THE RIVERS SCHOOL CONSERVATORY the 40Th Annual
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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. -
Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S. -
Orchestration and Melodic Doublings: an Analysis and Comparison Between Samuel Adler and Nikolay Rimsky-Korsakov’S Approach Austin Simonds MUCP 4320
Orchestration and Melodic Doublings: An Analysis and Comparison between Samuel Adler and Nikolay Rimsky-Korsakov’s Approach Austin Simonds MUCP 4320 Abstract How do the viewpoints and approaches of Samuel Adler (The Study of Orchestration) and Rimsky-Korsakov (Principles of Orchestration) differ regarding melodic doublings? And if so, does this effect musical style or practice? These two textbooks are, and continue to be, the standard for courses and other pedagogical approaches with the art of composition. I will compare and contrast the two, as well as analyze the melodic doublings found in Sergei Rachmaninoff’s second piano concerto, in an attempt to discover if either of the two texts fit a certain musical style over others. Composition has been understood as the mastery of harmony, counterpoint, and form. Only recently, within the last couple hundred years or so has orchestration slowly risen and developed into a separate art itself. Orchestration is defined as the study of writing for orchestra.1 Like the other pillars of composition, orchestration is a discipline that can be taught and mastered through study and practice. The two texts I have selected to compare were chosen based on their popularity in this subject, as well as the attention these specific texts receive for teaching this material. I will be looking at correlations between the two and analyze the melodic doublings found in Sergei Rachmaninoff’s Second Piano Concerto to find any possible relation between the treatises and musical style. To fully analyze and understand the differences between the two treatises, it is imperative to study not only the text, but also the authors themselves. -
Guest Artist Series:Kesatuan Duo
Illinois State University ISU ReD: Research and eData School of Music Programs Music 10-6-1999 Guest Artist Series:Kesatuan Duo Karen DeWig Flute Illinois State University Ingrid Gordan Marimba Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation DeWig, Karen Flute and Gordan, Ingrid Marimba, "Guest Artist Series:Kesatuan Duo" (1999). School of Music Programs. 1898. https://ir.library.illinoisstate.edu/somp/1898 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. I Music Department I Illinois State University I I I Guest Artist Series I Kesatuan Duo Karen DeWig, flute I Ingrid Gordan, marimba I I I I Kemp Recital Hall Wednesday Evening I October 6, 1999 8:00 p.m. I The Eleventh Program of the 1999-2000 Season. I 1· I Program Program Notes I I Ingrid Grete Gordon made her debut as a marimba soloist with the Chicago Symphony Orchestra at age 18. In 1988 she first appeared Figures in a Landscape (1984) Peter Klatzow as a solo percussion recitalist in the Young Steinway concert series, (born 1945) and has performed in numerous recital and .concert series since then. I I . Ms. Gordon is currently completing a Doctor of Musical Arts degree Double Labyrinth (1998) Mikel Kuehn in percussion at the University of Illinois. -
2016/2017 Annual Report Contents
2016/2017 ANNUAL REPORT CONTENTS Concert Season 4 Education & Outreach Initiatives 8 Financial Statements 10 Donors & Sponsors 11 Board & Staff 13 Cover: Mezzo-Soprano Andrea Ludwig and Percussionist Ryan Scott in R. Murray Schafer’s Odditorium. Photo by Trevor Haldenby This page: Conductor Kaspars Putninš and the Estonian Philharmonic Chamber Choir. Photo by Peeter Poldre. 