DOCSLIB.ORG

The Saxophone Music of Alex Mincek and Eric Wubbels: Uses of Form, Repetition, and Extended Technique

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Saxophone Music of Alex Mincek and Eric Wubbels: Uses of Form, Repetition, and Extended Technique THE SAXOPHONE MUSIC OF ALEX MINCEK AND ERIC WUBBELS: USES OF FORM, REPETITION, AND EXTENDED TECHNIQUE Matthew Younglove A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS May 2017 Committee: John Sampen, Advisor Andrew Schockett, Graduate Faculty Representative Mikel Kuehn Nermis Mieses © 2017 Matthew Younglove All Rights Reserved iii ABSTRACT John Sampen, Advisor Composers Alex Mincek and Eric Wubbels have both contributed significantly to the saxophone repertoire of the 21st Century. As members of the Wet Ink Ensemble, a New York City-based new music ensemble, they are both highly regarded performers and composers; Mincek is a saxophonist and Wubbels a pianist. While their contributions to the saxophone repertoire have been significant (seventeen works by Mincek, six works by Wubbels), there has been little scholarly attention to either composer or their saxophone works. This document provides the reader with biographical sketches and the philosophical approaches of each composer, comparing their similarities while drawing attention to what makes each unique in addition to highlighting the ways they have impacted each other as collaborators. It further examines Mincek’s Pendulum III and Nucleus and Wubbels’ This is This is This is and Axamer Folio, specifically evaluating the works through an analysis of form, unique uses of repetitive gestures, and extensive incorporation of extended techniques on the saxophone with the goal of providing a performer with analytical and performance tools to aid in the interpretation of these works. iv This document is dedicated to my parents, Donald and Christine Younglove, whose unconditional love and support have made possible the pursuit of this passion. v ACKNOWLEDGMENTS I would like to acknowledge many individuals whose efforts went into the creation of this document. Thanks to my committee members, Mikel Kuehn, Nermis Mieses, and Andrew Schockett for contributing to my growth as a scholar and musician during my time at BGSU. I would like to extend my sincerest gratitude to John Sampen for his guidance, instruction, and continued passion for this art form that we share. His mentorship continues to have immeasurable value. Thanks to Marilyn Shrude for her continued support, assistance, and musical guidance throughout the degree program. I would like to acknowledge Gregory Beyer, Noa Even, Eliot Gattegno, and David Wegehaupt for their contributions to this document through their willingness to correspond. I am extremely grateful for the participation of Alex Mincek and Eric Wubbels; this document would not have been possible without their support. Additionally, I would like to acknowledge European American Music Distributors Company, an agent for Schott Music Corporation, and Eric Wubbels for licensing the rights of the musical examples found in this document. The support of my family, near and far, has been substantial in helping me to thrive in my degree program and in my profession. To my loving parents Donald and Christine, my parents-in-law Mike and Tina, my brothers Jordan and Seth, and brother-in- law Mikey, I extend my deepest gratitude. Their devotion to me and to my craft has helped me achieve this milestone. Lastly, I would like to give special thanks to my wife, Sara, for her loving support and unwavering belief in me as a scholar and musician. vi TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………………..... 1 CHAPTER 1. ALEX MINCEK ........................................................................................... 5 Mincek’s Musical Development, Education, and Compositional Influences ........... 5 Performer-Composer ................................................................................................. 8 Gesture and Physicality ............................................................................................. 11 Coherence and Logic ................................................................................................. 12 Repetition .................................................................................................................. 18 Current State of Composition .................................................................................... 21 Conclusion ................................................................................................................ 22 CHAPTER 2. ERIC WUBBELS .......................................................................................... 23 Wubbels’s Musical Development, Education, and Compositional Influences .......... 23 Gesture and Physicality.............................................................................................. 27 Musical Forms ........................................................................................................... 31 Approach to the Saxophone ....................................................................................... 