet, oboe, and hammered dulcimer (2013) ​ ​ WATCH NOW Score, more information Sasha Siem (b. 1984) – Bird Burning, for singer and small ensemble 23013) ​ ​ WATCH NOW *commissioned by the International Contemporary Ensemble as part of ICELab Maria Stakova (b. 1984) – afaint afar away over there what, for flute, clarinet, bassoon, violin, viola, cello, percussion (2013) ​ ​ WATCH NOW *commissioned by the International Contemporary Ensemble as part of ICELab Carla Kihlstedt (b.1971) – At Night we Walk in Circles and are consumed by fire, song cycle for singing violinist and 9 players (2012) ​ ​ ROCKING BASSOON SONG (video from Ecstatic Music Festival) ​ *commissioned by the International Contemporary Ensemble as part of ICELab Patricia Alessandrini (b. 1970) – Gurre-Klänge, for voice, violin, viola, cello, flute, clarinet, bassoon, guitar, percussion (2012) ​ ​ WATCH NOW *commissioned by the International Contemporary Ensemble as part of ICELab Nathan Davis (b. 1973) – On the Nature of Thingness, for soprano and ensemble (2011) ​ ​ WATCH NOW *commissioned by the International Contemporary Ensemble as part of ICELab Dai Fujikura (b. 1979) – Mina, for 5 soloists and orchestra (2011/2012) ​ ​ *premiered by Rebekah Heller, Nicholas Masterson, Claire Chase, Joshua Rubin and Nathan Davis with the Seattle Symphony in October 2013 || followed by a second performance with The Nagoya Philharmonic (Japan) in February 2014 George Lewis (b. 1952) – The Will to Adorn for 15 players (2011)
Load more

Recommended publications
  • Magnus Lindberg 1
    21ST CENTURY MUSIC FEBRUARY 2010 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2010 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.
    [Show full text]
  • Dayton C. Miller Flute Collection
    Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright
    [Show full text]
  • 6Th Grade Supply List Cove Creek Middle School 2019-2020 Math
    6th Grade Supply List Cove Creek Middle School 2019-2020 Math ELA ● 1 2-inch inch binder ● 1 ½ binder ● Spiral notebook ● 5 tab dividers ● Pencil pouch for calculator ● Three-pronged, two-pocket plastic folder ● Pencil pouch with pencils, pens, ● Post-it notes highlighters ● Pencil pouch with pencils, pens, highlighters Science/Social Studies General Supplies (will be needed for all classes) ● 1 1-inch binder ● Earbuds (no Airpods or Bluetooth) ● 5 tab dividers ● Pencils ● Highlighters ● Loose leaf paper ● Post-it notes ● Homeroom folder/sleeve for take-home ● Homework folder information ● Spiral Notebook ● Pencil pouch with pencils, pens, highlighters Communal Supplies (to be used by all middle school teachers as needed) ● Clorox wipes ● Kleenex ● Hand sanitizer ● Extra pencils ● Extra pens ● Extra loose leaf paper ● Extra ear buds ● Baggies (sandwich size) Exploratory classes McAulay - Art Spiral bound sketch book (8 ½” x 11” or 8” x 10” or 9” x 10”) Pencils, Erasers, Hand held pencil sharpener Vannoy - PE Physicals are required for all middle school sports Oxentine - Wireless mouse (optional) Technology/Comput ers Rash - ORCHESTRA BAND Band/Orchestra ● Instrument (choose from violin, ● Instrument (choose from viola, cello or upright bass)* flute, clarinet, saxophone, ● Accessories trumpet, french horn, ● Rosin trombone/baritone or ● Shoulder Rest (violin/viola only) percussion)* ● Cello endpin anchor (cello only) ● Accessories ● Extra set of strings (if feasible) ● cleaning swab or other ● Microfiber cloth to periodically cleaning accessories wipe down instrument ● A box of reeds (clarinet, ● Method Book saxophone) ● Essential Elements Book 1 for ● Cork grease (clarinet, specific instrument saxophone) ● Black, 1” or ½” 3 Ring Binder ● valve oil (trumpet); rotary ● Pencil valve oil (french horn only) ● Slide oil (trombone) ● Drumsticks + practice pad (percussion only) ● Method Book ● Essential Elements Book 1 for specific instrument ● Black, 1” or ½” 3 Ring Binder ● Pencil - not pen .
