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Leonard Scott
LEONARD SCOTT NEY Associate Professor of Music Department of Music • Undergraduate Coordinator University of New Mexico • College of Fine Arts MSC 042570 • Albuquerque, NM 87131-0001 (505) 277-2126 • [email protected] EDUCATION University of Washington 2 years of doctoral classes and all recitals completed Eastern Illinois University Master of Arts - Percussion Performance Boston Conservatory Bachelor of Music - Percussion Performance TEACHING APPOINTMENTS Associate Professor of Music University of New Mexico (2004-present) Assistant Professor of Music University of New Mexico (1998-2004) Graduate Teaching Assistant University of Washington (1996-1998) Lecturer California State University, Fresno (1995-1996) Lecturer Fresno City College (1994-1996) Graduate Teaching Assistant Eastern Illinois University (1988-1990) Coordinator of Percussion Buchanan Educational Center, Clovis, CA (1993-1996) Coordinator of Percussion Bullard High School, Fresno, CA (1991-1993) Assistant Director of Bands Clovis High School, Clovis, CA (1990-1991) COURSES TAUGHT AT UNM APMS 101-502, Sect. 032: Percussion Oversee and instruct graduate and undergraduate percussion performance, education, and Bachelor of Arts majors and music minors. MUS 391/491/591, Sect. 032: Junior/Senior/Graduate Recital: Percussion MUS 560, Sect. 090: Chamber Music - Percussion Ensemble Graduate Student Percussion Ensemble. Graduate students are encouraged to work on their own while being coached by a faculty member. The focus of the group is to perform current trio and quartet literature. MUS 231, Sect. 090: Chamber Music - Percussion Ensemble This is the major chamber ensemble for the undergraduate percussion major. Students perform contemporary percussion repertoire, mallet ensemble repertoire and various folkloric percussion styles including West and East African, Afro-Cuban, Middle Eastern, and Brazilian drumming. -
The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
The Acoustics of a Tenor Recorder
The Acoustics of a Tenor Recorder by D. D. McKinnon A thesis submitted to the Faculty of the College of Arts & Sciences of the University of Colorado in partial fulfillment of the requirements for the degree of Bachelor of Arts Department of Physics 2009 This thesis entitled: The Acoustics of a Tenor Recorder written by D. D. McKinnon has been approved for the Department of Physics Prof. John Price Prof. John Cumalat Prof. Peter Kratzke Date iii McKinnon, D. D. (B.A., Physics) The Acoustics of a Tenor Recorder Thesis directed by Prof. John Price The study of acoustics is rooted in the origins of physics, yet the dynamics of flue-type instruments are still only qualitatively understood. Our group has developed a measurement system, the Acoustic VNA, which can precisely determine acoustic wave amplitudes of the lowest mode propagating in a cylindrical waveguide. I used the AVNA to study a musical oscillator, the tenor recorder. The recorder consists of two compo- nents, an air-jet amplifier driven by the player’s breath and a cylindrical waveguide resonator with an effective length that may by varied by covering or uncovering finger holes. Previous research on the recorder has focused on understanding the resonator frequencies in some detail, but has only provided a rough understanding of the air-jet. In particular, there is not yet a quantitative understanding of how the pitch varies with blowing pressure for a given fingering. I designed several experiments to provide a quantitative picture of how the air-jet behaves at different blowing pressures and discov- ered that higher blowing pressures lead to stronger amplification at higher frequencies. -
MICHALA PETRI Recorder