2 SOUNDSTREAMS.CA EXECUTIVE SUMMARY Lawrence Cherney Artistic Director STIMULATING CULTURAL CONVERSATIONS In the lead up to our milestone 35th season, the 2016-17 season reaffirmed our commitment to creating a platform for uniquely Canadian cultural conversations. With a renewed focus on stimulating and provoking these conversations through carefully curated themes, we aimed to bring even greater depth, impact and relevancy to our work. This exploration of themes spurred us to incorporate dramatic enhancements in our productions, whose goal is to create immersive experiences for our audiences that will appeal to a wide range of ages and musical backgrounds. Ben Dietschi Executive Director One such example was Magic Flutes, which flowed seamlessly through a century of great flute repertoire from the lyricism of Debussy to a contemporary Canadian work inspired by Inuit shamanism. The season also saw the return of the legendary Estonian Philharmonic Chamber Choir, in a concert that explored significant Canadian and Estonian repertoire including world premieres by Omar Daniel and Riho Esko Maimets. As Canada approached its national sesquicentennial, Soundstreams’ programs like Music of the Rainbow Nation: A Tribute to Nelson Mandela’s Dream sought to bring global perspectives to issues of inclusivity, as always through the lens of intercultural collaboration. At the same time, productions Daniel Weinzweig like R. -
The Influence of Multiculturalism on Canadian Contemporary Art Music
Available online at www.sciencedirect.com Procedia Social and Behavioral Sciences 2 (2010) 7403–7406 Selected Papers of Beijing Forum 2004 The Influence of Multiculturalism on Canadian Contemporary Art Music Stephen Chatman Professor, School of Music, University of British Columbia Given the Beijing Forum 2004 theme of “Harmony and Prosperity of the Civilizations,” I have chosen a subject on art, which I believe illustrates a significant aspect of international harmony, communication, and synthesis of civilizations. As an introduction, a brief background on Canadian history and culture may be useful: Having gained confederation in 1867, Canada is a very young nation. As a country in the “new world”, Canada has always been a land of both immigrants and aboriginal “first nations” people. Historically, Canadian culture often has been defined as a Canadian “mosaic” (as opposed to the American “melting pot” concept), that is, a constantly evolving fabric of distinctly defined traditions, language, and art, often preserved or sanctioned by Canadian society and government. This Canadian “mosaic” is changing and has been shaped especially by assimilation, immigration, geography, demographics, and other cultural and political issues. Originally settled by primarily British, French and American immigrants, Canada’s languages (officially English and French), culture, moral values, and political system reflect its early heritage. Throughout the 19th and early 20th centuries, new waves of immigration continued—Irish, German, Scandinavian, Russian, Ukrainian, Eastern and Southern European, Chinese, Japanese, and East Indian people immigrated in ever increasing numbers. A high level of immigration, recently much more racially and geographically diverse, has continued into the 21st century, resulting in a truly multicultural and racially tolerant land. -
A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney
University of Dayton eCommons Honors Theses University Honors Program Spring 4-2014 Story Telling: A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney Erick C. Von Sas University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses Part of the Music Commons eCommons Citation Von Sas, Erick C., "Story Telling: A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney" (2014). Honors Theses. 5. https://ecommons.udayton.edu/uhp_theses/5 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Story Telling: A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney Honors Thesis Erick C. Von Sas Department: Music Advisor: Patrick Reynolds, Ph.D., Associate Professor of Music April, 2014 Story Telling: A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney Honors Thesis Erick C. Von Sas Department: Music Advisor: Dr. Patrick Reynolds, Associate Professor of Music April, 2014 Abstract This research project examines music by twentieth-century American composers Michael Colgrass, Joseph Schwantner, and Ross Lee Finney in order to compare how different composers present an aural conception to their audience through the wind ensemble medium. An aural conception is the subject upon which the music is commenting; sight (subject) through sound. The study includes an analysis of soundscapes- collections of sounds that form an acoustic representation of an action or object- in works created by Colgrass, Schwantner, and Finney. -
