123 research outputs found
Messiah University Wind Ensemble, featuring Joey Tartell, trumpet
No full textThe Spring Concert of the Messiah University Wind Ensemble, featuring Joey Tartell, trumpet soloist, as well as William Stowman, trumpet solois
Masque [version for symphonic wind band]
No full textFor symphonic wind band, duration 7 minutes.
This work was first performed on 7 April 2001 by Chethams Wind Orchestra conducted by John Dickinson, at the Royal Northern College of Music during the British Association of Symphonic Bands and Wind Ensembles International Conference.
Recordings include those by the North Texas Wind Symphony (Klavier KCD-11127); the Indiana University of Pennsylvania Wind Ensemble (Klavier KCD-11184); Messiah College Wind Ensemble (Mark Custom Records 9098-MCD); New Edmonton Wind Sinfonia (Mark Custom Records 51881-MCD); Showa Wind Symphony (Cafua Records CACG-0041); the United States Coast Guard Band (Mark Custom Records 9997-MCD); and Texas All-State 5A Symphonic Band (Mark Custom Records 4094-MCD).
The US Coast Guard Band recording is available on YouTube (see the video tab below).
Versions of this piece are also available for orchestra (see https://researchonline.rcm.ac.uk/id/eprint/1555/) and brass band (see https://researchonline.rcm.ac.uk/id/eprint/1556/)
Concert Choir to present Handel’s Messiah at Ouachita April 28
No full textOuachita Baptist University’s Concert Choir will present George Frideric Handel’s Messiah on Tuesday, April 28, at 7:30 p.m. The concert also will feature members of the OBU Wind Ensemble and Arkansas Symphony Orchestra as well as OBU faculty, staff and alumni. The concert will be held in Jones Performing Arts Center on Ouachita’s campus, and tickets are $10 each at www.obu.edu/boxoffice
Essential excerpts for tuba from original works written for wind ensemble
No full text"The need for a standard course of study to assist in preparing students for military band auditions is apparent due to the current number of tuba positions in premier military service band organizations. This examination of Essential Excerpts for Tuba from Original Works Written for Wind Ensemble is intended to be an important document in the field of tuba performance and teaching for practice, preparation, and study of the original wind symphony literature written for tuba. The excerpts included in this text are selected based on a general survey created by the author. The Tuba Excerpt Survey, completed by retired and current premier military service band tuba players and select college and university tuba professors, generated a standard list of excerpts that produced the desired information that finalized the specified essential tuba excerpts to be included and reviewed in this document. By setting performance boundaries, inspecting the musical details of the excerpts, and separating an undergraduate curriculum into appropriate levels of study, a classification and distribution of the found scores and excerpts among different levels is established in this text. Upon examination of these excerpts, additional methodologies and corollary studies have been integrated into the paper to further facilitate student practice and preparation of these essential excerpts for tuba among original compositions written for the wind ensemble medium."--Abstract from author supplied metadata
Para Mi Alma for Chamber Wind Ensemble
No full textabstract: Para Mi Alma is a composition for chamber wind ensemble comprised of an Introduction, two dance movements, and a concluding movement featuring the full ensemble in a chorale-like finale. This piece follows the narrative of an abusive relationship, and the emotional rollercoaster that one experiences during the self extrication and consequential rebirth of identity. Para Mi Alma (For My Soul) is scored for chamber wind ensemble with the following instrumentation: piccolo/flute, Bb clarinet, bass clarinet, bassoon; soprano, tenor, and baritone saxophone; trumpet, trumpet/flugelhorn, horn in F, tenor and bass trombone; double bass, and three percussionists - marimba/congas, auxiliary percussion (wind chimes, suspended cymbal, triangle, bass drum, snare drum, double cowbell, tam-tam), and timpani/timbales. The duration of this work is approximately 11’00”.
Each movement portrays a stage in the relationship, and the mental state of the person experiencing abuse. The Introduction begins with a piccolo solo and marimba accompaniment, and gradually builds to the full ensemble; this section of music illustrates the moment that relational ties to the transgressor are cut — a split second of clarity and space before the spiral of anxiety and overwhelming thoughts of self deprecation invade. Movement I is a salsa, representing the dance of two people entering into a relationship. The meter changes and hemiolas serve to upset the underlying groove and create rhythmic tension, while the surface of the music appears unscathed. Finally the dance is interrupted by an aggressive bass solo, which initiates the transition to Movement II. This transition serves to remind the listener of the Introduction, and the dissolution of the relationship; it is characterized by chaos and confused clusters of melodic lines and dissonant harmonies. Movement II is a tango, representative of the emotional extremes of heartbreak, anger, confusion, and shame. The conclusion of the Tango directly segues into Movement III, which features a short brass chorale before building to include the full ensemble. Movement III portrays the support system of family and friends, and personifies the collective effort that takes place in healing and growth.Dissertation/ThesisMasters Thesis Music 201
PARTITA FOR 8 VOICES & WIND ENSEMBLE: A TRANSCRIPTION PROCESS
No full textPartita for 8 Voices (2012) is a groundbreaking a cappella work that earned its composer, Caroline Shaw, the record of youngest recipient of the Pulitzer Prize for Music in 2013. While the work continues to receive performances from its premiere ensemble, Roomful of Teeth, no transcription of the piece to any other ensemble type existed at the beginning of this DMA project. The author sought to transcribe a piece by a living female composer with no work for band into the wind band medium. The resulting transcription, Partita for 8 Voices & Wind Ensemble, adds a new work to the repertoire of band literature that includes new, esoteric, and proprietary extended technique for wind and percussion instruments.