35 Aesthetic ................................................................................................................... 36 Conclusion ................................................................................................................. 37 CHAPTER 3. WET INK ENSEMBLE ............................................................................... 39 Wet Ink Ensemble History ........................................................................................ 39 Wet Ink Ensemble Aesthetics .................................................................................... 41 Mincek and Wubbels’ Influences on Each Other ..................................................... 44 CHAPTER 4. SAXOPHONE WORKS BY ALEX MINCEK ............................................ 47 vii Historical Background of Pendulum III ..................................................................... 47 Formal Elements and Analysis of Pendulum III ........................................................ 48 Pitch Content of Pendulum III ................................................................................... 57 Uses of Repetition ...................................................................................................... 61 Elements of Free Jazz and Improvisation .................................................................. 62 Relevant Material from Performer Interviews ........................................................... 64 Historical Background of Nucleus ............................................................................. 66 Formal Elements and Analysis of Nucleus ................................................................ 67 Repetition in Nucleus ................................................................................................. 70 Form in Nucleus ......................................................................................................... 71 Relevant Material from Performer Interviews ........................................................... 78 Conclusion ................................................................................................................. 80 CHAPTER 5. SAXOPHONE WORKS BY ERIC WUBBELS ............................................ 82 Historical Background of This is This is This is ........................................................ 82 Formal Elements and Analysis of This is This is This is ........................................... 85 Repetition in This is This is This is ............................................................................ 91 Relevant Material from Performer Interviews ........................................................... 93 Historical Background of Axamer Folio .................................................................... 95 Formal Elements and Analysis of Axamer Folio ....................................................... 98 Duos in Axamer Folio ................................................................................................ 103 Paired and Separable Duos in Axamer Folio ............................................................. 104 Free Improvisation in Axamer Folio .......................................................................... 105 Relevant Material from Performer Interviews ........................................................... 106 viii Conclusion ................................................................................................................. 107 BIBLIOGRAPHY .................................................................................................................. 109 APPENDIX A. COMPLETE LIST OF SAXOPHONE WORKS......................................... 112 APPENDIX B. INTERVIEW TRANSCRIPTS .................................................................... 115 APPENDIX C. EXTENDED TECHNIQUES RESOURCE GUIDES ................................. 218 APPENDIX D. HSRB INFORMED CONSENT LETTERS ................................................ 287 APPENDIX E. PERMISSION LETTERS ............................................................................ 311 ix LIST OF EXAMPLES Example Page 1.1 Alex Mincek, Nucleus, page 3, line 3, measure 50-53 .............................................. 15 1.2 Alex Mincek, Pendulum III, page 1, line 1, measures 1-7 ......................................... 17 1.3 Alex Mincek, Nucleus, page 1, lines 1-2, measures 1-10 .......................................... 20 2.1 Eric Wubbels, This is This is This is, page 1, line 1, measure 1-3 ............................
Load more

Recommended publications
  • Brenner Basistunnel BBT SE Brenner Basistunnel UVP Und Teilkonzentriertes Genehmigungsverfahren
