The Iowa Bandmaster Magazine
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Black US Army Bands and Their Bandmasters in World War I
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent. -
Allentown Symhpony Orchestra Audition
ALLENTOWN SYMHPONY ORCHESTRA AUDITION REQUIREMENTS VIOLIN SECTION ASSOCIATE CONCERTMASTER & ASSISTANT PRINCIPAL SECTION: Orchestral Excerpts: Brahms Symphony No. 4, Movement I 1. m. 392 to the downbeat of m. 426 Mozart Symphony no. 39, Movement II 2. m. 1 to the end of m. 56 Mozart Symphony no. 39, Movement IV 3. m. 1 to m. 53 Mendelssohn Midsummer’s Night Dream - Scherzo 4. m. 17 to the downbeat of 7 ms. after reh. D Schumann Symphony no. 2 – Movement II - Scherzo 5. Coda (pick-ups to m. 362 to end of m. 397) Prokofiev Symphony no. 1 “Classical” – Movement I 6. beginning to 4 ms. after reh. E R. Strauss Don Juan 7. beginning to the downbeat of 13 ms. after reh. C Beethoven Symphony no. 9 – Movement III 8. Lo’stesso tempo (m. 99 to the end of m. 114) Brahms Symphony no. 1 – Movement IV 9. Reh. A to 2 ms. before reh. B (m. 22 to the end of m. 28) 10. Pick-up to 1 m. before reh. D to the downbeat of 5ms. after reh. F Smetana Bartered Bride Overture (violin 2 part) 11. beginning to the end of m. 33. CONCERTMASTER ASSOCIATE CONCERTMASTER ASSISTANT PRINCIPAL (In addition to Section Repertoire) Rimsky-Korsakov Scheherazade, op. 35 (solos) Movement I 12. m. 14 to the downbeat of m. 18 13. Reh. C to the downbeat of reh. D 14. Reh G to the downbeat of reh. H Movement II 15. m. 1 to the downbeat of m. 5 Movement III 16. 8 ms. after reh. K to the end of b. -
Brass Bands of the World a Historical Directory
Brass Bands of the World a historical directory Kurow Haka Brass Band, New Zealand, 1901 Gavin Holman January 2019 Introduction Contents Introduction ........................................................................................................................ 6 Angola................................................................................................................................ 12 Australia – Australian Capital Territory ......................................................................... 13 Australia – New South Wales .......................................................................................... 14 Australia – Northern Territory ....................................................................................... 42 Australia – Queensland ................................................................................................... 43 Australia – South Australia ............................................................................................. 58 Australia – Tasmania ....................................................................................................... 68 Australia – Victoria .......................................................................................................... 73 Australia – Western Australia ....................................................................................... 101 Australia – other ............................................................................................................. 105 Austria ............................................................................................................................ -
The Ethics of Orchestral Conducting
Theory of Conducting – Chapter 1 The Ethics of Orchestral Conducting In a changing culture and a society that adopts and discards values (or anti-values) with a speed similar to that of fashion as related to dressing or speech, each profession must find out the roots and principles that provide an unchanging point of reference, those principles to which we are obliged to go back again and again in order to maintain an adequate direction and, by carrying them out, allow oneself to be fulfilled. Orchestral Conducting is not an exception. For that reason, some ideas arise once and again all along this work. Since their immutability guarantees their continuance. It is known that Music, as an art of performance, causally interlinks three persons: first and closely interlocked: the composer and the performer; then, eventually, the listener. The composer and his piece of work require the performer and make him come into existence. When the performer plays the piece, that is to say when he makes it real, perceptive existence is granted and offers it to the comprehension and even gives the listener the possibility of enjoying it. The composer needs the performer so that, by executing the piece, his work means something for the listener. Therefore, the performer has no self-existence but he is performer due to the previous existence of the piece and the composer, to whom he owes to be a performer. There exist a communication process between the composer and the performer that, as all those processes involves a sender, a message and a receiver. -