MICHALA PETRI recorder For 50 years, Michala Petri has been one of the most universally recognized and beloved recorder players in the world. She has performed almost 5.000 concerts and has discography of more than 70 critically-acclaimed and award winning recordings. Michala Petri was born in Copenhagen, Denmark, on July 7, 1958 to musical parents. A child prodigy, she first picked up a recorder at the age of three and by the time she was ten, she made her concerto debut in Tivoli Concert Hall and began her formal studies at the at Staatliche Hochschule für Musik und Theater in Hannover, Germany, with Professor Ferdinand Conrad. By the time she was seventeen, she was already making recordings with the Academy of St. Martin-in-the-Fields. Her repertoire spans the Baroque, Classical, and Romantic eras and extends into contemporary and improvised music and multi-media. This versatility, together with a flawless technique, an insatiable curiosity, and the ability to make an emotional connection with her audiences has contributed to her special appeal as an artist. Her list of collaborators reads like a ‘Who’s Who’ of late 20th century classical music, including such legendary artists as Sir Neville Marriner, Claudio Abbado, Sir James Galway, Gidon Kremer, Heinz Holliger, Henryk Szeryng, Pinchas Zukerman, Maurice Andre, Joshua Bell, Mahan Esfahani, Hille Perl and Keith Jarrett. From her youth, Petri was fascinated with the musical potential of her chosen instrument, however, at the time of her studies the recorder was considered mainly an instrument for early music. But gradually, contemporary composers began taking interest and through Petri’s prompting – and virtuosity - started composing works for her. -
Cds by Composer/Performer
CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H. -
Ney'in Tarihi Gelişimi Ve Dini Musikimizdeki Yeri
FATiH KOCA • ısı Dini Araştırmalar, Ocak-Nisan 2002, C. 4, s. ı2, ss. ıBl-196. Ney'in Tarihi Gelişimi ve Dini Musikimizdeki Yeri Fatih KOCA* Abstract In thi.s article, the progress of the ney, predominant instrument in the religious music, throughout the known human history i.s shortly investigated. Although the past forms of the ney i.s not very sim ilar to to day's modem one, it i.s di.scussed that the ney was in use in past. Moreover, finding answer to the question of how ney has taken place in the religious music i.s alsa in the vicinity of the main interests of the article. After ney completed its histarical progress with Kutb-i Nô.yi Osman Dede, it has taken place in the religious music with Mevlana and master of neyzen 's Hamza Dede. Apart from the fact that the ney is capable of giving all the sounds in nature, it i.s alsa most likely instrument to the humari voice. Even though ney is made of reed and looks simple, it affects the human saul dramatically, eve n in the first hearing. Thi.s i.s, of course, the proof of the fact that its effect to the universal saul. Keywords: religious music, reed, universal saul of music. Ney'in Kısaca Tarihteki Yeri İlk insan"Hz. Adem (a.s) yaratıldığından bu yana ses varolduğuna göre, musiki de ilk insanla beraber varolmu~tur. İnsanoğlunu diğer canlılardan ayıran özellik sadece dü~ünme duygusu değildir. insanda yüksek hisler deni- * Öğr. Gör., Ankara Üniversitesi İlahiyat Fakültesi Türk Din Mıisikisi Anabilim Dalı e-mail: m_fatih_ [email protected]. -
Prepared Objects, Compositions That Use Them, and the Resulting Sound Dr
Prepared objects, compositions that use them, and the resulting sound Dr. Stacey Lee Russell Under/On Aluminum foil 1. Beste, Incontro Concertante Buzzing, rattling 2. Brockshus, “I” from Greytudes the keys Cigarette 1. Zwaanenburg, Solo for Prepared Flute Buzzing, rattling paper 2. Szigeti, That’s for You for 3 flutes 3. Matuz, “Studium 6” from 6 Studii per flauto solo 4. Gyӧngyӧssy, “VII” from Pearls Cork 1. Ittzés, “A Most International Flute Festival” Cork is used to wedge specific ring keys into closed positions. Mimics Bansuri, Shakuhachi, Dizi, Ney, Kaval, Didgeridoo, Tilinka, etc. Plastic 1. Bossero, Silentium Nostrum “Inside a plastic bag like a corpse,” Crease sound, mimic “continuous sea marine crackling sensation.” Plastic bag 1. Sasaki, Danpen Rensa II Buzzing, rattling Rice paper 1. Kim, Tchong Buzzing, rattling Thimbles 1. Kubisch, “It’s so touchy” from Emergency Scratching, metallic sounds Solos Inside Beads 1. Brockshus, “I” from