    BMVIT - IV/SCH2 (Oberste Eisenbahnbaubehörde (Verfahren im Bereich der Eisenbahnen)) Postanschrift: Postfach 201, 1000 Wien Büroanschrift : Radetzkystraße 2, 1030 Wien E-Mail : [email protected] GZ. BMVIT-220.151/0050-IV/SCH2/2008 DVR:0000175 Galleria di Base del Brennero - Brenner Basistunnel BBT SE Brenner Basistunnel UVP und teilkonzentriertes Genehmigungsverfahren Verhandlungsschrift über eine öffentliche mündliche Verhandlung aufgenommen am 23. und 24. Oktober sowie am 11. November 2008. Der Verhandlungsleiter als Vertreter des Bundesministers für Verkehr, Innovation und Technologie eröffnet die Verhandlung am 11. November 2008 um 9:30 Uhr im Flughafen Innsbruck (Flughafen­ lounge), Fürstenweg 180, 6020 Innsbruck, und begrüßt die Teilnehmer an dieser öffentlichen mündlichen Verhandlung. 3. Verhandlungstag am 11. November 2008 Anwesende Bundesministerium für Verkehr, Innovation und Technologie: Mag. Rupert Holzerbauer Verhandlungsleiter Mag. Gabriele Fiedler Mag. Erich Simetzberger Sachverständige: Dipl.-Ing. Rudolf BEDNARZ Wildbach- und Lawinenverbauung Dr. Elmar BERKTOLD Raumplanung Dipl.-Ing. Siegmund FRACCARO Tunnelbau Ing. Christian ERTL Landwirtschaft Dipl.-Ing. Helmut GASSEBNER Forstwirtschaft, Forstökologie und Jagdwesen Dr. Robert HOLNSTEINER Geologie und Hydrogeologie Univ.-Prof. Dr. Walter KOFLER Umweltmedizin Em. O. Univ.-Prof. Dr. Erich KOPP Eisenbahntechnik einschl. Tunnelsicherheit Ing. Wilhelm LAMPEL Elektrotechnik Dr. Christian MAYER Denkmalpflege Univ. Prof. Dr. Georg MAYR Immissionsklimatologie Mag. Christian PLÖSSNIG Naturkunde Dipl.-Ing. Ludwig SCHMUTZHARD Verkehrsplanung Dr. Christian SOSSAU Limnologie Dipl.-Ing. Bernd STIGGER Straßenbautechnik Dipl.-Ing. Johann VOGLSBERGER Siedlungswasserwirtschaft und Grundwasserschutz Dipl.-Ing. Heinrich WALLNÖFER Wasserbautechnik Dr. Andreas WEBER Luft und Klima Univ.-Prof. Dr. Leopold WEBER Geologie und Hydrogeologie Dr. Eckart WERTHMANN Bauchemie im Zusammenhang mit Geologie und Hydrogeologie Antragstellerin: Univ.-Prof. Dr. Konrad BERGMEISTER, Dr. Hannes HAGER, Ing.
    [Show full text]
  • The Meshuggah Quartet
    The Meshuggah Quartet Applying Meshuggah's composition techniques to a quartet. Charley Rose jazz saxophone, MA Conservatorium van Amsterdam, 2013 Advisor: Derek Johnson Research coordinator: Walter van de Leur NON-PLAGIARISM STATEMENT I declare 1. that I understand that plagiarism refers to representing somebody else’s words or ideas as one’s own; 2. that apart from properly referenced quotations, the enclosed text and transcriptions are fully my own work and contain no plagiarism; 3. that I have used no other sources or resources than those clearly referenced in my text; 4. that I have not submitted my text previously for any other degree or course. Name: Rose Charley Place: Amsterdam Date: 25/02/2013 Signature: Acknowledgment I would like to thank Derek Johnson for his enriching lessons and all the incredibly precise material he provided to help this project forward. I would like to thank Matis Cudars, Pat Cleaver and Andris Buikis for their talent, their patience and enthusiasm throughout the elaboration of the quartet. Of course I would like to thank the family and particularly my mother and the group of the “Four” for their support. And last but not least, Iwould like to thank Walter van de Leur and the Conservatorium van Amsterdam for accepting this project as a master research and Open Office, open source productivity software suite available on line at http://www.openoffice.org/, with which has been conceived this research. Introduction . 1 1 Objectives and methodology . .2 2 Analysis of the transcriptions . .3 2.1 Complete analysis of Stengah . .3 2.1.1 Riffs .
    [Show full text]
  • Am Ir El S Affar
    Two RiversTwo Ensemble AMIR E Visiting Artist Series presents L SAFFAR’S ARTIST PARTNER PROGRAM March 3, 2017 . 7&9PM KOGOD THEATRE at The Clarice VISITINGVAS ARTIST SERIES Visiting Artist Series presents AMIR ELSAFFAR’S Two Rivers Ensemble Amir ElSaffar,trumpet/santur Francois Moutin, bass Nasheet Waits, drums Ole Mathisen, tenor saxophone/soprano saxophone Tareq Abboushi, buzuq Zafer Tawil, percussion/oud This performance will last approximately 1 hour 10 minutes without intermission. The Two Rivers Ensemble is a sextet of jazz and Middle Eastern musicians that has made innovative strides in using the maqam modal system to transform the jazz idiom. Deeply rooted in musical forms of Iraq and the Middle East, the music still speaks the language of swing, improvisation, and group interaction, resulting in a sound that is distinct from other contemporary cross-cultural musical fusions. After more than a decade of extensive performing and touring and the release of three critically- acclaimed albums, the Two Rivers Ensemble has developed an instinctive ease PROGRAM NOTES with ElSaffar’s innovative music, playing with a creativity in a style that is rooted in tradition, while venturing into an entirely novel aesthetic. Tonight’s program consists of Amir ElSaffar’s composition entitled Crisis was commissioned by Newport Jazz Festival in 2013 and called by Downbeat Magazine, “certainly the first Middle Eastern-imbued jazz combo at Newport to win a standing ovation for its first song.” The music was composed after Amir ElSaffar spent a year living in Egypt, where he witnessed the Arab Spring protests first-hand, and Lebanon, where he worked with Syrian musicians who were living through that country’s harrowing civil war.
