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For Alto Saxophone, Electric Guitar, Percussion, Piano, Violoncello, and Electric Bass
HAZE for alto saxophone, electric guitar, percussion, piano, violoncello, and electric bass Eric C. Honour, Jr. HAZE for alto saxophone, electric guitar, percussion, piano, violoncello, and electric bass Performance Notes 1. This piece comes in large part from the world of the rock band. It is thus recommended that the ensemble be treated in like manner. For performance, all instruments should be amplified, either with microphones, contact microphones or pick-ups. If available, the cellist may use electric cello. 2. The electric guitar should be played with distortion at all times. The performer should use a moderate amount of distortion, a lead distortion setting, as opposed to a maximum crunch, “headbanging” distortion. 3. Accidentals follow standard practice and last through the measure, only on the specific pitch marked (not in other octaves). 4. Percussion requirements are a marimba (low-A, to be played with hard mallets always) and a 6-piece drum set (4 toms, kick, and snare) with hihats, two crash cymbals, and a ride cymbal. Some players may be able to fit a marimba next to the drum set so that they can sit throughout the piece. 5. When presented with standard notation (in black), performers should treat the music in a traditional manner. When presented with other styles of notation, performers should not attempt to align their performance with that of other performers unless asked to do so. Only the large scale motion from box to box, which is to be cued by the conductor, is to be aligned between all the parts. Even then, performers are always permitted to carry their current activity into the next box, as needed. -
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ATHANASIOS ZERVAS | BIOGRAPHY BRIEF BIOGRAPHY ATHANASIOS ZERVAS is a prolific composer, theorist, performer, conductor, teacher, and scholar. He holds a DM in composition and a MM in saxophone performance from Northwestern University, and a BA in music from Chicago State University. He studied composition with Frank Garcia, M. William Karlins, William Russo, Stephen Syverud, Alan Stout, and Jay Alan Yim; saxophone with Frederick Hemke, and Wayne Richards; jazz saxophone and improvisation with Vernice “Bunky” Green, Joe Daley, and Paul Berliner. Dr. Athanasios Zervas is an Associate Professor of music theory-music creation at the University of Macedonia in Thessaloniki Greece, Professor of Saxophone at the Conservatory of Athens, editor for the online theory/composition journal mus-e-journal, and founder of the Athens Saxophone Quartet. COMPLETE BIOGRAPHY ATHANASIOS ZERVAS is a prolific composer, theorist, performer, conductor, teacher, and scholar. He has spent most of his career in Chicago and Greece, though his music has been performed around the globe and on dozens of recordings. He is a specialist on pitch-class set theory, contemporary music, composition, orchestration, improvisation, music of the Balkans and Middle East, and traditional Greek music. EDUCATION He holds a DM in composition and an MM in saxophone performance from Northwestern University, and a BA in music from Chicago State University. He studied composition with M. William Karlins, William Russo, Stephen L. Syverud, Alan Stout, and Jay Alan Yim; saxophone with Frederick Hemke and Wayne Richards; jazz saxophone and improvisation with Vernice ‘Bunky’ Green, Joe Daley, and Paul Berliner; and jazz orchestration/composition with William Russo. RESEARCH + WRITING Dr. -
Stall Song.Mus
Stall Song for oboe and two guitars "Practice Saves" Eric C. Honour, Jr. Program Notes Stall Song began as a piece for soprano and two guitars, on texts copied from a bathroom stall in the Utt Music Building on Central Missouri State University's campus. The text was not risqué; instead, it consisted of a rather amusing argument about religion and music practice schedules. It began with the words "Practice Saves," which apparently offended another person, who responded "Jesus Saves." A well-reasoned discussion ensued, covering most of the walls of the toilet stall. As the piece developed, the melodic line began to be difficult to sing. Rather than abandon the line – I was quite fond of it – I decided to abandon the soprano and the text, and they were replaced with an oboe. The singing, lyrical nature of the piece is retained and the rhythmic stresses in the oboe recitative near the beginning of the work come from the stress patterns of the original text. The text and the soprano will appear in Stall Song II. ERIC HONOUR is director of music technology at Central Missouri State University. He holds degrees in saxophone performance and composition from the University of Florida and Northwestern University. He studied composition with Jay Alan Yim, Stephen Syverud, M. William Karlins, Alan Stout, and Budd Udell. His music has been performed in concerts, festivals, and conferences throughout the United States and in Europe. His work as an audio engineer is in demand, with credits on albums released by artists based in Kansas City, London, New York and Virginia Beach. -