Greytudes Overtone series, intonation, beating the tube Buzzers 1. Brockshus, “III” from Greytudes Distortion of sound Cork 1. Matuz, “Studium 1” from 6 Studii per flauto Overtone series, note sound solo octave lower than written 2. Eӧtvӧs, Windsequenzen 3. Zwaanenburg, Solo for Prepared Flute 4. Matuz, “Studium 5” from 6 Studii per flauto solo 5. Fonville, Music for Sarah 6. Gyӧngyӧssy, “III” from Pearls 7. Gyӧngyӧssy, “VI” from Pearls Darts 1. Brockshus, “II” from Greytudes Beating, interference tones Erasers & 1. Brockshus, “I” from Greytudes Overtone series, intonation, Earplugs beating Plastic squeaky 1. Kubisch, “Variation on a classical theme” Strident, acute sound toy sausage from Emergency Solos Siren 1. Bossero, Silentium Nostrum Marine signaling, turbine spins/whistles Talkbox 1.Krüeger, Komm her, Sternschnuppe Talkbox tube is hooked up to the footjoint, fed by pre- recorded tape or live synthesizer sounds © Copyright by Stacey Lee Russell, 2019 www.staceyleerussell.com [email protected] x.stacey.russell Towel 1. -
The World Atlas of Musical Instruments
Musik_001-004_GB 15.03.2012 16:33 Uhr Seite 3 (5. Farbe Textschwarz Auszug) The World Atlas of Musical Instruments Illustrations Anton Radevsky Text Bozhidar Abrashev & Vladimir Gadjev Design Krassimira Despotova 8 THE CLASSIFICATION OF INSTRUMENTS THE STUDY OF MUSICAL INSTRUMENTS, their history, evolution, construction, and systematics is the subject of the science of organology. Its subject matter is enormous, covering practically the entire history of humankind and includes all cultural periods and civilizations. The science studies archaeological findings, the collections of ethnography museums, historical, religious and literary sources, paintings, drawings, and sculpture. Organology is indispensable for the development of specialized museum and amateur collections of musical instruments. It is also the science that analyzes the works of the greatest instrument makers and their schools in historical, technological, and aesthetic terms. The classification of instruments used for the creation and performance of music dates back to ancient times. In ancient Greece, for example, they were divided into two main groups: blown and struck. All stringed instruments belonged to the latter group, as the strings were “struck” with fingers or a plectrum. Around the second century B. C., a separate string group was established, and these instruments quickly acquired a leading role. A more detailed classification of the three groups – wind, percussion, and strings – soon became popular. At about the same time in China, instrument classification was based on the principles of the country’s religion and philosophy. Instruments were divided into eight groups depending on the quality of the sound and on the material of which they were made: metal, stone, clay, skin, silk, wood, gourd, and bamboo. -
Santas Headed South Tambourine, Trumpet and Big Bass Drum
BOOKLETS, FORMS A T IR OFFICE FOR FIRESTONE PARTIES Start Early On Applications ^ ^ Santas Headed South ELLESMERE ISLAND (Spe news received at this most cial)—Word received here from northerly island of the Arctic For Company Scholarships the North Pole headquarters of Archipelago said that the Fire Santa Claus confirms his annual stone Yule parties would go ac Explanatory booklets and pany by January 1, 1961; and in schedule for a Southland stop cording to traditional schedule application forms for the the upper half of his or her over in Gastonia, and a pre- — this year, on Saturday, 1961 Firestone scholarship class, scholastically. Christmas Eve visit with chil December 17. program for employees’ chil Only children of those em dren of Firestone Textiles It will be St. Nick’s 21st dren are available at the In ployees whose average income households. December pilgrimage Southward dustrial Relations office. does not exceed $800 per month, Further confirmation of the for the children’s parties, stag To employees who have sons without overtime, will be eli ed through the years at the gible. Webb and Palace theatres in or daughters ready for college ☆ ☆ ☆ next fall, and who are interest FIRESTONE scholarships pay Gastonia. ed in applying: the cost of full tuition, fees, and CHILDREN through 13 years Deadline for application for books and a substantial part of North Country Visitor; of age who are members of living expenses at college. scholarships is March L 1961. It He's Making A List Firestone employee households is most important that high Scholarships are always al will be honored guests at the school seniors start early to pre located to the various sections traditional company parties. -