    [Show full text]
  • LH & BM Eröffnen Dorfzentrum
    Ausgabe 60 — Juni 2017 Amtliche Mitteilung Zugestellt durch post.at Dorfzeitung der Gemeinde Mils LH & BM eröffnen Dorfzentrum Seiten 4–7 www.mils-tirol.at Milser Dorfzeitung 3 Editorial Inhaltsübersicht Seiten 4–7 Eröffnung Dorfzentrum Mils Foto: Hanser Seiten 8–11 Neues aus dem Gemeindeamt Seiten 12–13 Standpunkte zum Thema: Vereinsleben Seiten 14–17 » Bürgerbeteiligung – Milser Vereine aktiv ein Grundstein für das Seiten 18–21 Kulturhöhepunkte in Mils Erfolgsprojekt Dorfzentrum « Seite 20 Milser Dirndl Dr. Peter Hanser – Bürgermeister Seiten 22–23 Volksschule, JAM und Kindergärten Seite 24 Pfarre Mils Seite 25 Liebe Milserinnen und Milser! darauf verzichten, wie eine Fraktion Blühendes Mils Als am 15. Mai in ORF 2 in der Sendung meinte. Auch musste ein attraktives Seiten 26–28 Kulturmontag unser Dorfzentrum als Café Restaurant mit mindestens 60 Sportliches Mils Beispiel für gelungene Bürgerbeteili- Sitzplätzen und einer Terrasse im gung vorgestellt wurde, war ich per- Zentrum gebaut werden und nicht Seite 28 sönlich überrascht, denn die Sendung ein bescheidenes Tagescafé, wie eine Nachwuchstalent entstand allein aus der Initiative des andere Fraktion ins Treffen führte. Felix Leitner ORF. Wie oft kommt unser Dorf schon Die Milserinnen und Milser fühlten sich Seite 29 in einer österreichweiten Sendung vor wertgeschätzt, dass ihre Meinung ge- Unternehmen und zwar als positives Vorzeigeprojekt fragt und ihre Teilnahme für uns wichtig des Monats: BMO aus dem Westen? war. So legte diese Form der Bürger- Das Bürgerbeteiligungsverfahren im beteiligung auch den Grundstein für Seiten 30-31 Jahr 2015 fand in der Milser Bevöl- das Erfolgsprojekt Dorfzentrum. Die Terminkalender und Serviceseite kerung großen Widerhall und das Einweihung vor einem Monat war ein Ergebnis des daran anschließenden wirklich schönes Fest für unser ganzes Architektenwettbewerbes war über- Dorf und zugleich auch eine Bestäti- zeugend für uns alle.
    [Show full text]
  • Adapting and Applying Central Javanese Gamelan Music Theory in Electroacoustic Composition and Performance
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Matthews, Charles Michael (2014) Adapting and applying central Javanese gamelan music theory in electroacoustic composition and performance. PhD thesis, Middlesex University. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/14415/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
    [Show full text]
  • Polyrhythmic Concepts on 5/4 Bars
    schlagzeug-regensburg.de Polyrhythmic concepts on 5/4 bars 03. September 2017 Introduction Tony Williams and Elvin Jones have been the first two drummers to explore the concepts of "implied time" and "metric modulation". With these new rhythmic tools it was possible to give the audience the impression that the time meter changes completely for a certain duration. This device creates an unexpected tension in the music flow and then suddenly a sense of relief when the tempo goes back to the original meter. Before these great two masters of our instrument the rhythm sections used other simpler ideas to change the time feel of a jazz song. For example to go in double- oder half-time, while of course the progression of the chords remains at the same tempo rate. The feeling in the metric modulation is that one of an irrational tempo changing... but in reality it is the opposite! What is been used is the superimposition of a new pulse logically related to the original one. In the first chapter of this article we analyse some polyrhythmical fills in 5/4. In the second one we apply a metric modulation to the same odd time. You can use a base 5/4 swing pattern that you like. Here just as example: A polyrhythmical fill: 3 against 5 Now, if we divide the pulse in triplets, we obtain 3x5=15 notes in each bar. 3 is our pulse, so let's try to consider the eighth triplets in groups of 5 notes, with the following pattern: This is the result: I suggest to practice this polyrhythmic figure with the metronome on the quarter notes or to keep the pulse with the foot.