April 1920) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1920 Volume 38, Number 04 (April 1920) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 38, Number 04 (April 1920)." , (1920). https://digitalcommons.gardner-webb.edu/etude/667 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. Jlae Utiuiufi SPRING NUMBER 1MUUISZ5 LJEJNTS APRIL 1920 $ 2.00 A YEAR The Tonne daugrhter of the Into Tnrasn-Bonlba, a new opera by A Brrent Opera Trnst, according: to Colerldgre-Taylor is following a musical Marcel Sninuel-Houssenu, was recently report. Is being proposed in tlif« career, and has already a number of songs country, which would control all presenta¬ tions of opera, all singers, all opera houses, ■SS.rJE •! *£rS'.!Bf j" ' 1 CONTENTS FOR APRIL, 1920 sHSr!Sir'-s‘^“'s SV,s£S: APRIL 1920 Page THE ETUDE Page 218 APRIL 1920 THE Jane Novak in “The River’s End” Jane Novak is an emotional ac¬ PUPILS RECITALS AND PLEASED AUDIENCES tress of sincere power and dis¬ tinguished ability. -
Entropic Developments (1989) Nathan Currier
Entropic Developments (1989) Nathan Currier “I completed Entropic Developments in September of 1989, after having worked on it slowly and meticulously during a period of more than six months. It is a highly exacting score, inspired by the Verdehr’s performance of an earlier piece, Variations for Violin, Clarinet and Piano, written for them in 1987. When I told one composer colleague of my new work, Entropic Developments, he said, ‘God, I thought people were done writing pieces like that, based on physics, scientific principles, and stuff.’ It is, I suppose very easy to misunderstand−for indeed, my piece develops as though it were a little musical portrait of the principle of entropy, an adjunct of the second law of thermodynamics, which could be said to describe the general motion of all natural processes−and, by extension, of the universe itself−towards increasing disorder and inertness, by measuring the amount of energy unavailable for work. But for any one following the programmatic form of my composition, there comes a great surprise near the end, where, after the gradual dissipation of the thematic impetus has brought things virtually to a standstill, one hears a sudden burst of energy, bringing the piece to a brilliant close−and in the surprising little coda lies the key to the possible misunderstandings; my piece is called Entropic Developments because it seems to develop along the lines of this principle, but it is not, ultimately, a depiction of entropy, or, as my colleague had expressed it, another piece about ‘physics…and stuff.’ Just the opposite: it is much more spiritual, much, much more metaphysical than one would imagine from the title. -
How Public Art Gets Lost - and Saved - in Philly
How public art gets lost - and saved - in Philly JANUARY 8, 2016 by Samantha Melamed For fans of public art in Philadelphia, it still stings to think about that day in 1998 when word got out that an iconic wall sculpture by artist Ellsworth Kelly had been removed from the old Greyhound office building, quietly sold, and given to New York's Museum of Modern Art. It wasn't the first or last great work of public art to be lost to Philadelphia through some combination of intercity poaching, heedless development, and neglect. In fact, even as the Gallery mall closed for renovations Jan. 1, the fate of its public art remained unclear. The same goes for other works that have languished in storage, with limited money for preservation. Still, losing the work by Kelly, who died Dec. 27, wasn't entirely a bad thing, said Penny Balkin Bach, executive director of the Association for Public Art, a nonprofit that commissions, preserves, and promotes works in the city. "The removal of the Kelly was this sort of slap-in-the-face wake-up call that we needed as a city and as a cultural community to pay more attention to these kinds of things," she said. Her organization has become more proactive since, as have art fans. "Having the public's eyes and ears alert is probably our greatest protection." Now, scrap yards call her when they come across bronze sculptures they suspect have been stolen, and New York gallery owners tip her off when important works come up for sale. -
The Pennsylvania Academy of the Fine Arts
