REPERTOIRE – MAESTRO RON ARDEN Bach All 6 Brandenburg Concertos Concerto for Violin and Oboe Concerto for 2 Violins Concerto F

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REPERTOIRE – MAESTRO RON ARDEN Bach All 6 Brandenburg Concertos Concerto for Violin and Oboe Concerto for 2 violins Concerto for 4 violins – also the 4 piano version Musical Offering Boccherini Concerto for Cello Vivaldi All 4 Seasons Concerti for Violin Double Cello Concerto Several Concerto Grossi Gloria Concerto for Guitar Handel Music for the Royal Fireworks Water Music Suite Messiah – in full Haydn Surprise and Clock Symphonies Concerto for Turmpet Rossini Overture to Barber of Seville and largo al factorum Mozart Concertos for solo organ and strings Clarinet Concerto Symphonies 39 and 40 Double Piano Concertos Violin Concerto No. 6 Overtures to Marriage of Figaro, Cosi Fan Tutti, Magic Flute Beethoven Symphonies 5 and 6 Overture to Prometheus Mendelsohn Reformation Symphony Italian Symphony Hebrides Overture Brahms Haydn Variations Serenade No 1 Concerto for Violin and Cello Several Hungarian Dances Bruch Concerto for Viola and Clarinet Tchaikovsky Symphonies 1 and 5 Mozartiana Concerto for Violin 1812 Overture Serenade for Strings David Concerto for Trombone Bizet Carmen and L’Arlesienne Suites Opera excerpts with Voice - various Britten Simple Symphony Young Person’s Guide to the Orchestra Poulenc Concerto for 2 pianos Respighi Complete Ancient Airs and Dances Menotti Amahl and the Night Visitors Saint Saens Concertos for Piano Debussy Prelude to the Afternoon of a Faun Petite Suite Grofe Grand Canyon Suite Dvorak Slavonic Dances Symphony No. 8 Bartok Romanian Folk Dances for Chamber Orchestra Stravinsky Suites for Small Orchestra Pulcinella Suite Bernstein Symphonic Dances from West Side Story Aratunian Trumpet Concerto Sibelius Finlandia Wagner Meistersinger Overture Procession to the Cathedral from Lohengrin Gershwin Rhapsody in Blue Copland Fanfare for the Common Man Variations on a Shaker melody Rodeo – complete Quiet City Hahn Le bal de Beatrice d’Estes – for winds Vaughan Williams Concerto Grosso Bloch Serenade for Flute and Viola Weber Concerto for Clarinet Pops repertoire is extremely extensive including – but not exclusive…. 2 dozen medleys for major musicals, the music of Leroy Anderson, Cole Porter, George Gershwin, John Williams, Marvin Hamlisch, Howard Shore, Henry Mancini, Music from Broadway and dozens of Film scores, James Horner, music of Americana for annual patriotic events to include pieces like Armed Forces Salute and Gould’s America Salute, dozens Christmas themed music – both scared and secular for annual Holiday family concerts Maestro Arden is a pops specialist and celebrates this repertoire in 2 concerts per season presently. Music for Youth This rep includes special concerts organized and programmed by Maestro Arden to include such works as ….. Carnival of the Animals Peter and the Wolfe Mozart’s Birthday Celebrating Leroy Anderson, The Life of Lincoln Compose Yourself Maximum FullScore – video game music Music of America Pops .

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Mancini Sample.Indd
Prologue n a trip to Pennsylvania in 1988 to conduct the Pittsburgh OSymphony Orchestra, Henry Mancini felt an unmistak- able tug luring him back to West Aliquippa, the town where he’d grown up. It had been decades since Henry had been back to see what had become of the place where his life and musical journey began. The musician friends traveling with him from Los Angeles were happy to accompany their beloved bandleader on the impromptu roots trip. Henry shared some of his personal history with his com- panions on the drive. He told them how West Aliquippa was once a thriving steel town where the Jones and Laughlin Steel Company employed the majority of the town’s residents, includ- ing his father. It was not unlike other Rust Belt towns of that era, filled with hard-working immigrant families. As they pulled into what was left of the town, it was clear that Henry had not prepared himself for the level of economic devastation that had befallen West Aliquippa, which seemed to have been reduced to dust and broken glass. There were no people on the street—just a feral cat that darted out in front of their car. They drove around until Henry was able to trace his steps back to Beaver Avenue, which took longer than it should have because things were not all where they used to be. As they turned a corner, he felt a bit disoriented as he searched for numbers on the houses. Then he finally found it: 401, his childhood home.
