Approaching the Performance of Experimental Music on the Flute Harriet Richardson
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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. -
Morton Feldman: a Celebration of His 80Th Birthday
Morton Feldman : A Celebration of His 80th Birthday Curated by John Bewley June 1 – September 15, 2006 Case 1 Morton Feldman was born January 12, 1926 in New York City to Irving and Frances Feldman. He grew up in Woodside, Queens where his father established a company that manufactured children’s coats. His early musical education consisted of piano lessons at the Third Street Settlement School in Manhattan and beginning at age twelve, with Vera Maurina Press, an acquaintance of the Russian composer, Alexander Scriabin, and a student of Ferruccio Busoni, Emil von Sauer, and Ignaz Friedman. Feldman began composing at age nine but did not begin formal studies until age fifteen when he began compositional studies with Wallingford Riegger. Morton Feldman, age 13, at the Perisphere, New York World’s Fair, 1939? Unidentified photographer Rather than pursuing a college education, Feldman chose to study music privately while he continued working for his father until about 1967. After completing his studies in January 1944 at the Music and Arts High School in Manhattan, Feldman studied composition with Stefan Wolpe. It was through Wolpe that Feldman met Edgard Varèse whose music and professional life were major influences on Feldman’s career. Excerpt from “I met Heine on the Rue Furstenburg”, Morton Feldman in conversation with John Dwyer, Buffalo Evening News, Saturday April 21, 1973 Let me tell you about the factory and Lukas Foss (composer and former Buffalo Philharmonic conductor). The plant was near La Guardia airport. Lukas missed his plane one day and he knew I was around there, so he called me up and invited me to lunch. -
CD One-Sheet Lifesketches
Release Date: September 2014 Naxos Records Catalog Number: 9.70126 New Release on Naxos Records: Jenny Q Chai, Piano Life Sketches: Piano Music of Nils Vigeland Life Sketches is the latest digital re- The five pieces on this recording span forty years in their date of composition lease of the esteemed Classical label and constitute about half of the music for solo piano written by composer Nils Naxos. This world première recording Vigeland. They appear in reverse order of composition, from most recent, 2013, is the product of a long-time collabora- to oldest, 1973. Of the seventeen individual movements, the most common link tion between the Chinese pianist Jenny between them is duration – more than half of them are less than three minutes Q Chai and American composer Nils long and, with the exception of all in due time, none are longer than six minutes. Vigeland. Catalog Number: 9.70126 Tracks ! Allora e Ora (2013) 15:38 [1] Santa Fina (1238-1253) 3:57 [2] Accusi va er monno 2:22 G.G. Belli-Roma, 14 November 1831 [3] Ricercare 6:23 [4] I Turisti 2:47 ! Five Pieces (2010)! 18:03 [5] 1. 1:32 [6] 2. 2:09 [7] 3. 4:47 [8] 4.— 4:23 [9] 5. 5:08 ! Life Sketches (1994)! 14:52 in memory of Yvar Mikhashoff [10] 1. Wild Hopes 1:24 [11] 2. Profane Dance 2:15 [12] 3. Trumpets 2:02 [13] 4. Im Volkston 1:09 [14] 5. Cambiata Waltz 2:12 [15] 6. Barcarolle 5:48 [16]! L'empire des lumières (1993) 5:06 hommage à René Magritte [17]! All in due time (1973)! 11:03 Distribution Sources Available from major digital services providers for downloading and streaming. -
Liner Notes, Visit Our Web Site: Recording: March 22, 2012, Philharmonie in Berlin, Germany
