DOCSLIB.ORG

MAG MAG Issue 3 December 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MAG MAG Issue 3 December 2013 MAG MAG Issue 3 December 2013 Contents Editorial 2 MAG News 3 2013 Membership Survey: The Preliminary Results ............... 3 Industry News 11 Events 12 MAG Events ...................................... 12 Other Events and Calls for Papers ......................... 14 Featured Article 15 Musical Acoustics at Cardiff ............................. 15 Letters 18 LinkedIn Roundup .................................. 21 Resources 22 Picture on the Cover 23 EDITORIAL Editorial Hello everybody and welcome to the third issue of MAG MAG, the newsletter of the Institute of Acoustics Musical Acoustics Group. My name is Owen Woods and I am the editor of this publication. The most exciting news in this edition is the announcement of five MAG events taking place in 2014-15. These range from evening branch meetings to full blown conferences and include work on Soundscapes, Recorded Music and Musical Instruments. I hope to see many people there supporting the work that we are doing to get this group as dynamic and stimulating as it should be. This issue’s Featured Article on page 15 is by Bernard Richardson of Cardiff University and is the fascinating story of his group’s research into stringed musical instrument acoustics. I find it fascinating anyway, although I might be considered to be biased on this one. We also have the results of the MAG Questionnaire on the next page this month. I am sure that this is news of great joy to everybody, so please do take a peek and see what you the group have told us to do. If you disagree, why not tell us about it on our LinkedIn group or by email? Mike Wright, our Chair, is still seeking information on the history of the MAG. Anec- dotes, clippings, publications, photographs, all are welcome. Please see his letter to the group on page 20. I note from the previous publication that I described this as “The Christmas Issue”. To that end: I wish all MAG Members a very Merry Christmas (or non-Christian equivalent) and a Happy New Year (wherever your New Year happens to fall)! If you have anything which you think would be of interest to your fellow members then please email me on [email protected]. I would welcome any contribution, however small. This newsletter will only be as good as its content and that will be decided by you, the readers. This newsletter will be published quarterly, in March, June, September and December. The deadline for submissions for the March 2014 Issue will be the 9th March 2014. Views expressed in MAG MAG are not necessarily the official view of the Institute of Acoustics or of the Musical Acoustics Group, nor do individual contributions reflect the opinions of the Editor. Whilst every care has been taken in the preparation of the newsletter, the publishers cannot be held responsible for the accuracy of the informa- tion herein, or any consequence arising from them. The Institute of Acoustics, MAG and Editor do not necessarily endorse the products or claims made by any contributor to this newsletter. 2 MAG NEWS MAG News This section is devoted to what we in the group are up to. If you have any MAG related news that you would like to share with us then please contact the editor. 2013 Membership Survey: The Preliminary Results Introduction It is now more than 21 years since members of the Musical Acoustics Group were asked to give their views to enable its future development. Back in the days before John Major lost the General Election, Peter Dobbins sent out a questionnaire to all MAG members using the long tried and tested method of paper forms and hoping for a response. The group membership was 116 in 1991 and about 20% responded. Nevertheless, as reported in ‘Notes’, April 1992 (the MAG newsletter of the time) the survey still provided some key points which helped the group to steer a path for the future. In the following years, membership slowly increased to 138 in 1993 but slowly declined to 79 by 2002. However, there were signs of a revival following the efforts of Peter Dobbins and Murray Campbell in 2003 with some activities taking place, in particular one on the ‘New Violin Octet’ which was well reported and IOA Spring conferences at Southampton in 2006 and Reading in 2008. There were also efforts to collaborate with the UK Musical Acoustics Network. Indeed, there was a revival in membership numbers reaching 286 in 2011, dropping slightly to 280 in 2012. Revival After a successful (free weekend) picked up clearly showed that costs to branch meeting which I chaired attend were a major factor along with featuring an organ builder the timing of the meeting. This event demonstrating his techniques on two would have been rather close to organs in Truro, I was motivated to Acoustics 2012 at Nantes which also press on and revitalise the group. had a good programme of interest to However, an attempt to hold a full MAG members. However, things for one-day meeting at Cardiff in 2012 2013 have improved with a full session failed due to the lack of support. of musical acoustics papers at the Whilst there was a good programme of Spring Conference and the first full presentations, holding the meeting one-day meeting of the Group this would have meant costs far millennium with more ‘on the cards’. outstripping the revenue from We now have a fully operational MAG attendance fees. The feedback I management