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Henry Mancini Fellowship Official Award Rules
The ASCAP Foundation Henry Mancini Music Fellowship The specific rules and requirements of The ASCAP Foundation Henry Mancini Music Fellowship (the “Award”), including but not limited to, eligibility, winner selection process, and award criteria, are set forth below (the “Award Requirements”). These Award Requirements are supplemented by the general rules and regulations attached as Schedule A (the “General Terms” and collectively with the “Award Requirements”, the “Official Rules”), which are incorporated by reference. By participating in the Award process, all entrants agree to be bound by these Official Rules and the decisions of The ASCAP Foundation (the “Foundation”) and the American Society of Composers, Authors and Publishers (“ASCAP”), which are final and binding in all respects. To the extent not specifically defined below, all capitalized terms have the meaning set forth in the General Terms. About the Award Named for Henry Mancini, whose credits include acclaimed soundtracks such as Days of Wine and Roses and Breakfast at Tiffany's, this fellowship is generously funded by Ginny Mancini to honor the memory of her husband. This fellowship provides support for a composer, arranger, orchestrator who demonstrates talent and exceptional career potential participating in the ASCAP/Columbia University Film Scoring Workshop. The Award will be presented to one (1) aspiring film composer who will be participating in the 2020 ASCAP Columbia University Film Scoring Workshop, to be conducted during the Spring 2020 semester at Columbia University, New York City (the “Composers’ Workshop”). The recipient selected by the ASCAP Creative Services Executives in consultation with industry executives. Workshop meets once per week from late January until mid-April.
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Marvin Hamlisch
tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE MUSIC OF MARVIN HAMLISCH Monday, October 19, 2015 ~ 8 pm Coolidge Auditorium Library of Congress, Thomas Jefferson Building The Ira and Leonore Gershwin Fund in the Library of Congress was established in 1992 by a bequest from Mrs. Gershwin to perpetuate the name and works of her husband, Ira, and his brother, George, and to provide support for worthy related music and literary projects. "LIKE" us at facebook.com/libraryofcongressperformingarts loc.gov/concerts Please request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 or [email protected]. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the concerts. Other events are open to all ages. • Please take note: Unauthorized use of photographic and sound recording equipment is strictly prohibited. Patrons are requested to turn off their cellular phones, alarm watches, and any other noise-making devices that would disrupt the performance. Reserved tickets not claimed by five minutes before the beginning of the event will be distributed to stand-by patrons. Please recycle your programs at the conclusion of the concert. The Library of Congress Coolidge Auditorium Monday, October 19, 2015 — 8 pm tHE iRA AND lEONORE gERSHWIN fUND IN THE lIBRARY OF cONGRESS AN EVENING WITH THE mUSIC OF MARVIN hAMLISCH WHITNEY BASHOR, VOCALIST | CAPATHIA JENKINS, VOCALIST LINDSAY MENDEZ, VOCALIST | BRYCE PINKHAM, VOCALIST
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Pre-Assessment
Name: _________________________________________________ Date: ____________________________ Film Music Unit Pretest 6th Grade Music Multiple Choice 1. What is a melody? a. The main line in music b. The background line in music c. A song that we sing d. The rhythmic drive in music. 2. The line of music associated with Luke Skywalker in the movie Star Wars is called a ___________________. a. Sequence b. Ostinato c. Leitmotif d. Melody 3. What was the first movie with an entire original score? a. Gone with the Wind b. King Kong c. Casablanca d. Star Wars 4. What year did synthesizers become introduced as a part of film music? a. 1958 b. 1968 c. 1978 d. 1980 True or False 5. Music was included as a part of film starting with the first motion picture. True False 6. Film composers are not always well-respected in their careers. True False 7. Film music is played by a symphony. True False 8. Ascending melodies are generally happy, while descending melodies are generally sad. True False Matching Match each film with the composer who wrote the film score. 9. ___________ Star Trek a) Hans Zimmer 10. ___________ Edward Scissorhands b) Jerry Goldsmith 11. ___________ Titanic c) Max Steiner 12. ___________ The Lion King d) Danny Elfman 13. ___________ The Pink Panther e) John Williams 14. ___________ King Kong f) James Horner 15. ___________ Star Wars g) Henry Mancini Name: _________________________________________________ Date: ____________________________ Fill in the Blank Insert the best word into each blank. Not all words will be used. character consonance dissonance geographic harmony historic piano tension timbre 16.