THE PENNSYLVANIA ACADEMY OF THE FINE ARTS BROAD AND CHERRY 5T5. • PHILADELPHIA 153rd ANNUAL REPORT 1958 Cover: The Fish House Door by John F. Peto Collection Fund Purchase 1958 the One-Hundred and Fifty-third Annual Report of THE PENNSYLVANIA ACADEMY OF THE FINE ARTS FOR THE YEAR 1958 Presented to the Meeting of the Stockholders of the Academy on February 2, 1959 OFFICERS John F. Lewis, Jr. President, 1949-0ctober, 1958 Henry S. Drinker Vice-Pres., 1933-0ctober, 1958; President, October, 1958- C. Newbold Taylor . Treasurer Joseph T. Fraser, Jr. Director and Secretary BOARD OF DIRECTORS Mrs. Leonard T. Beale Arthur C. Kaufmann Howard C. Petersen Mrs. Richardson Dilworth* John F. Lewis, Jr. George B. Roberts Henry S. Drinker James P. Magill Raymond A. Speiser David Gwinn Fredric R. Mann* John Stewart George Harding* Sydney E. Martin C. Newbold Taylor Frank T. Howard Mrs. Herbert C. Morris Mrs. Elias Wolf* R. Sturgis Ingersoll George P. Orr** Sydney L. Wright * Ex-officio Alfred Zantzinger **Resigned Sept_ 1958 STANDING COMMITTEES COMM ITT EE ON COLL EC TI ONS AND EX HI BITIONS George B. Roberts, Chairman Mrs. Leonard T. Beale R. Sturgis Ingersoll Alfred Zantzinger CO MM ITTEE O N FIN AN CE C. Newbold Taylor Chairman James P. Magill John Stewart COMM ITTEE ON IN ST RU CTION James P. Magill, Chairman Mrs. Leonard T. Beale Mrs. Richardson Dilworth David Gwinn Mrs. Elias Wolf SOLICITOR Maurice B. Saul WOMEN'S COMMITTEE Mrs. Hart McMichael . Chairman to May, 1958 Mrs. Elias Wolf . Chairman, May, 1958- Mrs. George B. Roberts Corresponding Secretary-Treasurer Mrs. -
An Approach to Latin American Music a Research
NORTHWESTERN UNIVERSITY THE CONCEPT OF IDENTITY: AN APPROACH TO LATIN AMERICAN MUSIC A RESEARCH DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Composition By José Miguel Arellano EVANSTON, ILLINOIS February, 2018 This work is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/. 1 ABSTRACT The Concept of Identity: An Approach to Latin American Music José Miguel Arellano Since the beginning of the 21st century, the idea of building a Latin American musical discourse has returned to the artistic discussion, taking into account the peculiarities of cultural syncretism that manifest in the different countries of the region. From the most diverse aesthetics and through different musical media, a great number of composers have begun to rethink the possibility of articulating their artistic language through different mechanisms that could be considered as typical of Latin American culture: rediscovery of Aboriginal music, utilization of vernacular instruments, non-tempered melodic and harmonic systems, rhythmic irregularities, and mixture between art forms among many different other approaches. This dissertation proposes a historical review of different moments in Latin American history in which composers, artists and intellectuals tried to elaborate a local identity, analyzing the diverse problems that might have arisen from the cultural, social, and political contexts of the different periods studied. A second part of this work will be the articulation of a personal approach to the study of music and processes of identity formation in Latin America, with a special emphasis on the particular case of Chile and its development from the late 19th century to the present day. -
N E W S L E T T
Harvard University Department of M usic MUSICnewsletter Vol. 17, No. 1 Winter 2016 The Last First Nights he crowd gathered in Sanders Theatre on the first of December to hear the world Harvard University premiere of Matthew Aucoin’s commis- Department of Music Tsioned work, “Its Own Accord.” Aucoin ’12, 3 Oxford Street piano, and Keir GoGwilt ’13, violin, took the Cambridge, MA 02138 stage. The audience hushed, as they had for the past 22 years, on this final day of class for Professor 617-495-2791 Thomas F. Kelly’s First Nights course. music.fas.harvard.edu The gorgeous interplay of violin and piano filled Sanders, and Kelly sat in the house, smiling. After the last chord on the piano, after the bows and the applause, Kelly took the stage. “I hate to break the spell. But consider this. INSIDE If you weren’t here, you didn’t hear it. For right now, we are the only people in the world who teaching fellows have supported First Nights. For 3 Faculty News have heard this piece.” many, it was their first teaching experience and for 4 Just Vibrations: Cheng Interview First Nights, one of Harvard’s most popular some, it was life-changing. and enduring courses, takes students through the “The most important thing you taught me experience of five premieres in the context of their is to be someone who manifests joy in what he own time and place: Monteverdi's opera L’Orfeo, does,” wrote Willam Bares (PhD 2010), in a note Handel’s Messiah, Beethoven’s Ninth Symphony, congratulating Kelly on his final class. -
Northwestern University Bienen School of Music Fanfare Fall 2018