    [Show full text]
  • The Heraclitian Form of Thomas Adès's Tevot As a Critical Lens
    The Art of Transformation: The Heraclitian Form of Thomas Adès’sTevot as a Critical Lens for the Symphonic Tradition and an original composition, Glimmer, Glisten, Glow for sinfonietta A Dissertation Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Music Composition and Theory David Rakowski and Yu-Hui Chang, Advisors In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Joseph Sowa May 2019 The signed version of this form is on file in the Graduate School of Arts and Sciences. This dissertation, directed and approved by Joseph Sowa’s Committee, has been accepted and approved by the Faculty of Brandeis University in partial fulfillment of the requirements for the degree of: DOCTOR OF PHILOSOPHY Eric Chasalow, Dean Graduate School of Arts and Sciences Dissertation Committee: David Rakowski, Brandeis University Department of Music Yu-Hui Chang, Brandeis University Department of Music Erin Gee, Brandeis University Department of Music Martin Brody, Wellesley College, Department of Music iii Copyright by Joseph Sowa 2019 Acknowledgements The story of my time at Brandeis begins in 2012, a few months after being rejected from every doctoral program to which I applied. Still living in Provo, Utah, I picked up David Ra- kowski from the airport for a visit to BYU. We had met a few years earlier through the Barlow Endowment for Music Composition, when Davy was on the board of advisors and I was an intern. On that drive several years later, I asked him if he had any suggestions for my doc- toral application portfolio, to which he immediately responded, “You were actually a finalist.” Because of his encouragement, I applied to Brandeis a second time, and the rest is history.
    [Show full text]
  • 59Th Annual Critics Poll
    Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Great American Jazz Series
    Great American Jazz Series 1989-1991 2004-2005 • Randy Brecker • Dave Brubeck Quartet • Herbie Mann • Terry Harrington • Branford Marsalis • Medesky, Martin, and Wood • Pat Metheny • Rebecca Parris • Marvin Stamm • Kenny Garrett Quartet: Slide Hampton, Bill Watrous, and Claudio Roditi 1991-1992 • Eddie Daniels 2005-2006 • Eliane Elias • Ed Calle • Jimmy Heath Quartet • Poncho Sanchez Latin Jazz Band • Billy Taylor • Béla Fleck and the Flecktones • Clark Terry • Benny Green and Russell Malone 1992-1993 2006-2007 • John Abercrombie • Diane Schuur • Ramsey Lewis • Christian McBride Band • Jim Pryor • Yellowjackets • Marcus Roberts • Doc Severinsen • Jiggs Whigham • Joe Williams 2007-2008 • Cassandra Wilson • Bunky Green • Kurt Elling 1993-1994 • Eddie Gomez Trio with Jimmy Cobb • Brecker Brothers • Mike Stern Trio with Dave Weckl • Kenny Burrell • Tim Hagans • Paquito D’ Rivera • Arturo Sandoval 2008-2009 • Diane Schuur • Dave Douglas • United States Air Force Airmen of Note • Gary Burton • Maria Schneider 1994-1995 • The Mingus Big Band • Louis and Dee Dee Bellson • Dave Brubeck Quartet 2009-2010 • Bunky Green • Carl Allen/Rodney Whitaker Project • Joe Henderson • Bob Bednar • James Moody • Terence Blanchard • Dianne Reeves • Joe Lovano • Kim Richmond & Clay Jenkins 1995-1996 • Toshiko Akiyoshi and Lew Tabakin 2010-2011 • Carmen Bradford and Mulgrew Miller • Scotty Barnhart • Mercer Ellington • John Clayton, Jeff Clayton, and Jeff Hamilton • Herbie Hancock • John Pizzarelli • Tommy Newsom • Richard Stoltzman 1996-1997 2011-2012 • Buddy DeFranco
    [Show full text]
  • Notre Dame Collegiate Jazz Festival Program, 1998