Proceedings, the 50Th Annual Meeting, 1974
proceedings of tl^e ai^i^iVepsapy EQeetiiig national association of schools of music NUMBER 63 MARCH 1975 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC PROCEEDINGS OF THE 50 th ANNIVERSARY MEETING HOUSTON, TEXAS 1974 Published by the National Association of Schools of Music 11250 Roger Bacon Drive, No. 5 Reston, Virginia 22090 LIBRARY OF CONGRESS CATALOGUE NUMBER 58-38291 COPYRIGHT ® 1975 NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC 11250 ROGER BACON DRIVE, NO. 5, RESTON, VA. 22090 All rights reserved including the right to reproduce this book or parts thereof in any form. CONTENTS Officers of the Association 1975 iv Commissions 1 National Office 1 Photographs 2-8 Minutes of the Plenary Sessions 9-18 Report of the Community/Junior College Commission Nelson Adams 18 Report of the Commission on Undergraduate Studies J. Dayton Smith 19-20 Report of the Commission on Graduate Studies Himie Voxman 21 Composite List of Institutions Approved November 1974 .... 22 Report of the Library Committee Michael Winesanker 23-24 Report of the Vice President Warner Imig 25-29 Report of the President Everett Timm 30-32 Regional Meeting Reports 32-36 Addresses to the General Session Welcoming Address Vance Brand 37-41 "Some Free Advice to Students and Teachers" Paul Hume 42-46 "Teaching in Hard Times" Kenneth Eble 47-56 "The Arts and the Campus" WillardL. Boyd 57-62 Papers Presented at Regional Meetings "Esthetic Education: Dialogue about the Musical Experience" Robert M. Trotter 63-65 "Aflfirmative Action Today" Norma F. Schneider 66-71 "Affirmative Action" Kenneth -
Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance
CONDUCTING FROM THE PIANO: A TRADITION WORTH REVIVING? A STUDY IN PERFORMANCE PRACTICE: MOZART’S PIANO CONCERTO IN C MINOR, K. 491 Eldred Colonel Marshall IV, B.A., M.M., M.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Pamela Mia Paul, Major Professor David Itkin, Committee Member Jesse Eschbach, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Marshall IV, Eldred Colonel. Conducting from the Piano: A Tradition Worth Reviving? A Study in Performance Practice: Mozart’s Piano Concerto in C minor, K. 491. Doctor of Musical Arts (Performance), May 2018, 74 pp., bibliography, 43 titles. Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer. Copyright 2018 by Eldred Colonel Marshall IV ii TABLE OF CONTENTS Page CHAPTER 1. INTRODUCTION: A BRIEF HISTORY OF CONDUCTING FROM THE KEYBOARD ............ 1 CHAPTER 2. WHAT IS “REAL CONDUCTING?” ................................................................................. 6 CHAPTER 3. ARE CONDUCTORS NECESSARY IN MOZART PIANO CONCERTOS? ........................... 13 Piano Concerto No. 9 in E-flat major, K. 271 “Jeunehomme” (1777) ............................... 13 Piano Concerto No. 13 in C major, K. 415 (1782) ............................................................. 23 Piano Concerto No. 20 in D minor, K. 466 (1785) ............................................................. 25 Piano Concerto No. 24 in C minor, K. -
Cover DRUMLAB.Ai
Presenting THE GEAR at A quick view to the gear available for you at DrumLab Studio 2 THE DRUMS DW DRUMS Collectors Series, Red Sparkle, Black Hardware (Year 2000 Edition) Remo Heads (Ambassador / Emperor Coated on batter side, Ambassador Clear on bottom) • Rack Toms 10”x9”, 12”x10” • Floor Toms 13”x11”, 15” x 13” • Bass Drum 22”x18” • Hardware 9000 Series Tom/Cymbal stands (x3), Hi-Hat Stand, Snare Stand (x2), Boom Arms (x4), Dogbones (x4), Boom Cymbal stand (x2) YAMAHA DRUMS Recording Custom Series Cherry Wine Laquer (Year 1989 Edition) Remo Heads (Ambassador / Emperor Coated on batter side, Ambassador Clear on bottom) • Rack Toms 10”x10”, 12”x10” • Floor Toms 14”x14”, 16” x 16” (both with legs) • Bass Drum 22”x16” • Yamaha CS 865 Boom Stand (x3), Yamaha YESS System for Rack Toms, SS 850 Snare Stand (x2) TAMA DRUMS Swingstar Classic Series Emerald Marble (Year 1986 Edition) Remo Heads (Ambassador / Emperor Coated on batter side, Ambassador Clear on bottom) • Rack Toms 10”x8”, 12”x9” • Floor Toms 13”x11”, 16” x 16” • Bass Drum 22”x14” • Yamaha YESS System for Rack Toms, SS 850 Snare Stand, HC33 Boom Cymbal stand (x3) A quick view to the gear available for you at DStudio OTHER HARDWARE: • Roc&Soc Drum Throne Hydraullic • Roc&Soc Drum Throne Spinnable • AXIS XL-2 Longboard Bass Drum double pedal • DW Drums 5000 Delta Hi Hat Stand • PDP Boom Cymbal Stands (x4) • Mapex Boom Cymbal Stands (x3) 3 THE DRUMS SNARE DRUMS AVAILABLE: Remo Heads (CS Coated, Ambassador Coated, Emperor Coated, Vintage Emperor on batter side, Ambassador Snare on bottom), -