21802.booklet.16.aas 5/23/18 1:44 PM Page 2 CHRISTIAN WOLFF station Südwestfunk for Donaueschinger Musiktage 1998, and first performed on October 16, 1998 by the SWF Symphony Orchestra, conducted by Jürg Wyttenbach, 2 Orchestra Pieces with Robyn Schulkowsky as solo percussionist. mong the many developments that have transformed the Western Wolff had the idea that the second part could have the character of a sort classical orchestra over the last 100 years or so, two major of percussion concerto for Schulkowsky, a longstanding colleague and friend with tendencies may be identified: whom he had already worked closely, and in whose musicality, breadth of interests, experience, and virtuosity he has found great inspiration. He saw the introduction of 1—the expansion of the orchestra to include a wide range of a solo percussion part as a fitting way of paying tribute to the memory of David instruments and sound sources from outside and beyond the Tudor, whose pre-eminent pianistic skill, inventiveness, and creativity had exercised A19th-century classical tradition, in particular the greatly extended use of pitched such a crucial influence on the development of many of his earlier compositions. and unpitched percussion. The first part of John, David, as Wolff describes it, was composed by 2—the discovery and invention of new groupings and relationships within the combining and juxtaposing a number of “songs,” each of which is made up of a orchestra, through the reordering, realignment, and spatial distribution of its specified number of sounds: originally between 1 and 80 (with reference to traditional instrumental resources. -
RED LIGHT NEW MUSIC Presents Its SECOND MAINSTAGE CONCERT of the 2011/2012 SEASON
FOR IMMEDIATE RELEASE Composer collective, new music ensemble and concert series RED LIGHT NEW MUSIC presents its SECOND MAINSTAGE CONCERT of the 2011/2012 SEASON THE VIOLA IN MY LIFE: THE INFLUENCE OF MORTON FELDMAN 8pm MONDAY February 27, 2012 in NEW YORK CITY at PETER NORTON SYMPHONY SPACE’s LEONARD NIMOY THALIA "The composer makes plans, music laughs." – MORTON FELDMAN On Monday, February 27, 2012, 8pm the enterprising composer collective new music ensemble and concert series RED LIGHT NEW MUSIC presents its second mainstage concert of the season at New York City’s pre- eminent multi-disciplinary performing arts center, PETER NORTON SYMPHONY SPACE’s LEONARD NIMOY THALIA: THE VIOLA IN MY LIFE: THE INFLUENCE OF MORTON FELDMAN. This program is part of the third annual New York City based Composers Now Festival. THE VIOLA IN MY LIFE: THE INFLUENCE OF MORTON FELDMAN SCOTT WOLLSCHLEGER: Brontal No. 3 (world premiere, RLNM commission) MORTON FELDMAN: The Viola in My Life I TED HEARNE: Crispy Gentlemen (world premiere, RLNM commission) FELDMAN: The Viola in My Life II KEERIL MAKAN: Mercury Songbirds Curated by the co-directors of Red Light New Music, Scott Wollschleger, Liam Robinson, Vincent Raikhel and Christopher Cerrone, led by resident conductor Ted Hearne, and featuring long-time Red Light violist ERIN WIGHT in the Feldman works, THE VIOLA IN MY LIFE: THE INFLUENCE OF MORTON FELDMAN explores various aspects of the continuing impact of New York City based composer MORTON FELDMAN’s life, works and musical philosophy on a growing number of composers writing in a wide breadth of styles. -
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. -
"For Philip Guston" by Petr Kotik and Walter Zimmermann
[Morton Feldman Page] [List of Texts] On Performing Feldman's "For Philip Guston": A Conversation by Petr Kotik and Walter Zimmermann Contents: Introduction to Petr Kotik/Walter Zimmermann Conversation by Petr Kotik Ten Nasty Questions put to Petr Kotik by Walter Zimmermann Introduction to Petr Kotik/Walter Zimmermann Conversation Following the performance by S.E.M. Ensemble of Morton Feldman's For Philip Guston at the Paula Cooper Gallery in May, 1995, Paula Cooper suggested that we record the piece. She offered to fund the project the same way she funded our Marcel Duchamp recording in 1989. We had a few meetings in the Fall of 1995, to assess the feasibility of the idea and in November, we decided to go ahead. On December 22 and 23, 1995, we recorded the piece at the LRP Studio on West 22nd Street in Manhattan. The May '95 performance of Guston at the Paula Cooper Gallery was a great success. That Spring, we performed the piece twice: once in New York and few weeks later at the Landesmuseum Mainz in Germany. These were not our first performances of Guston. We have already performed it in 1988. Both concerts in 1995 convinced me that the time has finally come for music of extended duration to be appreciated by broader audiences. I was very much involved with this concept in the 1970s. In fact, all the pieces I wrote between 1971 and 1981 are several hours in duration. In the Summer of 1987, I wanted to commission Feldman to write a piece for the S.E.M. -