    Archives of the University of Notre Dame 40th Annual Colle~ate Jazz . Festival April 3&' 4, 1998 •Stepan Center <@l) Archives of the University of Notre Dame Craig Ridout Welcome to the 1998 University of Notre Dame I 5~ot~/ I Collegiate Festival. On behalf of the Student Union Board and my dear, sweet committee, I would like to Piano Tuning & Repair Festival Notes 2 thank you for joining us this year. This festival is twice 5JU Mwician',,/ eJioiie as old as I am, and distinguished beyond its years. In Performance Schedule 3 my second year running the festival I have learned more Past Judges 4 Af~ 5.uning p~/ at 2)mm than I thought I ever cared to knOw. Ithink in the chairpersons's guide to etiquette, Past Chairpersons 6 "ina it insists you must thank anybody and everybody. I will 1978. try (I'll need the practice for when I win my academy The]udges 7 award) . My committee, though mostly new, and always The Bands 12 It's been my privlage to tune the piano at quiet, has been extremely dedicated and helpful. The repeat offenders: Alexei, we will miss your piano ex­ e]F the last 12 years! Thank you Notre Dame! pertise. CurtiS, I always catch in the dining hall and chatter his ear off. And he always listens. Julie and Amy, 1998 Committee Call 8am -9pm more fun than a barrel of monkeys, and much better Please leave a message P.o. Box 6184 smelling. Carrie, I can't tell you enough how much I (219)-234-1495 South Bend, IN 46660 appreciate your creativity, and all the running around :Jif£ 9JoJtdluvtdt you have to do to get anything approved in this joint.
    [Show full text]
  • An Ultrasonographic Observation of Saxophonists' Tongue Positions
    An Ultrasonographic Observation of Saxophonists’ Tongue Positions While Producing Front F Pitch Bends by Ryan C. Lemoine A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2016 by the Graduate Supervisory Committee: Joshua Gardner, Co-Chair Christopher Creviston, Co-Chair Sabine Feisst Robert Spring ARIZONA STATE UNIVERSITY May 2016 ©2016 Ryan C. Lemoine All Rights Reserved ABSTRACT Voicing, as it pertains to saxophone pedagogy, presents certain obstacles to both teachers and students simply because we cannot visually assess the internal mechanics of the vocal tract. The teacher is then left to instruct based on subjective “feel” which can lead to conflicting instruction, and in some cases, misinformation. In an effort to expand the understanding and pedagogical resources available, ten subjects—comprised of graduate-level and professional-level saxophonists— performed varied pitch bend tasks while their tongue motion was imaged ultrasonographically and recorded. Tongue range of motion was measured from midsagittal tongue contours extracted from the ultrasound data using a superimposed polar grid. The results indicate variations in how saxophonists shape their tongues in order to produce pitch bends from F6. i ACKNOWLEDGMENTS I would like to acknowledge and thank the saxophonist who volunteered their time to make this study possible. Also a special thanks to the members of my doctoral committee: Joshua Gardner, Christopher Creviston, Sabine Feisst, and Robert Spring. They have all been sources of encouragement and inspiration, not only during these final stages of my degree process, but for the duration of my studies at Arizona State University.
    [Show full text]
  • Augusta Read Thomasâ•Žs Sun Threads for String Quartet: a Study
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Augusta Read Thomas's Sun Threads for String Quartet: A Study and Performer's Guide Kristin Ann Pfeifer Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AUGUSTA READ THOMAS’S SUN THREADS FOR STRING QUARTET: A STUDY AND PERFORMER’S GUIDE By KRISTIN ANN PFEIFER A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded Fall Semester, 2013 Kristin Pfeifer defended this treatise on October 28, 2013. The members of the supervisory committee were: Eliot Chapo Professor Directing Treatise Evan Jones University Representative Melanie Punter Committee Member Corinne Stillwell Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ! ii! ACKNOWLEDGEMENTS I owe my gratitude to all of the people who helped make this treatise possible. I am forever grateful to my violin professor, Eliot Chapo, for his extraordinary teaching, faith, and support in me throughout my studies at the Florida State University. I have been fortunate enough to have a wonderful committee, who challenged me and always questioned my thoughts in order for me to further express my ideas. I would like to sincerely thank Dr. Evan Jones, Melanie Punter, and Corinne Stillwell for their tremendous mentorship and encouragement. My sincere thanks goes to Augusta Read Thomas for allowing me to have a wonderful interview in her beautiful home.
    [Show full text]