NOVEMBER-DECEMBER 2014 from the Editor Welcome to the November/December 2014 Edition of the AAA Newsletter
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Extended Program Notes on a Saxophone Recital
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 5-2021 Extended Program Notes on a Saxophone Recital Ruben Rios [email protected] Follow this and additional works at: https://opensiuc.lib.siu.edu/gs_rp Recommended Citation Rios, Ruben. "Extended Program Notes on a Saxophone Recital." (May 2021). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. EXTENDED PROGRAM NOTES ON A SAXOPHONE RECITAL by Rubén Ríos B.S., Conservatorio de Música de Puerto Rico, 2006 A Research Paper Submitted in PartiaL FulfiLLment of the Requirements for the Master of Music School of Music in the Graduate School Southern IlLinois University CarbondaLe May 2021 RESEARCH PAPER APPROVAL EXTENDED PROGRAM NOTES ON A SAXOPHONE RECITAL by Rubén Ríos A Research Paper Submitted in PartiaL FulfiLLment of the Requirements for the Degree of Master of Music in the fieLd of Music Approved by: Dr. Richard KeLLey, Chair Dr. James Reifinger Professor Edward Benyas Graduate School Southern IlLinois University CarbondaLe ApriL 8, 2021 AN ABSTRACT OF THE RESEARCH PAPER OF Ruben Rios, for the Master of Music degree in Music, presented on ApriL 8, 2021, at Southern IlLinois University CarbondaLe. TITLE: EXTENDED PROGRAM NOTES ON A SAXOPHONE RECITAL MAJOR PROFESSOR: Dr. Richard KeLLey The purpose of this research paper is to present some of the essentiaL pieces written for the saxophone by a group of composers from different countries, different musicaL backgrounds, and, most of aLL, different compositionaL styles. -
Unifying Elements of John Corigliano's
UNIFYING ELEMENTS OF JOHN CORIGLIANO'S ETUDE FANTASY By JANINA KUZMAS Undergraduate Diploma with honors, Sumgait College of Music, USSR, 1985 B. Mus., with the highest honors, Vilnius Conservatory, Lithuania, 1991 Performance Certificate, Lithuanian Academy of Music, 1993 M. Mus., Bowling Green State University, USA, 1995 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES School of Music We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA February 2002 © Janina Kuzmas 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. ~':<c It CC L Department of III -! ' The University of British Columbia Vancouver, Canada Date J/difc-L DE-6 (2/88) ABSTRACT John Corigliano's Etude Fantasy (1976) is a significant and challenging addition to the late twentieth century piano repertoire. A large-scale work, it occupies a particularly important place in the composer's output of music for piano. The remarkable variety of genres, styles, forms, and techniques in Corigliano's oeuvre as a whole is also evident in his piano music. -
'Race' and Diaspora: Romani Music Making in Ostrava, Czech Republic
Music, ‘Race’ and Diaspora: Romani Music Making in Ostrava, Czech Republic Melissa Wynne Elliott 2005 School of Oriental and African Studies University of London PhD ProQuest Number: 10731268 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731268 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This thesis is a contribution towards an historically informed understanding of contemporary music making amongst Roma in Ostrava, Czech Republic. It also challenges, from a theoretical perspective, conceptions of relationships between music and discourses of ‘race’. My research is based on fieldwork conducted in Ostrava, between August 2003 and July 2004 and East Slovakia in July 2004, as well as archival research in Ostrava and Vienna. These fieldwork experiences compelled me to explore music and ideas of ‘race’ through discourses of diaspora in order to assist in conceptualising and interpreting Romani music making in Ostrava. The vast majority of Roma in Ostrava are post-World War II emigres or descendants of emigres from East Slovakia. In contemporary Ostrava, most Roma live on the socio economic margins and are most often regarded as a separate ‘race’ with a separate culture from the dominant population. -
Roma As Alien Music and Identity of the Roma in Romania
