Robert morris phd thesis

Publicado em Agosto 2017

…Like Clockwork… was commissioned by the Knowsley Youth Orchestra and their conductor Simon Gay. The traditional four-part flexible scoring is not appropriate for ensembles that do not have instruments covering the necessary ranges or have extreme peculiarities of balance. In many respects the amateur group specialising in new music have inevitably been of more interest to me than the average amateur string quartet or orchestra. My own philosophy has been to play to the strengths of any given ensemble, for example by assigning a concertante role to a particularly advanced player, as in Ghost. My use of visual-art imagery has proved to be a valuable aid both to myself in instigating the compositional process and to performers and audiences in appreciating the background concept of a work. However, all parts need to be covered and equally balanced. I decided to seize on this experience and used it as a stylistic starting-point in my own work. I was also made dmb write a song chords aware of two good percussionists who were keen to ‘multi-task’ by playing a wide range of tuned and untuned percussion instruments. Flexible scoring can be a very successful solution to the challenge of conceiving new works for amateurs, when appropriate. Each composition has been an intriguing and welcome challenge in itself. The main advantage is that such scoring is adaptable to reorchestration robert morris phd thesis for a variety of dissertation data collection analysis ensembles. The expression of place is a recurring theme in my music. Most of the ensembles I have worked with have maintained an enlightened and progressive approach to new music. The only exceptions were a single oboe, bassoon and horn and the robert morris phd thesis addition of alto and tenor saxophones. There are no exposed passages or extended solos. Prescot is most notable for its clock- and watch-making heritage. The amount I have learned and the impact upon the development of my compositional technique has been tremendous. In this case, a new part-specific piece would be more appropriate. This method had been successfully used in my earlier large-scale works for amateurs, such as Lines on a Walk. Experience with many such ensembles has afforded me continual constructive criticism from conductors, diversity medical school class essay players and audiences. The opening of my piece alludes to this aspect before taking its own course according to do my assignment cheap my own harmonic research paper gambling problem style. However, given the extended rehearsal time the orchestra would have, I decided to write quite rhythmically challenging parts to sustain players’ interest. Meanwhile, rhythmic phasing is explored throughout the work in a manner typical of minimalist music, within a tonal context. There is even a distribution service for the genre in the form of the COMA Music Library that selects and promotes works. I have attempted to cover as many aspects of amateur (and professional) new-music-making as reasonably possible. Also, there were no violas or double basses. An abundance of organised amateur music groups regularly form. The ensemble was essentially an augmented wind or ‘concert’ band with a fairly small group of string players. I am going to enter the university because my goal is to study these subjects in future and to become a respected professional in one of the fields. My favorite subjects are chemistry and biology. Easy string parts are carefully balanced against the rest of the orchestra and are aurally discernible. As a result, an abundance of performance opportunities can arise. On reaching a climax (bar 35), this material is loosely inverted and then immediately cuts to the second idea (bar 51). I have never felt compromised or obliged to ‘write down’ for certain performers. Instead, the full orchestral sound is exploited throughout much of the piece. Violin and bassoon lessons were given to me free of charge from peripatetic music teachers. I found particular inspiration in the concert-opener Short Ride in a Fast robert morris phd thesis Machine by John Adams. Critically, an excellent keyboard player was available to play a specially written part on an electronic keyboard rather than an actual piano. The fifty orchestral members are selected from schools and colleges within the Borough. In turn, the depiction of ticking and other such mechanisms proved to be suitable inspiration in composing material for the piece. As a result, many works have virtually ‘written themselves’. In reality, the write essays for pay orchestra did not wholly resemble a standard symphony orchestra in several respects. Likewise, I have encountered little prejudice concerning stylistic preference, particularly in new-music-specific groups. I have discovered a very broad and robert morris phd thesis sophisticated network of amateur music-making throughout the country. Therefore, the Youth Orchestra has a robert morris phd thesis relatively small suburban and working-class catchment area. The concert series was part of a nationwide Music-Alive festival that showcased young musicians. Such players have few preconceived notions about new music. I have discovered that instruments that are naturally in tune, such as tuned percussion and keyboards, are an invaluable resource. This experience has been very satisfying, with many performances and some commissions, publications and recordings. Basically, …Like Clockwork… consists of two ideas that alternate throughout. Most wind parts were ‘doubled-up’. The remainder of the work research paper about hip hop consists of successive rhythmic diminution (by half) of the two ideas in alternation, re-texturalised and varied in orchestration. Clear musical signposts or landmarks have proved to be critical reference points for novice performers. After careful consideration robert morris phd thesis of the standard of players involved in a proposed piece, certain textures and instrumental roles quickly become apparent. Indeed, the Knowsley Youth Orchestra was the first orchestra I ever played in. This group played various 20th-century works with a significant interest in ‘minimalist’ pieces by composers such as Glass, Adams and Fitkin. This seemed particularly fitting