This document provides a history of the percussion faculty at Ithaca College from 1953 to present. It profiles each percussion professor, noting their backgrounds, accomplishments, and other teaching positions. Some of the most prominent professors include Warren Benson, who established the percussion program, and Terry Hulick, Paul Price, Robin Engelman, and William Youhass, who all helped develop the program in subsequent decades. The document also lists notable alumni, ensemble premieres, guest artists, and includes photographs from the percussion program's history.
The document discusses the origins and history of hip hop and rap music. It describes how hip hop arose in the 1970s in New York City from DJs at block parties who would isolate and loop percussion breaks from funk and soul songs. This sampling and remixing of music evolved from earlier Jamaican dub styles. The document also explains that rapping is a vocal style involving rhythmic spoken word and rhyme that is often performed over hip hop beats. Key figures mentioned include DJ Kool Herc and rapper Snoop Dogg.
This document provides an overview of the history and role of conductors in orchestral music. It discusses how conductors evolved from being members of the ensemble to dedicated conductors using batons to coordinate large orchestras. Some notable conductors mentioned include Hans von Bülow, the first professional conductor; Leopold Stokowski, who conducted without a baton; and Leonard Bernstein, the first American-born conductor to achieve worldwide acclaim.
This document outlines a music lesson plan for 9th grade students focusing on Medieval, Renaissance, and Baroque periods. The objectives are for students to understand the characteristic features of music from these eras and relate them to their historical and cultural contexts. Key concepts covered include Gregorian chants, troubadour music, masses, madrigals, and composers like Adam de la Halle, Giovanni da Palestrina, and Thomas Morley. Students will listen to and analyze examples, discuss musical elements, perform songs, and explore other arts from these periods through group activities. Assessment will be based on a chant/skit creation and a performance rubric.
The document summarizes various traditional and modern genres of Japanese music. It describes ancient court music called Gagaku, as well as traditional styles like Biwagaku played on a biwa guitar, Nohgaku performed during Noh theater, and Sokyoku featuring the koto zither. More recent genres discussed include Shamisenongaku using the shamisen lute, Minyo folk songs, postwar Kayokyoku pop music, and sentimental Enka ballads. It also outlines the development of Japanese rock, J-pop, and hip hop in recent decades.
Sakura, Sakura "Cherry Blossoms" (Japanese Folk Song) For Grade 8, MAPEH (Mus...Jewel Jem
Sakura, Sakura is a traditional Japanese folk song depicting the cherry blossom season in spring. It was a popular melody during the Edo period and was later adopted as a beginning piece for koto students at the Tokyo Academy of Music in 1888. The song honors the Japanese tradition of hanami, or flower viewing under cherry blossom trees.
Traditional Japanese music can be categorized into two main genres: Japanese art music and folk music. Japanese art music includes gagaku, the oldest existing musical tradition in Japan dating back over 1,200 years. Gagaku is performed for imperial court ceremonies and consists of instrumental ensembles featuring the koto, sho, and various drums. Nohgaku is traditional music performed for noh theater, consisting of vocal and instrumental elements accompanied by flutes and drums. Folk music encompasses numerous regional songs and dances, many originally performed without instruments but now sometimes featuring the shamisen. Traditional Japanese music utilizes unique scales and instruments that have significantly influenced musical traditions across East Asia.
Chinese Theater - MAPEH 8 (Music 4th Quarter)Carlo Luna
Chinese theater, traditionally considered the highest art form in China, includes Peking Opera. Peking Opera is a stylized form of opera that developed in Beijing in the late 18th century combining speech, singing, mime, and acrobatics accompanied by various instruments. It features two main musical styles - Erh-huang and His-p'l - and strict conventions for vocal delivery and rhythmic spoken passages. The orchestra typically includes 8 musicians playing instruments like flutes, trumpets, violins, lutes, guitars, drums and gongs to accompany the performers and signify the beginning and tempo of the performance. Peking Opera remains an important part of China's cultural heritage.