committee. However, in 3 2013 Membership Survey: The Preliminary Results MAG NEWS the process, it has become became support from members of the IOA abundantly clear that we need to know (both within and outside the MAG) and what members want. This is needed the music industry generally, as well for the MAG to survive and develop so as instrument makers and academia, that it is much more than just an would be unlikely unless changes were ‘interest group’. Whilst ‘interest made quickly. This survey was groups’ might be seen as ‘desirable’ by essential. some, the harsh reality is that getting This Survey The 2013 survey was very much based also account for some non-responses upon the questions in the 1992 survey to old e-mail addresses. However, but using 21st century methods. This please accept my apologies if you are was done using ‘Survey Monkey’, the a member of the MAG and have not method used in the IOA Members been invited to take part in this Survey last year. There were 71 survey. The above has led to some responses representing around 25% of slight discrepancies in some numbers the total of invitations that went out. shown below. In this report, I am It is my view that the number of concentrating on hard fact rather than responses was a bit disappointing, detailed interpretation as I reiterate considering the small amount of time Peter Dobbins words in the 1992 and effort members needed to take survey: “This is not a random survey – part. There are a few IOA members it is limited to those with sufficient who have elected not to receive motivation to reply”. However, the circular e-mails with just a handful in 2013 survey has shown that 71 keen the MAG. I also found out later that a members were motivated to respond few of the members who received the and this has provided some very invitation to this survey were not helpful information. We must therefore presently members of the MAG. This be in with a good chance of having a may be due to members not updating strong group on that basis alone! their details with the Institute. It may What other specialist groups do members of the MAG belong to? Many MAG members belong to other memberships of the Building and groups and almost 6% of the total Physical Acoustics Groups responded, membership of the Speech and giving more scope for collaborations Hearing Group and over 5% of the between groups. Hopefully too, there Electroacoustics Group responded to is a future ahead for the MAG with over this survey. This is not surprising as 10% of the total number of the Young there is considerable synergy between Members Group responding. However their activities and those of the MAG disappointingly, only I and one other and efforts are well underway to person in the Senior Members Group encourage joint activities. responded, representing less than 3% Encouragingly, around 3% of the total of its current membership! 4 2013 Membership Survey: The Preliminary Results MAG NEWS Why do IOA members belong to the MAG? It was encouraging to know that there was an overwhelming majority (almost 80%) who simply wanted to ‘Gain Knowledge’ and an encouraging interest in MAG MAG which of course helps in that direction! Where are the members of the MAG? The geography of the Members members showed the largest locations were considered to be contingent was from the London important. The 1992 survey showed ‘a Branch with 25 responding, just over loose concentration in the south-east’ 3% of its total membership. However, a tighter cluster around Bristol and the in terms of the overall branch remainder spread over the rest of membership, both the Eastern (over England with a few in Wales and 5%) and Central Branches (just under Scotland. I have not yet analysed the 4%) had a greater proportion with an 2013 geographic locations in detail but almost 3% response from the Welsh have instead looked at member’s and North-West branches. The lack of branches. This is very important for response from the Irish and overseas considering the general target branches and comments from certain audience.
Load more

Recommended publications
  • The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument
    Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2016 The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument Victoria A. Hargrove Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Hargrove, Victoria A., "The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument" (2016). Theses and Dissertations. 236. https://csuepress.columbusstate.edu/theses_dissertations/236 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT Victoria A. Hargrove COLUMBUS STATE UNIVERSITY THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT A THESIS SUBMITTED TO HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE HONORS IN THE DEGREE OF BACHELOR OF MUSIC SCHWOB SCHOOL OF MUSIC COLLEGE OF THE ARTS BY VICTORIA A. HARGROVE THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT By Victoria A. Hargrove A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF MUSIC PERFORMANCE COLLEGE OF THE ARTS Thesis Advisor Date ^ It, Committee Member U/oCWV arcJc\jL uu? t Date Dr. Susan Tomkiewicz A Honors College Dean ABSTRACT The purpose of this lecture recital was to reflect upon the rapid mechanical progression of the clarinet, a fairly new instrument to the musical world and how these quick changes effected the way composers were writing music for the instrument.