THE INTERNATIONAL MAGAZINE of the AVEDIS ZILDJIAN COMPANY Welcome To
ZL326 THE INTERNATIONAL MAGAZINE OF THE AVEDIS ZILDJIAN COMPANY welcome to Z Time2011 edition issue 33 2011 Z Time Page two News & Events Page six Greatest Cymbal of All Time Page ten Legends Page fourteen Gen 16 Craigie Zildjian Page sixteen On the Road Page twenty Moving Forward Product Info Intro There are so many exciting new things going on here at Zildjian that I couldn’t wait to share this year’s Z-Time with you. 2011 represents our breakthrough into the digital Page twenty-one music making realm. Our new Gen16 product line is the result of our effort to bring our Cast Cymbals knowledge of cymbals and their sounds to the modern digital environment. You can learn more about this initiative on pages 14 and 15 or at our new website www.zildjian.com. Page fifty-five Sheet Cymbals Whether your music making is acoustic, digital, or both, our desire is to be there no matter where your music takes you. I sincerely hope you enjoy the journey. Page sixty-one Drumsticks Best regards, Page sixty-five Gear Page sixty-eight Scrapbook Craigie & Debbie Zildjian Contributing photographers: Sayre Berman Hadas Naoju Nakamura John Stephens cover artist: Volker Beushausen Heinz Kronberger Kacper Diana Nitschke Levi Tecofsky Dominic Howard - Joris Bulckens Kaminski Jimmy Katz Mario Pires Melissa Terry Muse Tina Korhonen Bernard Rosenberg Andreas Ulvo James Cumpsty photo: Calum Doris Scott Legato Tao Ruspoli JonVanDaal Richard Ecclestone Robert Downs Hyejin, Lee Bianca Scharroo Neil Zlozower Sergey Dudin H.J Lee Ronny Sequeira Ludwig Drums graphic designer: M.v.d. -
Arturo O'farrill and the Afro Latin Jazz Orchestra
ARTURO O’FARRILL AND THE AFRO LATIN JAZZ ORCHESTRA HOSPITALITY and TECHNICAL RIDER Please read this rider carefully. It is an essential part of the attached contract for a performance by the Artist. By signing it, you are agreeing to supply the Artist(s) with certain equipment and working conditions, which are essential to their performance. Any breach of the terms of this rider is a breach of the contract and may cause the Artist to cancel the performance, without releasing you from obligation to pay them. This rider is an addendum to the attached contract. Any changes or substitutions must be approved by the Artist. Purchaser is to provide the following equipment necessary for the Artist’s performance. FOR ANY QUESTIONS PERTAINING TO THIS RIDER, PLEASE CONTACT: Eric Taller, Director Programming and Production, Afro Latin Jazz Alliance PH: (212) 368-8400 x359; Cell: (347) 781-9205; Email: [email protected] HOSPITALITY: DRESSING ROOMS: Purchaser will provide lockable dressing rooms and clean lavatories that shall not be used by the public or anyone other than the Artist. CATERING: A generous supply of bottled spring water is needed for both sound check/rehearsal and performance, assorted natural fruit juices, soft drinks, coffee and tea for all rehearsals and performances. Backstage food, ideally fresh fruit and other wholesome snack food should be available at least half-hour before scheduled sound check. Dinner for 25 should be provided before performance; the emphasis should be on healthy, natural food and a well-balanced menu with a vegetarian option. 1 TECHNICAL REQUIREMENTS to be provided at the expense of the Purchaser: NOTE: Instrumentation: 1 Piano, 1 Bass, 1 Drum kit, 1 set of Congas (3), 1 Percussion (bongos, cowbell, cajon, etc.), 4 Trumpets, 3 Tenor Trombones, 1 Bass Trombone, 2 Alto Saxophones (doubles on flute and clarinet), 2 Tenor Saxophones (doubles on flute and clarinet), and 1 Baritone Saxophone (doubles bass clarinet) 1. -
Music Director Riccardo Muti Returns to Cso for Two Weeks of Concerts in February