Roma as Alien Music and Identity of the Roma in Romania A thesis submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy 2018 Roderick Charles Lawford DECLARATION This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… Date ………………………… STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed ………………………………………… Date ………………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated, and the thesis has not been edited by a third party beyond what is permitted by Cardiff University’s Policy on the Use of Third Party Editors by Research Degree Students. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… Date ………………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… Date ………………………… ii To Sue Lawford and In Memory of Marion Ethel Lawford (1924-1977) and Charles Alfred Lawford (1925-2010) iii Table of Contents List of Figures vi List of Plates vii List of Tables ix Conventions x Acknowledgements xii Abstract xiii Introduction 1 Chapter 1 - Theory and Method -
Paul Creston Collection Finding Aid (PDF)
University of Missouri-Kansas CityDr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch …………………………………………………………………… 2 Scope and Content …………………………………………………………………… 4 Series Notes …………………………………………………………………………… 5 Series I: Manuscript Scores …………………………………………………………… 11 A. Works with Opus Numbers …………………………………………… 11 B. Works without Opus Numbers …………………………………………… 32 Series II: Published Scores …………………………………………………………… 40 A. Works with Opus Number …………………………………………… 40 B. Works without Opus Number …………………………………………… 50 Series III: Writings on his Works …………………………………………………… 52 Series IV: Writings on Music …………………………………………………… 57 A. Lectures …………………………………………………………………… 57 B. Unpublished and Draft Articles and Books …………………………… 58 C. Published Articles …………………………………………………………… 63 Series V: Writings Unrelated to Music …………………………………………… 64 Series VI: Correspondence …………………………………………………………… 65 A. Colleges and Schools …………………………………………………… 65 B. Conductors …………………………………………………………… 70 C. Orchestras …………………………………………………………………… 72 D. Organizations …………………………………………………………… 76 E. Personal Correspondence …………………………………………………… 80 F. Publishers …………………………………………………………………… 86 G. Radio Stations and Television Networks …………………………………… 90 H. Recording Companies …………………………………………………… 91 Series VII: Diaries and Autobiographical Information …………………………… 91 Series VIII: Foreign Language Notebooks …………………………………………… 92 Series IX: Address and Date Books …………………………………………………… 93 Series X: Biographical Information -
Senior Recital Garrett Ae Stwood Chapman University
Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 11-6-2011 Senior Recital Garrett aE stwood Chapman University Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Eastwood, Garrett, "Senior Recital" (2011). Printed Performance Programs (PDF Format). Paper 662. http://digitalcommons.chapman.edu/music_programs/662 This Senior Recital is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Garrett Eastwood Accompanied by Ms. Clara Cheng Student of Professor Gary Matsuura Senior Recital November 6, 2011 2:00 p.m. Chapman University Conservatory of Music, Salmon Recital Hall Franz Schubert: "Standchen, D. 9 5 7" Born on January 31, 1797 in Vienna, Austria. Schubert by Franz Schubert (1797 -1828) was an ambitious composer who, in a span of about 15 years, wrote more than 600 songs in addition to numerous orchestral, chamber, and solo instrumental "Creston Sonata, Opus 19; for E flat Alto Saxophone" works. Schubert greatly admired works by both Mozart by Paul Creston (1905 - 1985) and Beethoven. Schubert wrote many song cycles I. With Vigor (several songs tied together by a single theme). II. With Tranquility Standchen meaning, "serenade," was 1 of 14 songs in his III. With Gaiety final song cycle called Schwanengesang, meaning "Swan Song." Schwanengesang was completed just months before Schubert's death on November 19, 1828 in Intermission Vienna, Austria. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE AN ANNOTATED CATALOG OF PUBLISHED MARIMBA CONCERTOS IN THE UNITED STATES FROM 1940 - 2000 A Document SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Musical Arts By M. CHRISTINE CONKLIN Norman, Oklahoma 2004 UMI Number: 3134393 ________________________________________________________ UMI Microform 3134393 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ____________________________________________________________ ProQuest Information and Learning Company 300 North Zeeb Road PO Box 1346 Ann Arbor, MI 48106-1346 AN ANNOTATED CATALOG OF PUBLISHED MARIMBA CONCERTOS IN THE UNITED STATES FROM 1940 - 2000 A Document APPROVED FOR THE SCHOOL OF MUSIC BY ___________________________ Dr. Richard Gipson, Co -Chair ___________________________ Dr. William Wakefield, Co -Chair ___________________________ Dr. Michael Lee ___________________________ Dr. Brian Shepard ___________________________ Dr. Mary Jo Watson © Copyright by M. CHRISTINE CONKLIN 2004 All Rights Reserved. TABLE OF CONTENTS ABSTRACT vii CHAPTER I 1 THE PROBLEM, PURPOSE, AND DESIGN OF THE STUDY Introduction 1 Statement of the Pro blem 4 Need for the Study 4 Limitations of the Study 5 Definition of Terms 6 Design of the Study 7 Organization of the Study 9 CHAPTER II 10 SURVEY OF RELATED LITERATURE Introduction 10 Related Marimba Repertoire Literature 10 Related -