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 ........................................................................................................................ -
Re-Channelings of a Percussive Education a Dissertation
UNIVERSITY OF CALIFORNIA, SAN DIEGO Conducting, Teaching, Curating: Re-channelings of a Percussive Education A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Jonathan David Hepfer Committee in charge: Professor Steven Schick, Chair Professor Anthony Burr Professor William Arctander O’Brien Professor Jann Pasler Professor Kim Rubinstein 2016 © Jonathan David Hepfer, 2016 All rights reserved. This Dissertation of Jonathan David Hepfer is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ Chair University of California, San Diego 2016 iii DEDICATION TO: Will and Cindy for three decades of selflessness, and for saying “yes” at some crucial moments when I was really expecting to hear “no.” ! My grandfather for showing me the wisdom that nine decades of curiosity can produce. ! Anthony Miranda, Jan Williams, Gordon Gottlieb, Michael Rosen, Steven Schick, Bernhard Wulff, Lewis Nielson, Brian Alegant, Tim Weiss, and William Arctander O’Brien for watering me. THANK YOU ! Anthony Burr, Jann Pasler, Kim Rubinstein, Aleck Karis, Phil Larson, Ed Harkins, Susan Narucki, Jacob Greenberg, Olivia -
Of, With, Towards, on JULIUS EASTMAN INVOCATIONS 24.03
We Have Delivered Ourselves From the TONAL– Of, with, towards, On J U L I U S EASTMAN I NVOCATIONS 24.03.–25.03.2018 ARTISTIC DIRECTION Bonaventure Soh Bejeng Ndikung CURATOR Antonia Alampi RESEARCH CURATORS Kamila Metwaly and Lynhan Balatbat-Helbock CURATORIAL ASSISTANCE Kelly Krugman PROJECT MANAGEMENT Lema Sikod PROJECT ASSISTANCE Gwen Mitchell COMMUNICATION Anna Jäger and Jörg-Peter Schulze A project by S A V V Y Contemporary and MaerzMusik – Festival for Time Issues, conceived by Bonaventure Soh Bejeng Ndikung, Antonia Alampi and Berno Odo Polzer. New works have been commissioned and produced by S A V V Y Contemporary, co-produced by MaerzMusik – Festival for Time Issues. The project is funded by the German Federal Cultural Foundation. SAVVY Contemporary The Laboratory of Form-Ideas OUTLINE WE HAVE DELIVERED OURSELVES EXHIBITION 24.03.–06.05.2018 FROM THE TONAL is an exhibition, and OPEN Thu–Sun 14:00–19:00 a programme of performances, concerts and lectures WITH Paolo Bottarelli Raven Chacon that deliberate around concepts beyond the predomi- Tanka Fonta Malak Helmy Hassan Khan Annika Kahrs nantly Western musicological format of the tonal Pungwe (Robert Machiri and Memory Biwa) or harmonic. The project looks at African American The Otolith Group (Anjalika Sagar and Kodwo Eshun) composer, musician and performer Julius Eastman’s Christine Rusiniak Barthélémy Toguo work beyond the framework of what is today under- SAVVY Contemporary stood as minimalist music, within a larger, always gross Plantagenstraße 31, 13347 Berlin and ever-growing understanding of it – i.e. conceptually and geo-contextually. Together with musicians, visual INVOCATIONS I 24.03.2018 16:00–24:00 artists, researchers and archivers, we aim to explore INVOCATIONS II 25.03.2018 11:00–20:30 a non-linear genealogy of Eastman’s practice and his silent green Kulturquartier cultural, political and social weight, and situate his work Gerichtstraße 35, 13347 Berlin within a broader rhizomatic relation of musical episte- mologies and practices. -
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