    [Show full text]
  • 27.1. at 20:00 Helsinki Music Centre We Welcome Conrad Tao Sakari
    27.1. at 20:00 Helsinki Music Centre We welcome Conrad Tao Sakari Oramo conductor Conrad Tao piano Lotta Emanuelsson presenter Andrew Norman: Suspend, a fantasy for piano and orchestra 1 Béla Bartók: Divertimento for String Orchestra 1. Allegro non troppo 2. Molto adagio 3. Allegro assai Conrad Tao – “shaping the future of classical music” “Excess. I find it to be for me like the four, and performed Mozart’s A-major pia- most vividly human aspect of musical no concerto at the age of eight. He was performance,” says pianist Conrad Tao (b. nine when the family moved to New York, 1994). And “excess” really is a good word where he nowadays lives. Beginning his to describe his superb technique, his pro- piano studies in Chicago, he continued at found interpretations and his emphasis on the Juilliard School, New York, and atten- the human aspect in general. ded Yale for composition. Tao has a wide repertoire ranging from Tao has had a manager ever since Bach to the music of today. He has also he was twelve. As a youngster, he also won recognition as a composer, and one learnt the violin, and several times in who, he says, views his keyboard perfor- 2008/2009 played both the E-minor vio- mances through the eyes of a composer. lin concerto and the first piano concerto His many talents and his ability to cross by Mendelssohn at one and the same con- traditional borders have indeed made him cert, but he soon gave up the violin. a notable influencer and a model for ot- Despite having all the hallmarks of a hers.
    [Show full text]
  • Magnus Lindberg Al Largo • Cello Concerto No
    MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985).
    [Show full text]
  • Conn Saxophone Microtuner
    THE CONN SAXOPHONE MICROTUNER After a mouthpiece is placed on the neck of a saxophone it is then moved in (farther on) to raise the pitch or out to lower the pitch. The adjustment of the pitch by varying the tubing length by one method or another is common to most wind instruments. In most, if not all, cases the properties of the mouthpieces are not affected. However, as the mouthpiece of a saxophone is moved farther on the neck, the neck then protrudes farther into the mouthpiece, causing a reduction in the chamber volume of the mouthpiece. The chamber volume is believed to affect the intonation, quality, and stability of the notes produced by the saxophone. In July 1919, Conn engineer Edward J. Gulick was granted a patent for a saxophone microtuner, the primary purpose being to provide a convenient means to adjust the overall pitch of the instrument without having to move the mouthpiece on the cork. An apparently unintended benefit was that the mouthpiece chamber volume remains unaffected. This is true provided the mouthpiece is not moved relative to the cork during the tuning process. The microtuner assembly consists of a receiver, a composite piece which I will call the armature, and a collar with a retaining nut. The receiver is an integral part of the saxophone neck and has external threads to accept the collar. An early version of the receiver is shown in Figure 1. The armature is made of three parts. First is a thin-walled cylindrical brass tube which telescopes snugly into the bore of the receiver, Second is an annular flange with a larger external diameter than the receiver.
    [Show full text]
  • Instruments of the Orchestra
    INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings.
    [Show full text]
  • CHINARY UNG: SINGING INSIDE AURA WATER RINGS OVERTURE | ANICCA | ANTIPHONAL SPIRALS | GRAND SPIRAL [1] WATER RINGS OVERTURE (1993) 6:46 CHINARY UNG B
    CHINARY UNG: SINGING INSIDE AURA WATER RINGS OVERTURE | ANICCA | ANTIPHONAL SPIRALS | GRAND SPIRAL [1] WATER RINGS OVERTURE (1993) 6:46 CHINARY UNG b. 1942 WATER RINGS OVERTURE [2] ANICCA (1970) 8:27 ANICCA [3] ANTIPHONAL SPIRALS (1995) 11:03 ANTIPHONAL SPIRALS [4] SINGING INSIDE AURA (2013) 14:34 Susan Ung, viola and voice SINGING INSIDE AURA GRAND SPIRAL: DESERT FLOWERS BLOOM [5] GRAND SPIRAL: DESERT FLOWERS BLOOM (1991) 13:19 SUSAN UNG viola and voice TOTAL 54:10 BOSTON MODERN ORCHESTRA PROJECT GIL ROSE, CONDUCTOR COMMENT By Chinary Ung The use of vocalization has become a central feature in my music over the past two decades. As a child growing up in a small village surrounded by rice fields, I was exposed to this practice as a part of folk music, and would later hear the music of other cultures share this approach. In contemporary Western music, however, vocalization was most often used as a special effect. I would eventually seek to incorporate vocalization in a more comprehensive manner that was integral to the work while reflecting a similar timelessness and cultural resonance as in the folk music I remembered. The first significant occasion I had to experiment with this idea was in Susan Ung’s Moon Ritual, a structured improvisation in the late 1970s in which Susan played her viola through a Buchla synthesizer while I played cello and vocalized, using syllables for their sound character. The idea remained on the back burner for twenty years before I brought it forth in a major work, Grand Alap, for cello and percussion, in which both parts featured extensive vocalization.