PAUL CRESTON: a CATALOGUE of the ORCHESTRAL and CHORAL MUSIC 1934: “Out of the Cradle Endlessly Rocking” for Orchestra
PAUL CRESTON: A CATALOGUE OF THE ORCHESTRAL AND CHORAL MUSIC 1934: “Out of the Cradle Endlessly Rocking” for orchestra, op.5: 10 minutes + (Delos and Naxos cds) Gregorian Chant for string orchestra, op.8: 11 minutes + (Vanguard cd) 1935: Partita for Flute, Violin and Strings, op.12: 16 minutes + (Delos and Naxos cds) 1938: Threnody for orchestra, op.16: 10 minutes * + (Barbirolli Society cd) Two Choric Dances for orchestra or chamber orchestra, op.17: 11 minutes * + (Urania cd; No.2-Guild cd)) 1930s: “Kangaroo Kaper” for orchestra: 4 minutes 1940: Symphony No.1, op.20: 23 minutes + (Naxos cd) Concertino for Marimba and Orchestra, op.21: 15 minutes * (also version with Concert Band, op. 21b) Dedication for chorus and string orchestra, op. 22 1941: Prelude and Dance for orchestra, op.25: 7 minutes Saxophone Concerto, op.26: 21 minutes * (also version for Concert Band,op.26 b, 1944) “A Rumor” for small orchestra, op.27: 6 minutes * + (Decca cd) Pastorale and Tarantella for orchestra, op.28: 11 minutes * Dance Variations for Coloratura Soprano and orchestra, op.30: 5 minutes * 1942: Legend for concert band, op.31: 23 minutes * Fantasy for Piano and Orchestra, op.32: 8 minutes + (Albany cd) 1943: Chant of 1942 for orchestra, op.33: 9 minutes * “Frontiers” for orchestra, op.34: 12 minutes 1944: Symphony No.2, op.35: 22 minutes * + (Koch, Chandos and Naxos cds) “Dawn Mood” for Piano and Orchestra, op. 36 1945: Psalm XXIII for soprano, chorus and orchestra, op.37: 3 minutes Poem for Harp and Orchestra, op.39: 17 minutes * 1946: “Zanoni” for concert band, op.40: 7 minutes 1947: Homage for String Orchestra, op.41 Fantasy for Trombone and Orchestra, op.42: 10 minutes + (BIS cd) (also version with Concert Band, op.42b) 1949: Piano Concerto, op.43; 27 minutes * Missa Solemnis for chorus and orchestra, op.44: 17 minutes * 1950: Symphony No.3 “The Three Mysteries”, op. -
The University of North Carolina at Wilmington Department of Music
The University of North Carolina at Wilmington Department of Music SELECT SAXOPHONE REPERTOIRE & LEVELS First Year Method Books: The Saxophonist’s Workbook (Larry Teal) Foundation Studies (David Hite) Saxophone Scales & Patterns (Dan Higgins) Preparatory Method for Saxophone (George Wolfe) Top Tones for the Saxophone (Eugene Rousseau) Saxophone Altissimo (Robert Luckey) Intonation Exercises (Jean-Marie Londeix) Exercises: The following should be played at a minimum = 120 q • Major scales, various articulations • Single tongue on one note • Major thirds • Alternate fingerings (technique & intonation) • Single tongue on scale excerpt, tonic to dominant • Harmonic minor scales • Chromatic scale • Arpeggios in triads Vibrato (minimum = 108 for 3/beat or = 72-76 for 4/beat) q q Overtones & altissimo Jazz articulation Etude Books: 48 Etudes (Ferling/Mule) Selected Studies (Voxman) 53 Studies, Book I (Marcel Mule) 25 Daily Exercises (Klose) 50 Etudes Faciles & Progressives, I & II (Guy Lacour) 15 Etudes by J.S. Bach (Caillieret) The Orchestral Saxophonist (Ronkin/Frascotti) Rubank Intermediate and/or Advanced Method (Voxman) Select Solos: Alto Solos for Alto Saxophone (arr. by Larry Teal) Aria (Eugene Bozza) Sicilienne (Pierre Lantier) Dix Figures a Danser (Pierre-Max Dubois) Sonata (Henri Eccles/Rasher) Sonata No. 3 (G.F. Handel/Rascher) Adagio & Allegro (G.F. Handel/Gee) Three Romances, alto or tenor (Robert Schumann) Sonata (Paul Hindemith) 1 A la Francaise (P.M. Dubois) Tenor Solo Album (arr. by Eugene Rousseau) 7 Solos for Tenor Saxophone -
Baroque Elements in the Piano Sonata, Opus 9 by Paul Creston