The document discusses the origins and history of hip hop and rap music. It describes how hip hop arose in the 1970s in New York City from DJs at block parties who would isolate and loop percussion breaks from funk and soul songs. This sampling and remixing of music evolved from earlier Jamaican dub styles. The document also explains that rapping is a vocal style involving rhythmic spoken word and rhyme that is often performed over hip hop beats. Key figures mentioned include DJ Kool Herc and rapper Snoop Dogg.
This document provides an overview of the history and role of conductors in orchestral music. It discusses how conductors evolved from being members of the ensemble to dedicated conductors using batons to coordinate large orchestras. Some notable conductors mentioned include Hans von Bülow, the first professional conductor; Leopold Stokowski, who conducted without a baton; and Leonard Bernstein, the first American-born conductor to achieve worldwide acclaim.
This document outlines a music lesson plan for 9th grade students focusing on Medieval, Renaissance, and Baroque periods. The objectives are for students to understand the characteristic features of music from these eras and relate them to their historical and cultural contexts. Key concepts covered include Gregorian chants, troubadour music, masses, madrigals, and composers like Adam de la Halle, Giovanni da Palestrina, and Thomas Morley. Students will listen to and analyze examples, discuss musical elements, perform songs, and explore other arts from these periods through group activities. Assessment will be based on a chant/skit creation and a performance rubric.
The document summarizes various traditional and modern genres of Japanese music. It describes ancient court music called Gagaku, as well as traditional styles like Biwagaku played on a biwa guitar, Nohgaku performed during Noh theater, and Sokyoku featuring the koto zither. More recent genres discussed include Shamisenongaku using the shamisen lute, Minyo folk songs, postwar Kayokyoku pop music, and sentimental Enka ballads. It also outlines the development of Japanese rock, J-pop, and hip hop in recent decades.
Sakura, Sakura "Cherry Blossoms" (Japanese Folk Song) For Grade 8, MAPEH (Mus...Jewel Jem
Sakura, Sakura is a traditional Japanese folk song depicting the cherry blossom season in spring. It was a popular melody during the Edo period and was later adopted as a beginning piece for koto students at the Tokyo Academy of Music in 1888. The song honors the Japanese tradition of hanami, or flower viewing under cherry blossom trees.
Traditional Japanese music can be categorized into two main genres: Japanese art music and folk music. Japanese art music includes gagaku, the oldest existing musical tradition in Japan dating back over 1,200 years. Gagaku is performed for imperial court ceremonies and consists of instrumental ensembles featuring the koto, sho, and various drums. Nohgaku is traditional music performed for noh theater, consisting of vocal and instrumental elements accompanied by flutes and drums. Folk music encompasses numerous regional songs and dances, many originally performed without instruments but now sometimes featuring the shamisen. Traditional Japanese music utilizes unique scales and instruments that have significantly influenced musical traditions across East Asia.
Chinese Theater - MAPEH 8 (Music 4th Quarter)Carlo Luna
Chinese theater, traditionally considered the highest art form in China, includes Peking Opera. Peking Opera is a stylized form of opera that developed in Beijing in the late 18th century combining speech, singing, mime, and acrobatics accompanied by various instruments. It features two main musical styles - Erh-huang and His-p'l - and strict conventions for vocal delivery and rhythmic spoken passages. The orchestra typically includes 8 musicians playing instruments like flutes, trumpets, violins, lutes, guitars, drums and gongs to accompany the performers and signify the beginning and tempo of the performance. Peking Opera remains an important part of China's cultural heritage.
There are several traditional Japanese musical genres described in the document. Some of the most important include:
- Gagaku, the ancient imperial court music featuring instruments like the koto, biwa, and sho.
- Nohgaku, music performed during Noh theater featuring the hayashi flute, tsuzumi drum, and other instruments.
- Shamisen music, featuring the three-stringed shamisen, often used to accompany Kabuki and Bunraku performances.
- Shakuhachi music, featuring the end-blown bamboo flute of the same name.
Alan Hovhaness was an Armenian-American composer known for his prolific output. He composed 67 numbered symphonies and 434 works overall. Hovhaness showed an early talent for music, writing his first composition at age 4. He destroyed many early works in the 1930s and 1940s. Hovhaness studied music in the U.S. and abroad, gaining influence from cultures like India and Japan. He had a breakthrough in 1955 with his Symphony No. 2, Mysterious Mountain.