The purposes of this DMA project are 1) to provide a brief analysis of Partita for 8 Voices, 2) to provide details of the trials, errors, and successes during the transcription process of Partita for 8 Voices & Wind Ensemble as well as recommendations for future conductors of the work, and 3) to provide anecdotal evidence of the important relationship conductors build with composer intent by embarking on a transcription process.
The first chapter includes a biography of Caroline Shaw, the vocal ensemble Roomful of Teeth, and a timeline of Shaw’s compositional process regarding Partita for 8 Voices. The second chapter is a brief theoretical, timbral, and technical analysis of Partita for 8 Voices. Chapters three through seven discuss the transcriptional process and conductor’s insights for each of the four movements of Partita for 8 Voices & Wind Ensemble and general considerations. Chapter eight discusses anecdotal evidence of what conductors learn from the transcription process.
An appendix of information including interviews, a graphical analysis of technical and timbral events in Partita for 8 Voices, and the full score for Partita for 8 Voices & Wind Ensemble is also provided
In-Depth Analysis and Program Notes on a Selection of Wind Band Music
No full textThis document is an in-depth analysis of five pieces composed for wind band: Cloudburst by Eric Whitacre, Promenade and Galop by Daniel Kallman, Ave Maria by Franz Biebl (arranged by Robert Cameron), A Hymn for the Lost and the Living by Eric Ewazen, and Five English Folk Songs by Ralph Vaughan Williams (arranged by Evan Feldman). These works were conducted by the author with the Minnesota State University, Mankato Concert Wind Ensemble between October 2010 and January 2012. The following pages contain biographical information on each composer (and arranger where applicable), program notes, formal analysis, and conducting and rehearsal considerations by the author. In addition, each analysis concludes with a personal reflection in which the author describes how each piece helped in his development as a conductor from baton technique to personal growth
The Effect of Conductor Expressivity on Ensemble Performance Evaluation
No full textIn this study, the authors examined whether a conductor\u27s use of high-expressivity or low-expressivity techniques affected evaluations of ensemble performances that were identical across conducting conditions. Two conductors each conducted two 1-minute parallel excerpts from Percy Grainger\u27s Walking Tune. Each directed one excerpt using high- and one using low-expressivity techniques. After watching a video of the four conducting segments set to a single audio performance of the selection by a university wind ensemble, participants (N = 118) evaluated ensemble expressivity using a 10-point Likert-type scale. Half of the participants also rated the expressivity of the conductor using a second identical scale. Ensemble expressivity was rated significantly higher for the high-expressivity conductors; effect size was strong (partial η2 =.57). Among participants evaluating both conductor and ensemble, there was a significant moderate correlation between ratings (r =.56). © 2001, SAGE Publications. All rights reserved
A Practical Guide to Choral-Wind Ensemble Collaboration In Higher Education
No full textComprehensive collaboration between collegiate wind and choral departments would be of substantial benefit to faculty, students, universities, and their communities at large. This includes modeling healthy project-based collaboration, exploring the wide range of wind-choral repertoire available, and forming a deeper understanding of both similarities and differences between areas. The following work aims to explore the intricacies of collaboration–both the intent behind it, and essential elements for success. The author then offers tools to develop a common language between choral and wind conductors in the areas of vocal production, text, rhythm, timbre, balance, articulation, and intonation. Finally, based on interviews with five leading university wind and choral conductors, a guide for effective collaboration is presented. Key musical and logistical tools are provided for faculty to start a conversation, bridge perceived schisms, and be able to unite behind common goals.</p
A Practical Guide to Choral-Wind Ensemble Collaboration In Higher Education
No full textComprehensive collaboration between collegiate wind and choral departments would be of substantial benefit to faculty, students, universities, and their communities at large. This includes modeling healthy project-based collaboration, exploring the wide range of wind-choral repertoire available, and forming a deeper understanding of both similarities and differences between areas. The following work aims to explore the intricacies of collaboration–both the intent behind it, and essential elements for success. The author then offers tools to develop a common language between choral and wind conductors in the areas of vocal production, text, rhythm, timbre, balance, articulation, and intonation. Finally, based on interviews with five leading university wind and choral conductors, a guide for effective collaboration is presented. Key musical and logistical tools are provided for faculty to start a conversation, bridge perceived schisms, and be able to unite behind common goals.</p
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