Woodwinds of the Las Vegas Philharmonic

Program listing performers and works performe

Xavier University Newswire

https://www.exhibit.xavier.edu/student_newspaper/3504/thumbnail.jp

January 2012 Newsletter

Issue Highlights: Beyond the Bubble - Alumni Profile: Kate Tombaugh \u2707 Is There Life after IWU? The Class of 2011 Speaks Recruiting Trends Show Hope for the Job Marke

Xavier University Newswire

https://www.exhibit.xavier.edu/student_newspaper/1360/thumbnail.jp

Red Note New Music Festival Program, 2017

The RED NOTE New Music Festival at Illinois State University is a week-long event which features outstanding performances of contemporary concert music.https://ir.library.illinoisstate.edu/rnf/1000/thumbnail.jp

The Guardian, May 4, 1989

Eight page issue of The Guardian, the official student-run newspaper for Wright State University. The Guardian has been published regularly since March of 1965.https://corescholar.libraries.wright.edu/guardian/3615/thumbnail.jp

Dance 2019: Together Again

It is a joy to collaborate with Kathy Bartelt, Maria Glimcher and Tammy Plaxico, and to gather together again in recreating some of our past favorites. It is wonderful to see a new generation of students tell these stories with a fresh and unique perspective in movement and design. As we share these stories of community, family and love, we remember a special member of our family, Andy Baker. Andy, a 2009 Otterbein Theatre Design Technology graduate, created beautiful magic in his many lighting designs for the Department of Theatre and Dance and with his mentorship of so many Otterbein Theatre students. Andy’s last artistic journey was the 2018 Otterbein dance concert production of Gloriously Grimm. He transported all of us to a misty forest, golden hills and the most joyful recesses of our imagination. Andy’s radiance and energy lived in those images and in this theatre. He left us those beautiful gifts. We dedicate this concert to you, Andy. I hope you are watching from one of those golden hills. - Stella Hiatt Kanehttps://digitalcommons.otterbein.edu/production_2019-2020/1000/thumbnail.jp

Illinois Philharmonic Orchestra

Promotional material and programs for the May 4, 1996; November 22, 1997; March 13, 1998; and November 11, 2000 performances by Illinois Philharmonic Orchestra at Governors State University\u27s Center for Performing Arts.https://opus.govst.edu/cpa_memorabilia/1192/thumbnail.jp

School of Music Recital Programs from 1993 to 1994

This is a collection of programs from a variety concerts, recitals, and other performances previously held at Wright State University during the 1993 to 1994 school year.https://corescholar.libraries.wright.edu/music_programs/1022/thumbnail.jp

FINDING THE “TECH” IN TECHNIQUE: A PEDAGOGICAL APPROACH TO ELECTROACOUSTIC CONCERT PERCUSSION PERFORMANCE PRACTICE

Premise and Objectives In our increasingly technology driven society, the impact of technology touches nearly every aspect of our lives in some form or another. This has been acutely felt within the world of percussion, with electroacoustic works representing perhaps the most rapidly expanding area of concert percussion over the last twenty years. Electroacoustic music couples electronic technology with traditional acoustic instruments and/or performance practices. Broadly, this paper outlines a systematic approach to teaching electroacoustic performance practice, based on elements found in a cross-section of percussion literature. In using such an approach, not only does each student become more capable of dealing with this growing body of literature, but also the process of educating these students becomes more efficient for the teacher. As a result, delivery becomes more effectively standardized, and resources can be shared more efficiently among multiple students who may be studying different types of electroacoustic repertoire. Method To organize this exploration, three main genres of electroacoustic repertoire for percussion are compared: prerecorded soundscape, live processing, and electronic pieces. This comparison illuminates the tools and techniques that are relevant to each type of repertoire and reflects not only the narrower focus of electroacoustic percussion, but also the broader goals of applied percussion instruction in the context of a “total” percussion program. Each classification is explored by addressing its critical elements using prime examples from the relevant standard repertoire. For the first classification of works, tape pieces, the project includes discussion on signal flow, balancing electronic and acoustic sound sources, an introduction to digital audio workstations (DAWs), and monitoring techniques. Two primary examples of the repertoire are used to contribute to this discussion; Javier Alvarez’s Temazcal for maracas and tape, and Brian Blume’s Strands of Time. Live processing works present increased challenges with concepts, including sound reinforcement, recording production, how to edit and creatively manipulate sound both in post-production and live, and detailed concepts of signal flow, often including MIDI protocol. To explore the concepts specifically relevant to live processed works, Nigel Westlake’s classic work, Fabian Theory, for amplified marimba and three toms, is offered. Electronic works give students further opportunity to explore MIDI mapping, patch and parameter changes using both hardware and software, and sometimes sound design. In this context, there is a brief exploration of Steve Reich’s Violin Phase. Finally, an exploration of Hans Werner Henze’s, Prison Song demonstrates how all of this technology and technique can come together in combination works. The work requires live sound reinforcement, pre-recorded soundscapes, separate monitoring, live processing, and live MIDI controllers. The paper closes with a brief summary of extra pedagogical considerations, including resource management, pedagogical philosophy, and further implications. Conclusion By examining the logical steps of pedagogically developing through the different broad categories of electroacoustic music, with an emphasis on its reflection of broader liberal values and critical applied analysis, it is believed that this research could yield a model for a more thoughtful approach for applied percussion teachers