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Knowledge Organiser
Key Composers Purpose Bernard Hermann James Horner Music in a film is there to set the scene, enhance the AoS3 – Film Music mood, tell the audience things that the visuals cannot, or John Williams Danny Elfman manipulate their feelings. Sound effects are not music! John Barry Alan Silvestri Jerry Goldsmith Howard Shore Key terms Hans Zimmer Leitmotif – A theme for a character Mickey-mousing – When the music fits precisely with action Musical Elements & Common Associations (Musical Cliche’s) Underscore – where music is played at the same time as action Tempo Fast Excitement, action or fast-moving things (eg. A chase scene) Slow Contemplation, rest or slowing-moving things (eg. A funeral procession) Fanfare – short melodies from brass sections playing arpeggios and often accompanied with percussion Melody Ascending Upward movement, or a feeling of hope (eg. Climbing a mountain) Descending Downward movement, or feeling of despair (eg. Movement down a hill) Instruments and common associations (Musical Clichés) Large leaps Distorted or grotesque things (eg. a monster) Woodwind - Natural sounds such as bird song, animals, rivers Harmony Major Happiness, optimism, success Bassoons – Sometimes used for comic effect (i.e. a drunkard) Minor Sadness, seriousness (e.g. a character learns of a loved one’s death) Brass - Soldiers, war, royalty, ceremonial occasions Dissonant Scariness, pain, mental anguish (e.g. a murderer appears) Tuba – Large and slow moving things Rhythm Strong sense of pulse Purposefulness, action (e.g. preparations for a battle) & Metre Harp – Tenderness, love Dance-like rhythms Playfulness, dancing, partying (e.g. a medieval feast) Glockenspiel – Magic, music boxes, fairy tales Irregular rhythms Excitement, unpredictability (e.g.
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A Study of Musical Affect in Howard Shore's Soundtrack to Lord of the Rings
PROJECTING TOLKIEN'S MUSICAL WORLDS: A STUDY OF MUSICAL AFFECT IN HOWARD SHORE'S SOUNDTRACK TO LORD OF THE RINGS Matthew David Young A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC IN MUSIC THEORY May 2007 Committee: Per F. Broman, Advisor Nora A. Engebretsen © 2007 Matthew David Young All Rights Reserved iii ABSTRACT Per F. Broman, Advisor In their book Ten Little Title Tunes: Towards a Musicology of the Mass Media, Philip Tagg and Bob Clarida build on Tagg’s previous efforts to define the musical affect of popular music. By breaking down a musical example into minimal units of musical meaning (called musemes), and comparing those units to other musical examples possessing sociomusical connotations, Tagg demonstrated a transfer of musical affect from the music possessing sociomusical connotations to the object of analysis. While Tagg’s studies have focused mostly on television music, this document expands his techniques in an attempt to analyze the musical affect of Howard Shore’s score to Peter Jackson’s film adaptation of The Lord of the Rings Trilogy. This thesis studies the ability of Shore’s film score not only to accompany the events occurring on-screen, but also to provide the audience with cultural and emotional information pertinent to character and story development. After a brief discussion of J.R.R. Tolkien’s description of the cultures, poetry, and music traits of the inhabitants found in Middle-earth, this document dissects the thematic material of Shore’s film score.
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2013 Annual Report
2013 ANNUAL REPORT The ASCAP Foundation, established in 1975, is a publicly supported charity dedicated to supporting American music creators and encouraging their development through music education and talent development programs such as: songwriting workshops, scholarships, awards, community outreach and humanitarian programs, and providing grants to other 501(c)(3) organizations engaged in educational programs for aspiring songwriters and composers. The ASCAP Foundation supports programs in all musical genres that are national and regional in scope. Over the years, The ASCAP Foundation has developed and established its own scholarships, awards and music education programs and has collaborated with other organizations to meet its objectives. We are proud of the musical greats who have chosen to establish programs in their name and the families that have memorialized loved ones’ achievements by creating and funding named programs. They include: Harold Adamson, Richard Adler, Robert Allen, Herb Alpert, Harold Arlen, Louis Armstrong, Nick Ashford, Irving Berlin, Leonard Bernstein, Freddy Bienstock, Irving Burgie, Irving Caesar, Sammy Cahn, Desmond Child, George M. Cohan, Cy Coleman, Aaron Copland, Hal David, John Denver, Duke Ellington, George and Ira Gershwin, Jay Gorney, Morton Gould, Marvin Hamlisch, W.C. Handy, Lorenz Hart, Jerry Herman, Bart Howard, Billy Joel, Quincy Jones, Leo Kaplan, Steve Kaplan, Dean Kay, Leiber & Stoller, Tania Leon, Livingston & Evans, Frederick Loewe, John LoFrumento, Henry Mancini, Johnny Mandel, Michael Masser, Joseph Meyer, Vic Mizzy, Jason Mraz, Jack Norworth, Rudy Perez, Cole Porter, Louis Prima, Jerry Ragovoy, Joe Raposo, Irwin Robinson, Mary Rodgers, Richard Rodgers, Betty Rose, David Rose, Stephen Sondheim, Jimmy Van Heusen, Paul Williams, Lucille and Jack Yellen, and others.