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. -
Flute Oboe Clarinet Basson Saxophone Trumpet French Horn
PROGRAM ECMS High School Wind Ensemble Personnel Tribute to Grainger, arr. Ragsdale Percy Aldridge Grainger Flute Trombone Andrew Bronco arr. Chalon Ragsdale Mary Ehrlinger Zachary Canning I. Country Gardens Alena Scott Tyler Dawe II. My Dark-Haired Maid Camryn Wlostowski III. The Gypsy’s Wedding Day Shaun Fitzgerald Justin Karnisky Oboe Michael McKenzie Claire Houston Aidan Ross Concertino Cécile Chaminade Samuel Stringer ed. Wilkins Alena Scott, flute soloist Clarinet Euphonium Sean Devlin Melissa Cannan Cole Karnisky Greg Lewandowski Peter Odhiambo Chuck Linn Graham His Yu Justyn Loney-Newman Jupiter Hymn Gustav Holst Rainna Frombgen arr. Lindsay Bronnenkant Tuba Lindsay Bronnenkant, conductor Basson Ziv Rapoport Briana Rafferty Ethan Smith Henry Stringer String Bass Saint and the City Jacob de Haan Saxophone Samuel Bowley Isabel Goldstein Samantha Kotz Gabriel Williams Percussion Cameron Connioto Angels Will Come Quincy Hilliard Trumpet Jared Emerson Evan Preston Tyler Hancock Felix Schneider Gabriel Foster Moving at the Speed of Sound Mark Lortz Wu Ryu Sean Watson French Horn Russian Sailors Dance Reinhold Glière Angelique Brewington arr. Anthony Susi SUMMER@EASTMAN June 20 – August 28, 2021 Join us for another summer of exceptional music making at Eastman, with special guest artists, Community Music School and collegiate faculty, and Summer Session program participants! Events are either free and open to the public or ticketed. Tickets are $10 (free for U/R or student ID holders) and are available at the door one hour before the concert start time. For more information about Summer@Eastman, please visit: www.esm.rochester.edu/summer ECMS High School Wind Ensemble Participant Concert July 23, 2021 11:00 a.m. -
Bassoonbassoon 2018–2021 2018–2021 GRADE 1
BassoonBassoon 2018–2021 2018–2021 GRADE 1 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: COMPOSER PIECE / WORK / ARRANGER PUBLICATION (PUBLISHER) A 1 Aubert Gavotte, arr. Hilling & Bergmann First Book of Bassoon Solos (Faber) 2 Jacques Menuet du Tambourin, arr. Hilling & Bergmann First Book of Bassoon Solos (Faber) Hotteterre 3 Diabelli Serenade (from Op. 125), arr. Wastall P. 22 from Learn as You Play Bassoon (Boosey & Hawkes ) 4 Diabelli The Carousel, arr. Denwood 16 Progressive Pieces for Bassoon (Emerson) 5 Gurlitt See-Saw, arr. Denwood 16 Progressive Pieces for Bassoon (Emerson) 6 Pepusch Youth’s the Season Made for Joys, arr. Sparke Sounds Classical for Bassoon (Anglo Music) 7 Vogel Waltz, arr. Sparke Sounds Classical for Bassoon (Anglo Music) 8 Trad. The Mallow Fling, arr. Lawrance Easy Winners for Bassoon (Brass Wind +) 9 Trad. German Wooden Heart, arr. Lawrance Easy Winners for Bassoon (Brass Wind +) 10 Trad. Czech The Little Drummer Boy, arr. Denley Time Pieces for Bassoon, Vol. 1 (ABRSM ◊) B 1 Bruns & A Pirate’s Life for Me, arr. Lawrance Winner Scores All for Bassoon (Brass Wind ) Atencio 2 John Burness Slow Waltz or Allegro (No. 1 or No. 2 from Four John Burness: Four Easy Pieces (Paterson’s) Easy Pieces) 3 Roma Cafolla Hush-a-bye or Musical Box (from Playaround Roma Cafolla: Playaround for Bassoon, Book 2: Revised for Bassoon) Edition 2017 (Forton Music) 4 Colin Cowles Catchy Toon or Croonin’ ’oon (No. 3 or No. 6 Colin Cowles: 25 Fun Moments for Bassoon from 25 Fun Moments for Bassoon) (Studio Music) 5 Chris Hazell West Point upper note in bb.