    [Show full text]
  • The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr.
    [Show full text]
  • Finale Transposition Chart, by Makemusic User Forum Member Motet (6/5/2016) Trans
    Finale Transposition Chart, by MakeMusic user forum member Motet (6/5/2016) Trans. Sounding Written Inter- Key Usage (Some Common Western Instruments) val Alter C Up 2 octaves Down 2 octaves -14 0 Glockenspiel D¯ Up min. 9th Down min. 9th -8 5 D¯ Piccolo C* Up octave Down octave -7 0 Piccolo, Celesta, Xylophone, Handbells B¯ Up min. 7th Down min. 7th -6 2 B¯ Piccolo Trumpet, Soprillo Sax A Up maj. 6th Down maj. 6th -5 -3 A Piccolo Trumpet A¯ Up min. 6th Down min. 6th -5 4 A¯ Clarinet F Up perf. 4th Down perf. 4th -3 1 F Trumpet E Up maj. 3rd Down maj. 3rd -2 -4 E Trumpet E¯* Up min. 3rd Down min. 3rd -2 3 E¯ Clarinet, E¯ Flute, E¯ Trumpet, Soprano Cornet, Sopranino Sax D Up maj. 2nd Down maj. 2nd -1 -2 D Clarinet, D Trumpet D¯ Up min. 2nd Down min. 2nd -1 5 D¯ Flute C Unison Unison 0 0 Concert pitch, Horn in C alto B Down min. 2nd Up min. 2nd 1 -5 Horn in B (natural) alto, B Trumpet B¯* Down maj. 2nd Up maj. 2nd 1 2 B¯ Clarinet, B¯ Trumpet, Soprano Sax, Horn in B¯ alto, Flugelhorn A* Down min. 3rd Up min. 3rd 2 -3 A Clarinet, Horn in A, Oboe d’Amore A¯ Down maj. 3rd Up maj. 3rd 2 4 Horn in A¯ G* Down perf. 4th Up perf. 4th 3 -1 Horn in G, Alto Flute G¯ Down aug. 4th Up aug. 4th 3 6 Horn in G¯ F# Down dim.
    [Show full text]
  • Ron Mcclure • Harris Eisenstadt • Sackville • Event Calendar
    NEW YORK FebruaryVANGUARD 2010 | No. 94 Your FREE Monthly JAZZ Guide to the New ORCHESTRA York Jazz Scene newyork.allaboutjazz.com a band in the vanguard Ron McClure • Harris Eisenstadt • Sackville • Event Calendar NEW YORK We have settled quite nicely into that post-new-year, post-new-decade, post- winter-jazz-festival frenzy hibernation that comes so easily during a cold New York City winter. It’s easy to stay home, waiting for spring and baseball and New York@Night promising to go out once it gets warm. 4 But now is not the time for complacency. There are countless musicians in our fair city that need your support, especially when lethargy seems so appealing. To Interview: Ron McClure quote our Megaphone this month, written by pianist Steve Colson, music is meant 6 by Donald Elfman to help people “reclaim their intellectual and emotional lives.” And that is not hard to do in a city like New York, which even in the dead of winter, gives jazz Artist Feature: Harris Eisenstadt lovers so many choices. Where else can you stroll into the Village Vanguard 7 by Clifford Allen (Happy 75th Anniversary!) every Monday and hear a band with as much history as the Vanguard Jazz Orchestra (On the Cover). Or see as well-traveled a bassist as On The Cover: Vanguard Jazz Orchestra Ron McClure (Interview) take part in the reunion of the legendary Lookout Farm 9 by George Kanzler quartet at Birdland? How about supporting those young, vibrant artists like Encore: Lest We Forget: drummer Harris Eisenstadt (Artist Feature) whose bands and music keep jazz relevant and exciting? 10 Svend Asmussen Joe Maneri In addition to the above, this month includes a Lest We Forget on the late by Ken Dryden by Clifford Allen saxophonist Joe Maneri, honored this month with a tribute concert at the Irondale Center in Brooklyn.