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HENRY MANCINI BIOGRAPHY Mancini Born 1924 in Cleveland
HENRY MANCINI BIOGRAPHY Mancini born 1924 in Cleveland ,Ohio, learnt flute and piano at a young age. After High School he attended Julliard School of Music in Manhattan NY.{we can assume he was a very competent player with ambitions} . In 1943 after 1 year there he was drafted into the Army. After the war he became the pianist and arranger for the Glenn Miller Band, led by Tex Beneke.He also studied serious composing with Ernst Krenek and Mario Castelnuovo‐Tedesco. It was this, as well as his passion for jazz and swing music , that saw him join Universal Studios music dept as a house composer writing for such hits as Creature from the Black Lagoon , It came from Outer Space , Tarantula, followed by The Glenn Miller Story, The Benny Goodman Story , and Orson Welles Touch of Evil. He left Universal Studios in 1958 , working as an independent writer. He soon established a working relationship with Producer Blake Edwards { see Peter Sellers movie with Goeffrey Rush for character insights} . This produced nearly 30 films, the first being a tv series titled Peter Gunn. Other movies include Breakfast at Tiffanys, Days of wine and Roses, Pink Panther et al, The Party. Also Hatari, Victor/Victoria. Interestingly, Alfred Hitchcock rejected and replaced his work on the 1972 film Frenzy. He wrote many scores to TV shows, themes and ads, he recorded over 90 albums in styles ranging from Big Band to Classical to Pop. He at the time revolutionised the use of jazz in romantic and orchestral film and TV scores.
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Contemporary Film Music
Edited by LINDSAY COLEMAN & JOAKIM TILLMAN CONTEMPORARY FILM MUSIC INVESTIGATING CINEMA NARRATIVES AND COMPOSITION Contemporary Film Music Lindsay Coleman • Joakim Tillman Editors Contemporary Film Music Investigating Cinema Narratives and Composition Editors Lindsay Coleman Joakim Tillman Melbourne, Australia Stockholm, Sweden ISBN 978-1-137-57374-2 ISBN 978-1-137-57375-9 (eBook) DOI 10.1057/978-1-137-57375-9 Library of Congress Control Number: 2017931555 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.
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Beyond the Machine Photo by Claudio Papapietro
Beyond The Machine Photo by Claudio Papapietro Juilliard Scholarship Fund The Juilliard School is the vibrant home to more than 800 dancers, actors, and musicians, over 90 percent of whom are eligible for financial aid. With your help, we can offer the scholarship support that makes a world of difference—to them and to the global future of dance, drama, and music. Behind every Juilliard artist is all of Juilliard—including you. For more information please contact Tori Brand at (212) 799-5000, ext. 692, or [email protected]. Give online at giving.juilliard.edu/scholarship. The Juilliard School presents Center for Innovation in the Arts Edward Bilous, Founding Director Beyond the Machine 19.1 InterArts Workshop March 26 and 27, 2019, 7:30pm (Juilliard community only) March 28, 2019, 7pm Conversation with the artists, hosted by William F. Baker 7:30pm Performance Rosemary and Meredith Willson Theater The Man Who Loved the World Treyden Chiaravalloti, Director Eric Swanson, Actor John-Henry Crawford, Composer On film: Jared Brown, Dancer Sean Lammer, Dancer Barry Gans, Dancer Dylan Cory, Dancer Julian Elia, Dancer Javon Jones, Dancer Nicolas Noguera, Dancer Canaries Natasha Warner, Writer, Director, and Choreographer Pablo O'Connell, Composer Esmé Boyce, Choreographer Jasminn Johnson, Actor Gwendolyn Ellis, Actor Victoria Pollack, Actor Jessica Savage, Actor Phoebe Dunn, Actor David Rosenberg, Actor Intermission (Program continues) Please make certain that all electronic devices are turned off during the performance. The taking of photographs