Peter Sculthorpe’S Pieces with Stephen Kent (Didjeridu) Is Both One of the Most Unusual and Fulfilling
1 CD 1 1 String Quartet No. 12 “From Ubirr” [12:22] String Quartet No. 14 “Quamby” 2 I. Prelude [3:24] 3 II. In the Valley [3:49] 4 III. On High Hills [4:45] 5 IV. At Quamby Bluff [8:00] CD 2 String Quartet No. 16 1 *(6) I. Loneliness [4:10] 2 *(7) II. Anger [3:58] 3 *(8) III. Yearning [5:49] 4 *(9) IV. Trauma [4:18] 5 *(10) V. Freedom [5:30] String Quartet No. 18 6 *(11) I. Prelude [2:04] 7 *(12) II. A Land Singing [4:27] 8 *(13) III. A Dying Land [7:32] 9 *(14) IV. A Lost Land [6:43] 6 *(15) V. Postlude [5:20] Complete Program Time: 82:11 SCULTHORPE The Complete String Quartets with Didjeridu 1 *(Blu-ray™ Tracks) 2 Amongst the amazing artistic collaborations that Del Sol has had in our 22-years of music making, playing Peter Sculthorpe’s pieces with Stephen Kent (didjeridu) is both one of the most unusual and fulfilling. The breathtaking power and beauty of Peter’s music is enhanced by the juxtaposition of these contrasting wooden instruments and traditions - the ones delicately carved by master craftsmen in Europe and the other naturally hollowed out by termites in Australia. Stephen’s artistry envelops us in sonorities that border between the earth and the divine. These sonic waves lift the entire quartet, even changing the role of the cello from harmonic ground to the floor of an airship. We take flight together. We have journeyed to places dark and wondrous during the process of learning these masterworks and hope you will join us there now. -
Soundstreamscatalogue Lowr
LAWRENCE CHERNEY Artistic Director Directeur Artistique CHRIS LORWAY Executive Director Directeur Général JORGE AYALA Digital Community Manager Gestion des Communications Numériques SARAH BAUMANN Director of Marketing & P.R. STAFF Directrice, Marketing et Relations Publiques KYLE BRENDERS Artistic Associate Adjoint Artistique AMBER EBERT Outreach Programs Manager Gestion des Programmes de Diffusion CHRISTINA NIEDERWANGER Director of Development Directrice du Développement CAITLIN WELD Associate Producer Productrice Adjointe Lawrence Cherney, ARTISTIC DIRECTOR NEW DIRECTIONS IN MUSIC JORGE AYALA Digital Community Manager Gestion des Communications Numériques SARAH BAUMANN Director of Marketing & P.R. Directrice, Marketing et Relations Publiques SOUNDSTREAMS CATALOGUE KYLE BRENDERS Artistic Associate Commissioned Works Adjoint Artistique 1982-2012 AMBER EBERT Outreach Programs Manager Gestion des Programmes de Diffusion CHRISTINA NIEDERWANGER NEW DIRECTIONS IN MUSIC Director of Development Directrice du Développement CAITLIN WELD Associate Producer Productrice Adjointe PREFACE The works in this catalogue represent thirty years The catalogue’s purpose is not to sell the works it lists of commissions by Soundstreams, an organization but to promote them. Many of these compositions have dedicated to the creation and performance of new been heard only once; we seek to begin remedying that musical compositions. Naturally, each individual work situation by opening a dialogue about them, so please included here embodies its composer’s distinct voice feel free to contact us at Soundstreams. We are proud to and style; yet taken as a whole, the collection also present this unique compendium of musical excellence, reflects the particular aesthetic of Soundstreams and we invite you to help us bring these remarkable Artistic Director Lawrence Cherney. Listen to several works to the much wider audience that they deserve. -