FOR IMMEDIATE RELEASE Contact: January 14, 2016 Eileen Chambers, 312.294.3092 Photos Available By Request: [email protected] MUSIC DIRECTOR RICCARDO MUTI RETURNS TO CSO FOR TWO WEEKS OF CONCERTS IN FEBRUARY February 11–20, 2016 CSO Principal Clarinet Stephen Williamson and CSO Concertmaster Robert Chen Make Solo Appearances with Muti and CSO Muti and Members of CSO Offer Lenten Performance of Haydn’s The Seven Last Words of Our Savior on the Cross with Archbishop Blase J. Cupich at Holy Name Cathedral on February 19 CHICAGO—Music Director Riccardo Muti returns to Chicago in February for two weeks of concerts and activities February 11-20 during the Chicago Symphony Orchestra’s 125th anniversary season. Programs include subscription concerts featuring CSO Principal Clarinet Stephen Williamson (February 11-14) and CSO Concertmaster Robert Chen (February 18-20), a Lenten performance at Holy Name Cathedral with members of the CSO and Archbishop Blase J. Cupich on February 19 and an Open Rehearsal with the Festival Orchestra of the 2016 Chicago Youth in Music Festival on February 15. On February 11-14, Muti leads a program that highlights the CSO strings in a diverse array of works including György Ligeti’s haunting work for string orchestra, Ramifications, and Tchaikovsky’s Serenade for String Orchestra. The previously-announced premiere of CSO Mead Composer-in-Residence Elizabeth Ogonek’s new work for strings and percussion commissioned for the CSO has been postponed until a future date to be announced. Replacing the Ogonek work on the program is Arvo Pärt’s Orient and Occident, an intense and evocative work for strings in a first-ever performance by the CSO. -
Proceedings, the 39Th Annual Meeting, 1963
FEBRU ARY 1964 •yu ] ATIONAL ASSOC lATION OF SCHOOLS OF MUSIC / \ Bulletin NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC PROCEEDINGS OF THE THIRTY-NINTH ANNUAL MEETING NOVEMBER 1963 CHICAGO NUMBER 52 FEBRUARY 1964 Bulletin of the NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC CARL M. NEUMEYER Editor Published by the National Association of Schools of Music Office of Secretary, Thomas W. Williams Knox College, Galesburg, Illinois CONTENTS Officers of the Association, 1964 v Commission Members, 1964 v Committees, 1964 vi President's Report, C. B. Hunt, fr 9 The Commission on the Humanities: A Progress Report, Gustave A. Arlt 15 Music in the University, Leigh Gerdine, Panel Chairman 27 Music in General Education, LdVahn Maesch 33 Relationship of Undergraduate to Graduate Studies, Scott Goldthwaite 38 General Education in Music, Robert Trotter. 43 Report of the Commission on Curricula 47 Report of the Graduate Commission 50 Report of the Commission on Ethics 58 Report of the Secretary 58 Report of the Treasurer 60 Report on Regional Meetings 60 Report of the Development Council 6l Report of the Nominating Committee 63 Report of the Publicity Committee. 64 Meetings of Standing Committees 64 By-Law Revisions - 65 Citation to Colonel Samuel Rosenbaum. 66 Thirty-Ninth Annual Meeting 66 In Honor of Howard Hanson 67 OFFICERS OF THE ASSOCIATION FOR 1964 President: C. B. Hunt, Jr., George Peabody College First Vice-President: Duane Branigan, University of Illinois Second Vice-President: LaVahn Maesch, Lawrence College Secretary: Thomas W. Williams, Knox College Treasurer: Carl M. Neumeyer, Illinois Wesleyan University Regional Chairmen: Region 1. J. Russell Bodley, University of the Pacific Region 2. -
An Investigation of Dalcroze-Inspired Embodied Movement
AN INVESTIGATION OF DALCROZE-INSPIRED EMBODIED MOVEMENT WITHIN UNDERGRADUATE CONDUCTING COURSEWORK by NICHOLAS J. MARZUOLA Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Nathan B. Kruse Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2019 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Nicholas J. Marzuola, candidate for the degree of Doctor of Philosophy*. (signed) Dr. Nathan B. Kruse (chair of the committee) Dr. Lisa Huisman Koops Dr. Matthew L. Garrett Dr. Anthony Jack (date) March 25, 2019 *We also certify that written approval has been obtained for any proprietary material contained therein. 2 Copyright © 2019 by Nicholas J. Marzuola All rights reserved 3 DEDICATION To Allison, my loving wife and best friend. 4 TABLE OF CONTENTS TABLE OF CONTENTS .................................................................................................... 5 LIST OF FIGURES .......................................................................................................... 10 ACKNOWLEDGEMENTS .............................................................................................. 11 ABSTRACT ...................................................................................................................... 13 CHAPTER ONE, INTRODUCTION ............................................................................... 15 History of Conducting ..................................................................................................