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Gaby Santinelli Resume
AGENT Joshua Teagarden • NTA Talent Agency [email protected] • (323) 969-0113 GABY SANTINELLI SAG/AFTRA • US/UK CITIZEN FILM Life of Homer Heather American Film Institute • Dir. Dimitris Tsilifonis A Summer in Genoa Danny’s Wife Revolution Films • Dir. Michael Winterbottom Losing Isaiah Heidi Paramount Pictures • Dir. Stephen Gyllenhaal Ordinary Dream Woman American Film Institute • Dir. Patrick Picard Dancing Coins Nancy American Film Institute • Dir. Patrick Picard The Disappointment Tour Abby American Film Institute • Dir. Erica Liu Classroom Liz American Film Institute • Dir. Anna Golin Take the Reins Denise Short • Dir. Emma Barrett D’ora Emily 28 Films Ltd. • Dir. Delia Antal Chastity Bites Cocktail Party Guest Weirdsmobile • Dir. John Knowles The Test Neo-Natal Nurse Short • Dir. Francis Dreis TELEVISION The Ellen DeGeneres Show Mon Mothma (British VO) NBC • Warner Bros. Television • Dir. Liz Patrick Casting Nina Series Regular Temple Films • Dir. Dominic Kelly City Stories Co-Star Channel 4 • October Films • UK THEATRE (SELECTED CREDITS) La La Land: Live in Concert Ensemble Hollywood Bowl • Conductor Justin Hurwitz Jerry Springer: The Opera* Amber • Shawntel • Eve National Theatre & West End • Dir. Stewart Lee The Black Rider Bridesmaid • Kätchen A.C.T. • Ahmanson • Barbican • Sydney Festival The Phantom of the Opera Carlotta Giudicelli UK National Co. • Dir. Hal Prince An Ideal Husband Lady Chiltern Sierra Madre Playhouse • Dir. Gigi Bermingham Iolanthe Phyllis • Celia Savoy Theatre (West End) • Dir. Martin Connor The Exonerated Sandra • Sue Charing Cross Theatre • Dir. Jaclyn McLoughlin The Last Pilgrim Nancy Buckman Off West End • Dir. Tim Stark The Actor’s Nightmare Dame Ellen Terry Atlantic Theatre Company • Dir.
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Film Theme Music Calendar for May 2020
ListeningMA CalendarY 2020 May 2020 SUN MON TUE WED THU FRI SAT A Gift of a Thistle Anakin's Theme 1 From Braveheart 2 from By John by James Horner Williams Elevator to the Interstellar Main Theme from Schindler's List The Heart Asks The Mask of Kiss the Girl 3 Gallows by Miles 4 Theme by Hans 5 James Bond by 6 by John Williams 7 Pleasure From 8 Zorro by James 9 from The Little Davis Zimmer David Arnold The Piano by Horner Mermaid by Michael Nyman Samuel Wright Hymn to the Fallen Married Life Apollo 13 by Gabriel's Oboe Thor: The Dark Friend Like Me Jake's First Flight From from Saving Private from Up by James Horner from The Mission World from from Aladdin by 10 Ryan by John 11 12 13 14 15 16 Avatar by Michael by Enrico Thor by Brian Alan Menken Williams James Horner Giacchino Morricone Tyler Theme from The Shallow from A Main Theme from Moon River from Axel Foley from Feather Theme Black Hills of Godfather by Star is Born by The Man From Breakfast at Beverly Hills Cop from Forrest Dakota from 17 18 19 20 Tiffany's by 21 by Harold 22 23 Nino Rota Lady Gaga Snowy River by Gump by Alan Calamity Jame by Henry Mancini Faltermeyer Bruce Rowland Silvestri from Sammy Fain Somewhere over Ben Hur by The Hanging Tree Welcome to The Exorcist Psycho by The Lonley the Rainbow from Miklos Rozsa from The Hunger Jurrasic Park by Theme by Mike Shepherd from Kill 24 25 26 27 The Wizard of Oz 28 29 Bernard 30 Games by James John Williams Bill by Gheorghe by Harold Arlen Oldfield Herrmann Newton Howard Zamfir End Theme from Dances with 31 Wolves by John Barry Holidays and Observances: 5: Cinco de Mayo, 10: Mother's Day, 25: Memorial Day www.wiki-calendar.com.
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