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New transcriptions for two players on one organ with two or more manuals and pedal To order copies of any of these transcriptions, please send an email to paul.tegels@plu.edu with info on what you’d like to order and where it should be sent. Copies are $9/volume + mailing cost. For more information, please contact Paul Tegels at paul.tegels@plu.edu Duetto in F Major, Opus 18, J. C. Bach A delightful manualiter composition in two movements for organ using two manuals. Bach JC Duetto Sample
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Callista Brown Associate Professor of English Email: callista.brown@plu.edu Professional Education Ph.D., Purdue University, 1991 M.A., Butler University, 1982 B.A., Mount Holyoke College, 1971 Areas of Emphasis or Expertise Composition Rhetorical Theory Literacy
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Areas of Study Brass Euphonium French Horn Trombone Trumpet Tuba Composition Guitar Harp Jazz Studies Music Education Music History and Theory Organ and Harpsichord Percussion Piano Strings Voice Woodwinds Bassoon Clarinet Flute Oboe Saxophone
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.” Dr. Vianna was invited to give a clinic in the composition/arranging category. Vianna’s clinic, “Brazilian Choro for Jazz Big Band: A Guide for Jazz Composers and Band Directors,” covered an old Brazilian instrumental style that is becoming more popular among American jazz musicians in recent years. Due to a lack of quality material for jazz big band in the style, Vianna shared his experience writing his own arrangements and helping students learn this exciting music style. Faculty participation
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demonstrated unparalleled contributions to the world of music composition. She has been commissioned an impressive 22 times since 2012 to write music for chamber ensembles and brass orchestras, including her groundbreaking composition “Octave 9: Pale Blue Dot,” commissioned by the Seattle Symphony for their $6.7 million-dollar performance space. Inspired by the prose of Carl Sagan, audio from the Voyager Golden Records, and the imagery of the James Webb Space Telescope, the piece combines stunning visuals
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native of Memphis, Tennessee, mentored by jazz piano great James Williams. He studied composition with Donald Freund and Jonathan Kramer, and ethnomusicology with David Evans. Dr. Deacon-Joyner came to western Washington from the University of North Texas in Denton, where he held the position of Associate Professor of Jazz Studies from 1986 to 2000. He received his Bachelor’s degree in composition and Ph.D. in ethnomusicology from the University of Memphis, and his master’s degree in composition from
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apply for more than one Artistic Achievement Award, which are offered in Art & Design, Dance, and Theatre in addition to Music. However, your applications will need to be entirely separate and you will need to prepare all of the necessary application materials for all areas. If you have two music interests (such as more than one instrument, voice and an instrument, or composition and an instrument, for example) our application process allows you to detail up to two music areas that you want taken
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lot next to the Mary Baker Russell Music Center. Dr. Miho Takekawa conducts a socially distant Percussion Ensemble class in a large rehearsal space in the music building. A student wearing a mask participates in the Percussion Studio rehearsal. Dr. Miho Takekawa conducts a socially distant Percussion Ensemble class, rehearsing Dr. Greg Youtz’s composition entitled “Calypso Variations” in a large rehearsal space in the music building. Students rehearse on brass instruments outdoors in a tent set up
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Pacific Lutheran University Choirs and Orchestra close “Passion Week” with North American premiere The Pacific Lutheran University Choir of the West, Choral Union and the University Symphony Orchestra perform the North American premiere of the “St. Matthew Passion” by Sven-David Sandström, one of the world’s best-known composers, on Tuesday, March 22 and Wednesday, March 23 at 8:00 pm… March 11, 2016 Choir of the WestOperaUniversity Symphony Orchestra
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he talked about what inspires his musical compositions today. “I really didn’t have any particular gift in that area,” Reid said of his mother’s innate talent with the paintbrush. “But I did want to transfer what she did into music. “I found that I liked expression in modern music,” he continued. “I know there were people who didn’t like modern music, but it just seemed natural to me.” The genesis of his career in composition came in junior high, when he composed a guitar piece. He still has the
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