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Applied Anatomy in Music: Body Mapping for Trumpeters
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Applied Anatomy in Music: Body Mapping for Trumpeters Micah Holt University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Holt, Micah, "Applied Anatomy in Music: Body Mapping for Trumpeters" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2682. http://dx.doi.org/10.34917/9112082 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. APPLIED ANATOMY IN MUSIC: BODY MAPPING FOR TRUMPETERS By Micah N. Holt Bachelor of Arts--Music University of Northern Colorado 2010 Master of Music University of Louisville 2012 A doctoral project submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas May 2016 Dissertation Approval The Graduate College The University of Nevada, Las Vegas April 24, 2016 This dissertation prepared by Micah N. -
The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music. -
THE FUTURE of the FRENCH BASSOON: CHANGING PERCEPTION THROUGH INNOVATION by DARYN ZUBKE Submitted to the Graduate Degree Progra
THE FUTURE OF THE FRENCH BASSOON: CHANGING PERCEPTION THROUGH INNOVATION BY DARYN ZUBKE Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. Eric Stomberg ________________________________ Dr. Stephanie Zelnick ________________________________ Dr. Margaret Marco ________________________________ Dr. David Alan Street ________________________________ Dr. Michelle Hayes Date Defended: November 21, 2017 ii The Dissertation Committee for DARYN ZUBKE certifies that this is the approved version of the following dissertation: THE FUTURE OF THE FRENCH BASSOON: CHANGING PERCEPTION THROUGH INNOVATION ________________________________ Chairperson Dr. Eric Stomberg Date approved: November 21, 2017 iii Abstract Over the past 150 years the French bassoon has experienced great fluctuations in popularity and innovation, but is now at a turning point due to advancements based on recent research and development by musicians and instrument makers alike. A number of contributing factors have allowed the French bassoon to rediscover its place as a significant option to a new generation of bassoonists. The primary reasons for this renewed interest are five-fold: advances in instrument manufacture resulting in increased accessibility; a shift in tone production among professional French bassoonists; unprecedented access to recordings, past and present, of the French bassoon via the internet; a growing interest in performing French works on the instrument for which they were written; an interest by major orchestras to invest in the Ducasse system; and the influence of active French bassoonists promoting their instrument. Newly developed bassoons, made by Parisian bassoon maker Yannick Ducasse, have been engineered for more flexibility in tone production, allowing musicians to blend effectively with other instruments. -
The Protean Oboist: an Educational Approach to Learning Oboe Repertoire from 1960-2015
THE PROTEAN OBOIST: AN EDUCATIONAL APPROACH TO LEARNING OBOE REPERTOIRE FROM 1960-2015 by YINCHI CHANG A LECTURE-DOCUMENT PROPOSAL Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts May 2016 Lecture Document Approval Page Yinchi Chang “The Protean Oboist: An Educational Approach to Learning Oboe Repertoire from 1960- 2015,” is a lecture-document proposal prepared by Yinchi Chang in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This lecture-document has been approved and accepted by: Melissa Peña, Chair of the Examining Committee June 2016 Committee in Charge: Melissa Peña, Chair Dr. Steve Vacchi Dr. Rodney Dorsey Accepted by: Dr. Leslie Straka, Associate Dean and Director of Graduate Studies, School of Music and Dance Original approval signatures are on file with the University of Oregon Graduate School ii © 2016 Yinchi Chang iii CURRICULUM VITAE NAME OF AUTHOR: Yinchi Chang PLACE OF BIRTH: Taipei, Taiwan, R.O.C DATE OF BIRTH: April 17, 1983 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon University of Redlands University of California, Los Angeles Pasadena City College AREAS OF INTEREST: Oboe Performance Performing Arts Administration PROFESSIONAL EXPERIENCE: Marketing Assistant, UO World Music Series, Eugene, OR, 2013-2016 Operations Intern, Chamber Music@Beall, Eugene, OR, 2013-2014 Conductor’s Assistant, Astoria Music Festival, Astoria, OR 2013 Second Oboe, Redlands Symphony, Redlands, CA 2010-2012 GRANTS, AWARDS AND HONORS: Scholarship, University of Oregon, 2011-2013 Graduate Assistantship, University of Redlands, 2010-2012 Atwater Kent Full Scholarship, University of California, Los Angeles, 2005-2008 iv TABLE OF CONTENTS Introduction ........................................................................................................................ -