    [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]
  • The Clarinet and Piano
    REVIEWS The explanations are succinct without CLARINET AND PIANO BOOKS sacrificing depth of understanding. The Brian Balmages. Dream Sonatina for Kornel Wolak. Articulation Types for pictures highlighting each muscle group are well presented and clear, and the clarinet and piano. Potenza Music, Clarinet. Music Mind Inc., 2017. 54 2015. Duration 10’30” $24.95 pp. PDF e-book $14.99, hard copy bibliography of materials for additional $19.99 study compliments his explanations nicely. American composer Brian Balmages I found this part of the book particularly (b. 1975) has written numerous works helpful. It directs the student to additional for wind and brass instruments. Dream exercises and methods that will help refine Sonatina was composed for clarinetist the technique in question. Articulation Marguerite Levin and premiered by Types for Clarinet is an excellent primer her in Weill Recital Hall, New York and first step in the understanding and City. Balmages fulfilled the specifics of application of the various available the commission by composing a work reflecting life in his 30s. For Balmages articulations. It was an enjoyable read, this centered on the birth of his two and I recommend it to anyone looking to children and three types of dreams they present articulation concepts to students experienced: daydreams, sweet dreams in a fresh and novel way. and bad dreams. The dreams are each Kornel Wolak’s book Articulation Types – Osiris Molina portrayed in a separate movement. for Clarinet is an extension of his work for The music is well-written, convincing Music Mind Inc. and his graduate research and of medium-hard difficulty, and it uses at the University of Toronto.
    [Show full text]
  • Clarinet Quarter-Tone Fingering Chart
    Clarinet Quarter-Tone Fingering Chart 1st Edition rev.1 2017 Jason Alder www.jasonalder.com ii Author’s Note This clarinet quarter-tone fingering chart developed as a continuation of my initial work of one for bass clarinet, which grew from my extensive playing of contemporary music and study of South-Indian Karnatic music. My focus had been primarily on bass clarinet, so the development of this chart for soprano clarinet didn’t come to realization until some years later as my own need for it arose, occurring simultaneously with a decision to rework the initial bass clarinet chart into a second edition. The first edition for clarinet therefore follows the same conventions as the second edition bass clarinet fingering chart. This first revision revisits a few quarter-tone fingerings around the “break” after I discovered some better ones to use. Jason Alder London, 2017 iii Guide to the Fingering Chart This fingering chart was made using a Buffet R13 clarinet, and thus the fingerings notated are based on the Boehm system. Because some differences may exist between different manufacturers, it is important to note how this system correlates to your own instrument. In some fingerings I have used the Left Hand Ab//Eb key, which not all instruments have. I’ve included this only when its use is an option, but have omitted the outline when it’s not. Many notes, particularly quarter-tones and altissimo notes, can have different fingerings. I have notated what I found to be best in tune for me, with less regard for ease and fluidity of playing.
    [Show full text]
  • Copy of 2017 Solo & Ensemble Additions
    2016/2017 Solo & Ensemble Additions and Edits Event UIL Title Composer Arranger Treble Voice Solo 107-1-32691 Sweet Suffolk Owl Hundley Treble Voice Solo 107-1-32693 Come Ready and See Me Hundley Treble Voice Solo 107-1-32696 Ich Sagte Nicht Beach Treble Voice Solo 107-1-32698 Deine Blumen Beach Treble Voice Solo 107-1-32700 Je Demande a l'oiseau Beach Treble Voice Solo 107-1-32701 Warnung Mozart Treble Voice Solo 107-1-32702 Als Luisa die Briefe Mozart Treble Voice Solo 107-1-32704 The Year's at the Spring Beach Treble Voice Solo 107-1-32705 Pippa's Song Rorem Treble Voice Solo 107-1-32707 See How They LoVe Me Rorem Treble Voice Solo 107-1-32709 Simple Song Bernstein Treble Voice Solo 107-1-32711 The Lord is my Shepherd Childs Treble Voice Solo 107-1-32712 Wir Wandelten Brahms Treble Voice Solo 107-1-32713 Die Mainacht Brahms Treble Voice Solo 107-1-32714 Susses Begrabnis Loewe Treble