HENRY AND LEIGH BIENEN SCHOOL OF MUSIC FALL 2018 152461.indd 1 9/17/18 2:54 PM first chair A MESSAGE FROM THE DEAN In spring 2008 Northwestern’s School Fellowships, research prizes, publication awards, major com- of Music was named in honor of retiring missions, teaching honors, and significant grants. Alumni have University president Henry S. Bienen secured positions as performers, administrators, and educa- and his wife, Leigh. We continue to be tors in leading arts and educational institutions throughout profoundly grateful for the privilege of the world. representing the excellence of Henry This past spring, the school achieved a new milestone— Bienen’s leadership. our first-ever Asia tour. From March 23 through April 1, the During the intervening decade, Northwestern University Symphony Orchestra gave concerts in the Bienen School’s many impressive Beijing, Shanghai, and Hong Kong, thrilling Chinese audiences achievements have included the unveiling of a strategic plan, and Northwestern alumni and friends with its professional cal- the establishment of the Institute for New Music as a hub for iber. For the 87 student musicians, the tour was an immensely study and performance of 20th- and 21st-century music, and valuable experience—participants have described it as the inauguration of the Skyline Piano Artists Series and the “life-changing” and “unforgettable”—with incalculable long- Robert M. and Maya L. Tichio Vocal Master Class Series. We term benefits for their professional careers. Throughout the have celebrated the 20th season of our Winter Chamber Music tour, the students were excellent representatives of Festival and the 25th season of the Segovia Classical Guitar Northwestern. -
AAR Magazine
AMERICAN ACADEMY IN ROME MAGAZINE SPRING 2017 Welcome to the Spring 2017 issue of AAR Magazine. This issue of AAR Magazine offers a summation of a very productive year. We feature the scholars and artists in our creative community at the culmination of their research and look at how the Fellows’ Project Fund has expanded their possibilities for collaborat- ing and presenting their work in intriguing ways. We update this year’s exploration of American Classics with reports on a February conference and previews of events still to come, including an exhibition fea- turing new work by artist Charles Ray. You will also find a close look at AAR’s involvement in archaeology and details of a new Italian Fellowship sponsored by Fondazione Sviluppo e Crescita CRT. And, of course, we introduce the Rome Prize win- ners and Italian Fellows for 2017–2018! Vi diamo il benvenuto al numero “Primavera 2017” dell’AAR Magazine. Questo numero dell’AAR Magazine riassume il lavoro prodotto in un anno eccezionale. Vi presentiamo gli studiosi e gli artisti della nostra comunità creativa al culmine della loro ricerca e siamo lieti di mostrare quanto il Fellows’ Project Fund abbia ampliato le loro possibilità di collaborare e presentare le proprie opere in modo affascinante. Aggiorniamo la pan- oramica fatta quest’anno sugli American Classics con il resoconto del convegno tenutosi a febbraio e con le anticipazioni sui prossimi eventi, tra i quali una mostra con una nuova opera dell’artista Charles Ray. Daremo uno sguardo da vicino all’impegno dell’AAR nel campo dell’archeologia e alla nuova Borsa di studio per Italiani finanziata da Fondazione Sviluppo e Crescita CRT. -
BODILY KNOWLEDGE in DANCE TRANSFERRED to the CREATION of SCULPTURE by Nazaré Feliciano a Dissertation Submitted to the Faculty
BODILY KNOWLEDGE IN DANCE TRANSFERRED TO THE CREATION OF SCULPTURE by Nazaré Feliciano A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts & Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL May 2014 Copyright by Nazaré Feliciano 2014 ii ACKNOWLEDGMENTS This dissertation was possible because of the help and support of many others. I want to express gratitude to those who inspired me and who showed me the way. To begin, I want to express my gratitude to Mary Frank whose sculptures inspired me to write this dissertation and for her welcoming into her art studio. I wish to express sincere thanks to the members of my committee. To Dr. Brian McConnell, who believed in this project from the beginning and gave me guidance and encouragement to it’s completion. To Dr. Marcella Munson for her insights into the various dimensions of this topic. To Professor Clarence Brooks for his contagious energy and insights of the dance world. I also owe thanks to Professor Gvozden Kopani for his advice on focusing all course work assignments toward my dissertation. A special thank you to Dr. Richard Shusterman who kindly reviewed the discussion of somaesthetics in my dissertation. Deepest gratitude to my dissertation angels: To Frederick Krantz, who enthusiastically proofread and edited every chapter of this manuscript and made suggestions for better readability. To Maureen Riley who gave me support and organization guidance throughout the development of this work. Finally, I am deeply indebted to my family and friends without whose loving care and enthusiasm I wouldn’t be able to finish this project.