Mahler Symphony No. 9 | Program Notes
27 Season 2018-2019 Thursday, May 9, at 7:30 Friday, May 10, at 2:00 The Philadelphia Orchestra Sunday, May 12, at 2:00 Yannick Nézet-Séguin Conductor Mahler Symphony No. 9 in D major I. Andante comodo II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb III. Rondo—Burleske: Allegro assai. Sehr trotzig IV. Adagio: Sehr langsam und noch zurückhaltend This program runs approximately 1 hour, 40 minutes, and will be performed without an intermission. The May 9 concert celebrates our 12-year partnership with the Bravo! Vail Music Festival. The May 9 concert is sponsored by Lisa and Peter DiLullo. The May 10 concert is sponsored by Peter A. Benoliel and Willo Carey. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 28 Please join us following the May 10 concert for a free Chamber Postlude featuring members of The Philadelphia Orchestra. Mahler/arr. Wen Adagietto, from Symphony No. 5 in C-sharp minor Che-Hung Chen Viola Marvin Moon Viola Burchard Tang Viola Meng Wang Viola Haydn Divertimento in D major, for three cellos Derek Barnes Cello John Koen Cello Alex Veltman Cello The Postlude runs approximately 25 minutes. 29 30 31 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s -
The University of Tulsa Magazine Is Published Three Times a Year Major National Scholarships
the university of TULSmagazinea 2001 spring NIT Champions! TU’s future is in the bag. Rediscover the joys of pudding cups, juice boxes, and sandwiches . and help TU in the process. In these times of tight budgets, it can be a challenge to find ways to support worthy causes. But here’s an idea: Why not brown bag it,and pass some of the savings on to TU? I Eating out can be an unexpected drain on your finances. By packing your lunch, you can save easy dollars, save commuting time and trouble, and maybe even eat healthier, too. (And, if you still have that childhood lunch pail, you can be amazingly cool again.) I Plus, when you share your savings with TU, you make a tremendous difference.Gifts to our Annual Fund support a wide variety of needs, from purchase of new equipment to maintenance of facilities. All of these are vital to our mission. I So please consider “brown bagging it for TU.” It could be the yummiest way everto support the University. I Watch the mail for more information. For more information on the TU Annual Fund, call (918) 631-2561, or mail your contribution to The University of Tulsa Annual Fund, 600 South College Avenue, Tulsa, OK 74104-3189. Or visit our secure donor page on the TU website: www.utulsa.edu/development/giving/. the university of TULSmagazinea features departments 16 A Poet’s Perspective 2 Editor’s Note 2001 By Deanna J. Harris 3 Campus Updates spring American poet and philosopher Robert Bly is one of the giants of 20th century literature. -
Of Extended Techniques: Annotated Performance Guides to Sofia Gubaidulina’S Bassoon Works
Solving the “Problems” of Extended Techniques: Annotated Performance Guides to Sofia Gubaidulina’s Bassoon Works A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College‐Conservatory of Music by Amy Marinello Pollard May 2012 Advisor: Dr. Terence Milligan, DMA B.M., Louisiana State University, 2004 M.M., The University of Cincinnati College‐Conservatory of Music, 2006 ABSTRACT This study focuses on the utilization and execution of extended techniques in the bassoon works of Sofia Gubaidulina: the Duo Sonata for Two Bassoons, the Concerto for Bassoon and Low Strings, and Quasi Hoquetus for viola, bassoon, and piano. There is an historical background