BAROQUE ELEMENTS IN THE PIANO SONATA, OPUS 9 BY PAUL CRESTON Chie Watanabe, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2011 APPROVED: Gustavo Romero, Major Professor Elvia Puccinelli, Committee Member Pamela Mia Paul, Committee Member Jesse Eschbach, Chair of the Division of Keyboard Studies Lynn Eustis, Director of Graduate Studies in the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Watanabe, Chie. Baroque Elements in the Piano Sonata, Opus 9 by Paul Creston. Doctor of Musical Arts (Performance), December 2011, 37 pp., 46 musical examples, references, 43 titles. Paul Creston (1906-1985) was one of the most significant American composers from the middle of the twentieth century. Though Creston maintained elements of the nineteenth-century Romantic tradition and was categorized as a “Neo-Romantic” or “20th-century traditionalist,” many of Creston’s compositions contain elements of Baroque music. His Piano Sonata, Opus 9 provides significant examples of Baroque elements, while already foreshadowing his mature style. The purpose of this study is to explore Baroque elements in the compositional language of Paul Creston’s Piano Sonata, Opus 9. All four movements of the Piano Sonata will be examined in regards to its stylistic features associated with Baroque practices. These features mainly consist of rhythm, texture, imitative writing, and repeated phrase structure. Each category of the study will include comparisons of Domenico Scarlatti’s keyboard sonatas with Creston’s sonata. Through an examination of the Piano Sonata and its Baroque elements, this study hopes to inspire renewed interest in the work among musicians and to help the performer give a more stylistically coherent, and accurate, performance. -
List with Accepted Artists and Works in PDF Document
13TH ANNUAL LIST OF ACCEPTED ARTISTS AND WORKS Artists – 413 Countries – 49 Argentina – 4 Australia – 7 Austria – 13 Belarus – 1 Belgium – 8 Brazil – 3 Bulgaria – 26 Canada – 22 China – 1 Costa Rica – 2 Czech Republic – 1 Croatia – 3 Denmark – 14 Dominican Republic – 1 England – 17 Estonia – 5 Finland – 12 France – 12 Germany – 16 Greece – 2 Hungary – 2 Iceland – 1 Ireland – 11 Israel – 8 Italy – 6 Japan – 61 Korea – 2 Republic of Kosovo – 2 Luxembourg – 1 Mexico – 22 The Netherlands – 14 New Zealand – 3 Norway – 5 Poland – 19 Portugal – 1 Puerto Rico – 1 Romania – 3 Scotland – 1 Slovenia – 7 Republic of South Africa – 1 Spain – 5 Sweden – 4 Switzerland – 8 Taiwan – 1 Turkey – 3 United Arab Emirates – 12 U. S. A. – 37 Wales – 1 Yemen – 2 Special Presentation Zayed University, College of Arts and Creative Enterprises, Abu Dhabi, United Arab Emirates AFNAN HUSSEIN SHARIF ALI AL GAFRI, U. A. E. 1. Self Portrait I, 2014, Multi‐plate Etching, 23,5 x 20 cm – 150 2. Self Portrait II, 2014, Multi‐plate Etching, 24 x 20 cm – 150 3. Self Portrait III, 2014, Multi‐plate Etching, 24 x 21 cm – 150 ALIA RASHED SAUD RASHED AL SHAMSI, U. A. E. 1. Those fatherly Hands that taught I, 2014, Multi‐plate Etching, Digital Print, 25 x 20 cm – 130 2. Those fatherly Hands that taught II, 2014, Multi‐plate Etching, Digital Print, 25 x 20 cm – 130 3. Those fatherly Hands that taught III, 2014, Multi‐plate Etching, Digital Print, 25 x 20 cm – 130 AMAL ABDULRAHMAN MOHAMMED DAHMAN, U. A. E. 1. -
2015 Washington, D.C
of Out Many, August 13–16, 2015 Washington, D.C. !,, 9/5.%%$ 4/+./7 !"/54 &,54%).352!.#% WWWFLUTEINSURANCECOM ,AKEVIEW$RIVE 3UITE! 3EBRING &,53! SERVICE ANDERSON GROUPCOM &,,ICENSE,s),,ICENSEs#!,ICENSE) 43RD ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, WASHINGTON D.C., 2015 3 nfaonline.org LET’S PLAY FLUTE! AN INNOVATIVE METHOD FOR STUDENTS OF ANY AGE by Elizabeth Weinzierl & Edmund Waechter Let’s Play Flute! is a new English adaptation of a successful method by noted *HUPDQÀXWLVWVDQGSHGDJRJXHV WITH PLAY-ALONG ONLINE AUDIO: 50600096 • Method Book 1 • 50600097 • Method Book 2 • 50600098 • Repertoire Book 1 • 50600099 • Repertoire Book 2 • 50600124 • Piano accompaniments for Method Books 1 & 2 • SPECIAL CONFERENCE OFFER FOR FLUTE TEACHERS Get a FREE copy of Method Book 1 at the Hal Leonard exhibit booth #417 while supplies last. 4 43RD ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, WASHINGTON D.C., 2015 nfaonline.org rself Indulge you Choose your Powell and never look back. connect with us at booth #131. Follow us at #PowellFlutesDC. ® VERNE Q. POWELL® FLUTES INC. One Clock Tower Place, Maynard, MA 01754 USA 978.461.6111 www.PowellFlutes.com Table of Contents Letter from the President ................................................................................9 Officers, Directors, Staff, Convention Volunteers, and Competition Coordinators............................................................................14 Welcome Letter from the Mayor of Washington, D.C.............................18 From the Convention Program Chair..........................................................20