Voice Solo 107-1-32715 Standchen Schubert Treble Voice Solo 107-1-32716 Notre Amour Faure Treble Voice Solo 107-1-32717 Lamento Duparc Treble Voice Solo 107-1-32718 OuVre ton Coeur Bizet Treble Voice Solo 107-1-32719 Chanson d'AVril Bizet Treble Voice Solo 107-1-32721 Ho Sparse Tante Lagrime Morlacchi Treble Voice Solo 107-1-32723 Oh, Vieni al Mare Donizetti Treble Voice Solo 107-1-32725 Non t'accostare all'urnA Ferrari Treble Voice Solo 107-1-32727 L'addio Vaccai Treble Voice Solo 107-1-32728 In Uomini in soldati from Cosi fan tutte Mozart Treble Voice Solo 107-1-32729 Una Donna a Quindici anni from Cosi fan Tutte Mozart Treble Voice Solo 107-1-32730 Batti
    [Show full text]
  • Prominent Schools of Clarinet Sound (National Styles)
    Prominent Schools of Clarinet Sound (National Styles) German School (Oehler system, up to 27 keys) Description: dark, compact, well in tune but difficult to play very softly Players: Karl Leister, Sabine Meyer French School (Boehm system, 16 or 17 keys) Description: clear, bright/too bright, large dynamic range Players: Anthony Gigliotti, Phillippe Cuper Italian School (Boehm system) Description: voice-like quality Opera tradition Players: Ernesto Cavallini, Alessandro Carbonare American School (Boehm system) Description: Strong French influence but more open and wide, more air and flexibility Connections to jazz and film music Players: Larry Combs, Richard Stolzman, Charles Neidich, Benny Goodman, Artie Shaw JDG 20200815 The Most-used Types of Clarinets Band Eb Clarinet Bb Clarinet***** Eb Alto Clarinet Bb Bass Clarinet Eb Contra Alto Clarinet Bb Contra Bass Clarinet Orchestra Eb Clarinet C Clarinet Bb Clarinet A Clarinet Bb Bass Clarinet Worth Mentioning Basset Horn (in F) Basset Clarinet (in A) When an instrument plays its C and that sound/pitch is the same as the piano’s C, we say the instrument is “in C” When an instrument plays its C and that sound/pitch is the same as the piano’s Bb, we say the instrument is “in Bb” When an instrument plays its C and that sound/pitch is the same as the piano’s Eb, we say the instrument is “in Eb” And so on. JDG 20200815 Equipment Clarinets Rubber/plastic/ebonite, wood, carbon composites • Buffet • Selmer • LeBlanc • Yamaha • Bundy Mouthpieces Rubber, glass (metal) • Vandoren • Selmer • Yamaha • LeBlanc Reeds Cane or synthetic • Vandoren • Rico • Alexander • Gonzalez Ligatures and mouthpiece caps • Vandoren • Bonade (inverted) • LeBlanc • Rovner • Unnamed Tips • I purchase new instruments and used instruments.
    [Show full text]
  • Download the Clarinet Saxophone Classics Catalogue
    CATALOGUE 2017 www.samekmusic.com Founded in 1992 by acclaimed clarinetist Victoria Soames Samek, Clarinet & Saxophone Classics celebrates the single reed in all its richness and diversity. It’s a unique specialist label devoted to releasing top quality recordings by the finest artists of today on modern and period instruments, as well as sympathetically restored historical recordings of great figures from the past supported by informative notes. Having created her own brand, Samek Music, Victoria is committed to excellence through recordings, publications, learning resources and live performances. Samek Music is dedicated to the clarinet and saxophone, giving a focus for the wonderful world of the single reed. www.samek music.com For further details contact Victoria Soames Samek, Managing Director and Artistic Director Tel: + 44 (0) 20 8472 2057 • Mobile + 44 (0) 7730 987103 • [email protected] • www.samekmusic.com Central Clarinet Repertoire 1 CC0001 COPLAND: SONATA FOR CLARINET Clarinet Music by Les Six PREMIERE RECORDING Featuring the World Premiere recording of Copland’s own reworking of his Violin Sonata, this exciting disc also has the complete music for clarinet and piano of the French group known as ‘Les Six’. Aaron Copland Sonata (premiere recording); Francis Poulenc Sonata; Germaine Tailleferre Arabesque, Sonata; Arthur Honegger Sonatine; Darius Milhaud Duo Concertant, Sonatine Victoria Soames Samek clarinet, Julius Drake piano ‘Most sheerly seductive record of the year.’ THE SUNDAY TIMES CC0011 SOLOS DE CONCOURS Brought together for the first time on CD – a fascinating collection of pieces written for the final year students studying at the paris conservatoire for the Premier Prix, by some of the most prominent French composers.