presented for the development of extended techniques for woodwind instruments, focusing on the bassoon in particular. Furthermore, the extended techniques used in each of Gubaidulina’s bassoon works are described and performance suggestions are provided for these sonorities. Each extended technique is supplemented by fingering options and ideas about changes to embouchure pressure, air pressure, and embouchure position in order to successfully achieve each effect. The study is designed to assist performers in their negotiation of contemporary techniques that are unfamiliar and make Gubaidulina’s works more accessible to bassoonists. iii iv ACKNOWLEDGEMENTS I offer my sincere appreciation and deepest gratitude to my committee, Dr. Terence Milligan, Dr. Miguel Roig‐Francoli, and Professor William Winstead. Your guidance and support throughout this process has been phenomenal. I especially thank you for your willingness to work with me long‐distance and for being so flexible with your time as a result. -
Approaching New Piano Literature: Composition and Interpretation of Four Piano Etudes*
ISSN 2346-4879 | e-ISSN 2346-4747 | Vol. 6 | N°12 || DOI: 10.17230/ricercare.2019.12.4 APPROACHING NEW PIANO LITERATURE: COMPOSITION AND INTERPRETATION OF FOUR PIANO ETUDES* ENFOQUE DE LA NUEVA LITERATURA DE PIANO: COMPOSICIÓN E INTERPRETACIÓN DE CUATRO ESTUDIOS PARA PIANO Marco Alunno Universidad EAFIT, [email protected] Andrés Gómez Bravo Universidad EAFIT, [email protected] Fecha de recibido: 7 – 10 – 2019 Fecha de aprobación: 12 – 02 – 2020 * An abridged version of this article is published in: Maul, Michael and Nones, Alberto (eds.). Forms of Performance: From J.S. Bach to M. Alunno (1912-). Wilmington, DE: Vernon Press, 2020. No. 12. Julio – diciembre 2019 64 Un concierto para todos. Análisis sobre las variables existentesLa experiencia para musicalla construcción de los improvisadores de un recital de de grado la zona en cantoandina lírico. y el caribe colombiano Abstract Resumen In the literature for solo instrument, etudes typically En la literatura para instrumento solo, los estudios present different kinds of technical and expressive presentan típicamente diferentes tipos de retos tanto challenges. In fact, they often focus on unique and técnicos como expresivos. De hecho, frecuentemente problematic aspects of performance on a specific se enfocan en aspectos problemáticos de la instrument. The short group of piano etudes presented interpretación de cada instrumento en específico. here has the same purpose, although, in some cases, El pequeño grupo de estudios presentado aquí, it recalls writing techniques and melodic-rhythmical comparte el mismo propósito, aunque, en algunos modules usually associated with composers and styles casos, recuerda técnicas y módulos melódico-rítmicos of both the past and present times. -
Analyzing Genre in Post-Millennial Popular Music
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Analyzing Genre in Post-Millennial Popular Music Thomas Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2884 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ANALYZING GENRE IN POST-MILLENNIAL POPULAR MUSIC by THOMAS JOHNSON A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 THOMAS JOHNSON All rights reserved ii Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ____________________________________ Date Eliot Bates Chair of Examining Committee ___________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Mark Spicer, advisor Chadwick Jenkins, first reader Eliot Bates Eric Drott THE CITY UNIVERSITY OF NEW YORK iii Abstract Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson Advisor: Mark Spicer This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire. -
A Performer's Guide to the Solo Trombone and Piano