Jeremy Podgursky * 1802 E. Maxwell Ln * Bloomington, in 47401 [email protected] *
Jeremy Podgursky * 1802 E. Maxwell Ln * Bloomington, IN 47401 [email protected] * www.jeremypodgursky.com EDUCATION * D.M. in Music Composition, expected May 2013, Jacobs School of Music, Indiana University * M.M. in Music Composition, May 2007 at the University of Louisville (4.0 GPA) * B.M. with High Honors in Music Composition, June 2001 at the University of Louisville (3.8 GPA) PRINCIPAL TEACHERS * Claude Baker, Don Freund, Steve Rouse, Marc Satterwhite, John Gibson, Alicyn Warren, Brenda Kee (piano) EXTENDED PRIVATE STUDY * John Adams, Simon Bainbridge, Ivan Tcherepnin, Tan Dun, Karel Husa, Michael Colgrass, Sebastian Currier, Paul Chihara, Louis Karchin, Philippe Hersant MASTERCLASSES * Toru Takemitsu, Pierre Boulez, George Tsontakis, Simon Bainbridge, Claude Baker, Ivan Tcherepnin, Michael Colgrass, György Kurtag, Sebastian Currier, Steven Stucky, Peter Leiberson, Brett Dean, Stephen Andrew Taylor, Paul Chihara AWARDS/HONORS * 2011 Honorable Mention, MakeMusic/Finale/ACF/eighth blackbird National Composition Competition * Participant in Inaugural (2010) Mizzou New Music Festival at University of Missouri with performance by Alarm Will Sound at the Missouri Theater * 2009 Winner, 8th annual Cal State University Northridge Prize for Orchestra (Northridge, CA performance 02/10) for our bliss, it comes in waves * Participant in American Composers Orchestra/EARSHOT readings with the Colorado Symphony Orchestra, Boettcher Concert Hall, Denver, CO, 07/09, Delta David Gier - Conductor * 2009-2013 Jacobs School of Music Doctoral -
John Donald Robb Composers' Symposium
The University of New Mexico The College of Fine Arts, Department of Music Presents the Thirty-sixth Annual JOHN DONALD ROBB COMPOSERS’ SYMPOSIUM March 25-28, 2007 Featured Composer: Robert Ashley Curt Cacioppo Paul Lombardi Raven Chacon Brady McElligott Jack Douthett Sam Merciers Neil Haverstick Hyo-shin Na Richard Hermann Patricia Repar Hee Sook Kim Christopher Shultis Richard Krantz John Starrett Thomas Licata Joseph Turrin Peter Lieuwen Scott Wilkinson Artists in Residence Sam Ashley, Jacqueline Humbert Ensembles in Residence Del Sol Quartet: Kate Stenberg, Rick Shinozaki, Charlton Lee, Hannah Addario-Berry PARTCH: John Schneider, David Johnson, Erin Barnes Symposium events are held at the University of New Mexico, Center for the Arts All events are free and open to the public Dr. Christopher Mead, Dean, College of Fine Arts Dr. Steven Block, Chair, Department of Music Composers’ Symposium Staff Dr. Christopher Shultis, Artistic Director Doris Williams, Managing Director; Program Coordinator, John D. Robb Musical Trust Ethan Smith, Graduate Assistant, John D. Robb Musical Trust Victoria Weller, Keller Hall Manager Manny Rettinger, Audio Engineer Cover art: from CD “Foreign Experiences” copyright 1994 photo by Philip Makanna entitled: “Sunset Gas Station.” John Donald Robb John Donald Robb John Donald Robb (1892-1989) led a rich and varied life as an attorney, composer, arts administrator, and ethnomusicologist. He composed an impressive body of work including symphonies, concertos for viola and piano, sonatas, chamber and other instrumental music, choral works, songs, and arrangements of folk songs, two operas, including Little Jo, a musical comedy, Joy Comes to Deadhorse, and more than sixty- five electronic works. -
The Operas of Samuel Adler: an Analytical Study
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1978 The Operas of Samuel Adler: an Analytical Study. Joan Dawson Lucas Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Lucas, Joan Dawson, "The Operas of Samuel Adler: an Analytical Study." (1978). LSU Historical Dissertations and Theses. 3207. https://digitalcommons.lsu.edu/gradschool_disstheses/3207 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.