    [Show full text]
  • ERIC NATHAN, David S
    ERIC NATHAN, David S. Josephson Assistant Professor of Music, Department of Music 1 Young Orchard Avenue, Orwig Music Building, Brown University, Providence RI, 02912, USA [email protected] | http://www.ericnathanmusic.com | (914) 391-8394 CURRICULUM VITAE TABLE OF CONTENTS i-ii Academic Education 1 Professional Appointments 1 Non-Academic Study (Festivals, Summer Programs, Workshops) 1 I. RESEARCH AND PROFESSIONAL RECOGNITION 2 Discography 2 Published Compositions and Writings 3 Professional Awards and Honors 3 Selected Commissions 4 Invited Lectures and Talks 5 Academic Awards/Research Grants 7 From Brown University 7 Student Awards 8 II. TEACHING 8 Course Instruction 8 Brown University 8 Williams College 10 Advising 10 Guest Lectures/Teaching 11 Teaching Development Awards 12 Non-Academic Teaching 12 III. SERVICE 12 To The Department/University 12 Brown University (as faculty) 12 Previous Institutions (as a student) 14 To The Profession 14 To The Community 14 IV. PUBLIC PRESENTATION AND RECEPTION OF RESEARCH 15 List of Selected Performances and Exhibitions 15 Radio, Television, and Podcast Broadcasts (Of Performances, Interviews) 26 Selected Press and Reviews 28 For CD Album Releases (Print and Web) 28 Interviews and Feature Articles 29 Selected Reviews and Other Press 31 Writing/Presentation On My Music 33 Published writings (non-academic) 33 Academic writing 34 Guest Appearances and Participation (Festivals, Conferences) 34 Selected Performance Experience 35 Professional Affiliations 36 Eric Nathan – Composer – p. ii V. LIST OF WORKS 36 Musical Compositions 36 Completed Original Orchestrations 41 Collaborative Compositions 42 ERIC NATHAN, David S. Josephson Assistant Professor of Music, Department of Music 1 Young Orchard Avenue, Orwig Music Building, Brown University, Providence RI, 02912, USA [email protected] | http://www.ericnathanmusic.com | (914) 391-8394 ACADMIC EDUCATION: 2008-2012 Cornell University (D.M.A.
    [Show full text]
  • Dissertation 3.19.2021
    Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2021 Reading Committee: Timothy Salzman, Chair David Rahbee Benjamin Lulich Program Authorized to Offer Degree: Music © Copyright 2021 Caitlin Beare University of Washington Abstract Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare Chair of the Supervisory Committee: Timothy Salzman School of Music The exploration and implementation of new timbral possibilities and techniques over the past century have redefined approaches to clarinet performance and pedagogy. As the body of repertoire involving nontraditional, or “extended,” clarinet techniques has grown, so too has the pedagogical literature on contemporary clarinet performance, yielding method books, dissertations, articles, and online resources. Despite the wealth of resources on extended clarinet techniques, however, few authors offer accessible pedagogical materials that function as a gateway to learning contemporary clarinet techniques and literature. Consequently, many clarinetists may be deterred from learning a significant portion of the repertoire from the past six decades, impeding their musical development. The purpose of this dissertation is to contribute to the pedagogical literature pertaining to extended clarinet techniques. The document consists of two main sections followed by two appendices. The first section (chapters 1-2) contains an introduction and a literature review of extant resources on extended clarinet techniques published between 1965–2020. This literature review forms the basis of the compendium of materials, found in Appendix A of this document, which aims to assist performers and teachers in searching for and selecting pedagogical materials involving extended clarinet techniques.
    [Show full text]