A PERFORMER’S GUIDE TO THE SOLO TROMBONE AND PIANO MUSIC OF ANTHONY PLOG BY DAVID THEODORE DAY THESIS Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign - 2015 Urbana, Illinois Doctoral Committee: Associate Professor Elliot Chasanov, Chair and Director of Research Associate Professor Gayle Sherwood Magee Associate Professor Linda R. Moorhouse Associate Professor Reynold Tharp ABSTRACT A PERFORMER’S GUIDE TO THE SOLO TROMBONE AND PIANO MUSIC OF ANTHONY PLOG By David Theodore Day March 2015 This paper examines the trombone and piano works of Anthony Plog, including 3 Miniatures (1994), 4 Themes on Paintings of Goya (2001), Divergent Roads (2014), Initiatives (2014) and Interplay (2014). In it, I provide an analytical overview of each of these five works as well as suggestions for effective performance. I also discuss how Plog’s writing has reached the trombone community, and how each of these pieces can serve on a trombone recital program. I pay particular attention to Interplay for Trombone and Piano, a work I commissioned as part of this doctoral research, which I hope will become a valuable new piece in the trombone repertoire. ii This thesis is dedicated: to Michael, who first made me want to play; to Kelly, who first made me see friends to play with; to Frank and Terry, who made it possible for me to play; and especially to Molly, who encouraged consistent play and, perhaps most importantly, reminded me that it’s good to play. -
Taylor Magazine (December 1992) Taylor University
Taylor University Pillars at Taylor University The aT ylor Magazine Ringenberg Archives & Special Collections 12-1992 Taylor Magazine (December 1992) Taylor University Follow this and additional works at: https://pillars.taylor.edu/tu_magazines Part of the Higher Education Commons Recommended Citation Taylor University, "Taylor Magazine (December 1992)" (1992). The Taylor Magazine. 163. https://pillars.taylor.edu/tu_magazines/163 This Book is brought to you for free and open access by the Ringenberg Archives & Special Collections at Pillars at Taylor University. It has been accepted for inclusion in The aT ylor Magazine by an authorized administrator of Pillars at Taylor University. For more information, please contact [email protected]. A MAGAZINE FOR TAYLOR UNIVERSITY A L U M NHkN D FRIENDS N ON PRECIS 7W ime Museum reads the small, brown, ing the death of each hour and serving as a highway information sign at Interstate-90's reminder of the brevity of life. Rockford, 111., exit. I've often passed it en "What potent symbolism" I thought. Modem route to visit family in Minnesota, but I'd clocks and watches may sport cartoon mice, fancy never stopped at the museum until this fall. graphics, or LCD displays; ne\ertheless. there is a And even then, I called ahead to ask if it would skeleton hidden in each one. Whether or not we are be worth my while. "We're putting together a hourly conscious of it. time does march on; life is magazine on the subject of time," I said. "Would it brief Our view of time affects our use of it. -
Notes from Abe Kniaz on Playing the Horn
Notes from Abe Kniaz On playing the horn Collected by Thom Gustavson Dedicated to Édith Bédard First Edition © 2012 Thom Gustavson and Édith Bédard Thom Gustavson Publishing 135 Grande-Allee Ouest No. 402 Quebec PQ G1R 2H2 CANADA Introduction Abe Kniaz was my teacher, colleague, and friend. His accomplishments were considerable, but I discovered them mostly by listening to recordings of his performances because he was also modest. He did not publish any pedagogical theories, but he left notes on his thoughts about teaching horn playing. This is a distillation of his notes, organized into categories. Perhaps one reason he didn't publish his theories was that he never thought he had all the answers. One of his strengths was that he was willing to change when his approach was not working or when he saw a better way. Another friend of Abe's, A. Robert Johnson, wrote in The Horn Call (October 2007) about his experience playing second to Abe in the National Symphony: Abe's was not a natural gift, and he made no secret of that. His was not a “natural” embouchure. He learned how to make it conform to his will by sheer effort and endless experimentation. And he succeeded. Colleagues in the brass section let it be known that for a season or two his tenure was in doubt because he hadn’t yet mastered the idiosyncrasies of the instrument across the spectrum of demand made on the first horn. It is fair to say that this combination of will and uncertainty were one story of his life in music.