in terms of the aforementioned minimalism and also in its pulsed, clock-like ticking led by the wood block. Weekly term-time rehearsals were followed by an intensive weekend course that featured extended sectional and full orchestral sessions. In conclusion, the practical reality of composing in this field is that amateur performance standards are usually (though not always) considerably lower than those of professional musicians. However, I was determined to write structurally functional string parts that could be heard. In large ensembles they can be used to double instruments, often keeping intonation ‘in check’ rather than exposing discrepancies. The piece is really an exercise in momentum. As always, the ‘playable’ quality of each part was crucial to the success of the piece, each part having an easily identifiable role within the texture. However, with careful consideration of this as part of the compositional process, works can potentially be as effective, valid and relevant as new pieces for professionals. I feel strongly that the enclosed works for both amateur and professional musicians are truly representative of my idiom. It is characterised by rhythmic phasing and displacement across a regular pulse. The percussionists adopt a wide range of roles and instruments, usually colouring other orchestral parts and occasionally emerging as soloists. Everyone can agree that I am a good student and that I like to study. The wind section was, in effect, the nucleus of the orchestra. …Like Clockwork… employs a structure consisting of distinct blocks or ‘panels’. …Like Clockwork… is a good example of this. This is the result of literal doublings between string, woodwind and brass parts. As had been previously encountered in amateur ensembles, the string section was slight in number, technique and volume. The orchestra’s rehearsal and concert schedule for the summer term in 2003 provided good conditions in which to learn and perform a new work. The final four bars of the piece form a short coda based solely on the single pitch that is the tonal centre of the piece, C. It seemed appropriate to try and convey that place musically. In retrospect I look back over this period of study and research almost as an apprenticeship. My solution was to use the string section as a unit and usually in rhythmic unison. A five-minute work was required; an overture-type piece to begin robert morris phd thesis each performance. Such new music groups do not need convincing about the importance and relevance of performing new works, as that is the reason for their existence. I was given a list of specific instrumentation that largely consisted of the conventional double woodwind and brass scoring. Amateur new music groups regularly perform at the South Bank’s annual State of the Nation weekend of emerging British composers and at other well-established festivals such as Bath, Huddersfield, Corsham and Spitalfields. Several members who have remained in the local area beyond their education are still playing in the orchestra into their twenties. Audiences largely consisted of parents, children and relatives who came along to support performers. ), sometimes muted and often in a percussive rather than melodic capacity. Composing for amateurs has (ironically) had the effect of opening up my compositional technique, particularly with regard to alternative notations. For example, two trumpeters played the first trumpet part rather than one. Accordingly, I decided to make them the focus of my piece. I have even encountered one semi-professional orchestra that aims to give a first performance of a new piece in each of their concerts. The latter is characterised by homophonic added-note tonal harmonies underneath a pattern of syncopated repeated notes. Composing for amateurs can result in high-profile performances at national venues and general exposure on the contemporary music circuit. I am a senior in high school. Primarily I have discovered that works must be carefully tailored according to the technical capabilities of players. These are often sustained background harmonies or repeated notes reinforced by the important keyboard part. Music in this genre is increasingly being published and recorded. However, there is no enforced age limit. I have a personal preference for instrumental music over vocal or choral works, although the latter are represented. Likewise, the connection between the town, its clock-making history and the robert morris phd thesis music would be obvious to audiences largely unaccustomed to new music. The work’s orchestration is critical to its apparent success. robert morris phd thesis The first idea builds in texture, harmony and volume. Far from harming one’s reputation, I feel enhanced by the experience. The piece received its first performance in the Parish Church of my home town of Prescot. Having known the orchestra for 15 years, it seemed inevitable that I should fulfil an ambition and ‘repay’ that community by composing a work for them. Amateur players have a good sense of music that ‘works’, is effective and satisfies the fundamentals of musical composition, such as coherency and structural strength. My experience in collaborating with and composing for a wide variety of musicians has been largely positive, challenging and rewarding. My name is Ann Smith. The standard of the orchestra averaged around Associated Board Grades 5 to 6. There is simply an appreciation of that which is seemingly relevant and well written. The brief of the commission posed several challenges. Interestingly, some members of the orchestra did have considerable experience of playing new music in a related ensemble called Fast Forward (now disbanded). rolf banz phd dissertation The brass section are regularly employed at fairly restrained dynamics (due to their enthusiasm! I received my initial musical education from the Knowsley Performing Arts Service. Knowsley is a metropolitan borough on Merseyside that largely consists of the Liverpool overspill areas of Kirkby research paper about biology (Newtown), Huyton and Halewood ‘villages’ and the former Lancashire market town of Prescot. These immediately preceded a week of three concert performances in various venues, given before a combined audience of nearly 1,000 people.