    [Show full text]
  • The Infinisphere: Expanding Existing Electroacoustic Sound Principles by Means of an Original Design Application Specifically for Trombone
    THE INFINISPHERE: EXPANDING EXISTING ELECTROACOUSTIC SOUND PRINCIPLES BY MEANS OF AN ORIGINAL DESIGN APPLICATION SPECIFICALLY FOR TROMBONE BY JUSTIN PALMER MCADARA SCHOLARLY ESSAY Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate College of the University of Illinois at Urbana-Champaign, 2020 Urbana, Illinois Doctoral Committee: Professor James Pugh, Chair and Director of Research Assistant Professor Eli Fieldsteel Professor Erik Lund Professor Charles McNeill DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library Date: July 10, 2020 DMA Option (circle): 2 [thesis] or 3 [scholarly essay] Your full name: Justin Palmer McAdara Full title of Thesis or Essay: The InfiniSphere: Expanding Existing Electroacoustic Sound Principles by Means of an Original Design Application Specifically for Trombone Keywords (4-8 recommended) Please supply a minimum of 4 keywords. Keywords are broad terms that relate to your thesis and allow readers to find your work through search engines. When choosing keywords consider: composer names, performers, composition names, instruments, era of study (Baroque, Classical, Romantic, etc.), theory, analysis. You can use important words from the title of your paper or abstract, but use additional terms as needed. 1. Trombone 2. Electroacoustic 3. Electro-acoustic 4. Electric Trombone 5. Sound Sculpture 6. InfiniSphere 7. Effects 8. Electronic If you need help constructing your keywords, please contact Dr. Bashford, Director of Graduate Studies. Information about your advisors, department, and your abstract will be taken from the thesis/essay and the departmental coversheet.
    [Show full text]
  • Instrument Descriptions
    RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it.
    [Show full text]
  • The Source Spectrum of Double-Reed Wood-Wind Instruments
    Dept. for Speech, Music and Hearing Quarterly Progress and Status Report The source spectrum of double-reed wood-wind instruments Fransson, F. journal: STL-QPSR volume: 8 number: 1 year: 1967 pages: 025-027 http://www.speech.kth.se/qpsr MUSICAL ACOUSTICS A. THE SOURCE SPECTRUM OF DOUBLE-REED WOOD-VIIND INSTRUMENTS F. Fransson Part 2. The Oboe and the Cor Anglais A synthetic source spectrum for the bassoon was derived in part 1 of the present work (STL-GPSR 4/1966, pp. 35-37). A synthesis of the source spectrum for two other representative members of the double-reed family is now attempted. Two oboes of different bores and one cor anglais were used in this experiment. Oboe No. 1 of the old system without marking, manufactured in Germany, has 13 keys; Oboe No. 2, manufactured in France and marked Gabart, is of the modern system; and the Cor Anglais No. 3 is of the old system with 13 keys and made by Bolland & Wienz in Hannover. Measurements A mean spectrogram for tones within one octave covering a frequen- cy range from 294 to 588 c/s was produced for the oboes by playing two scrics of tones. One serie was d4, e4, f4, g4, and a and the other 4 serie was g 4, a4, b4, c 5' and d5. Both series were blown slurred ascending and descending in rapid succession, recorded and combined to a rather inharmonic duet on one loop. The spectrograms are shown in Fig. 111-A- 1 whcre No. 1 displays the spectrogram for the old sys- tem German oboe and No.
    [Show full text]
  • Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
    NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists.
    [Show full text]