- The document provides an overview of traditional and modern music styles in Japan, including both vocal and instrumental genres.
- Traditional Japanese music is based on human breathing intervals rather than strict timing, and includes genres like nagauta, noh, and gagaku that incorporate instruments like the koto, shamisen, and shakuhachi.
- Modern forms include popular music performed at karaoke venues. The document then examines various traditional musical genres and instruments in more depth.
MAPEH 8 2nd Quarter East Asian Vocal Music Cruz Ryan
1) The document discusses traditional vocal music from East Asian countries including Japan, China, and Korea.
2) It provides details on famous songs from each country - "Sakura" from Japan, "Mo Li Hua" from China, and "Arirang" from Korea.
3) The songs are described as iconic, traditional folk songs that have become symbols of their respective cultures.
Japan, also known as Nihon or Nippon, is an island country located in East Asia. It lies east of the Sea of Japan, China, North Korea, South Korea, and Russia. Japan has a population of over 125 million people and is known for its dense cities, imperial palaces, and thousands of shrines and temples. Traditional Japanese music is rich and varied, with influences from Chinese musical forms. Genres include shinto music for worship, folk music called saibara, and the elegant court music known as gagaku. Japanese musical instruments include strings like the koto and shamisen, winds like the shakuhachi flute, and percussion such as taiko drums.
Japanese Theater - MAPEH 8 (Music 4th Quarter)Carlo Luna
This document discusses traditional Japanese theater forms such as Noh and Kabuki. It explains that Noh is a classical theater form that began in the 16th century, while Kabuki originated in entertainment districts but became very popular. Both forms reflect different social classes and time periods but use traditional Japanese pentatonic scales and vocalization techniques adapted from forms like narrative joruri singing. Accompanying music is typically provided by the shamisen instrument.
Every asian country has its own music whichNestor Idra
The document provides information about traditional music from China, Korea, and Japan. It discusses the history and characteristics of music from each country. For China, it describes ancient ritualistic music and how popular music is associated with theater. It also discusses traditional instruments. For Korea, it discusses court music (chong-ak) and folk music (sog-ak), as well as traditional instruments. For Japan, it discusses the oldest form of court music and dance (gagaku) and noh theater music. It also outlines traditional Japanese instruments. The document concludes with proposed learning activities for students to explore and perform East Asian music.
This document discusses the Soviet composers Aram Khachaturian and Dmitri Kabalevsky. It provides biographical information on Khachaturian, noting that he was Armenian and incorporated Armenian folk melodies and rhythms into his compositions while working within the Soviet system. It describes some of Khachaturian's major works, including his ballets Gayane and Spartacus. The document also discusses the political environment in the Soviet Union after World War II and the impact this had on composers being labeled as "insiders" or "outsiders", with Khachaturian being dismissed from his position in 1948.
Turkey has a rich musical heritage that includes both classical and folk traditions. Turkish classical music developed from the musical traditions of neighboring regions and is based on melodic modes and human voices. It uses various instruments and can be divided into religious and non-religious styles. The history of Turkish music spans different periods starting from the adoption of Islam and incorporation of Byzantine influences, to the modern reform period. Today, Turkish music blends classical, folk, Ottoman, and Western influences and though traditionally monophonic, some composers have adopted Western polyphonic styles while still incorporating Turkish melodic elements. The musical traditions of Turkey continue to be performed and developed through conservatories, orchestras, and regular music festivals.
Modern Japanese music has been influenced by Western genres like rock, pop, and jazz. Some common Japanese music terms include "aidoru" referring to pop idols, "gagaku" meaning traditional court music, and "kayokyoku" referring to pop music. Popular Japanese rock bands like Dir En Grey and An Cafe have incorporated Western styles into their own music. J-pop is Japanese pop music that sounds similar to American pop songs. J-rock copies the psychedelic rock style without drugs. Music festivals in Japan include Fuji Rock Festival, the largest, and Tokyo Music Marathon where live music is performed for free throughout the city.
Japanese music originated from festivals and ceremonies, using drums and flutes. Gagaku is the oldest orchestral style still performed today, dating back over 1300 years. Traditional Japanese instruments featured in Gagaku include the sho reed flute, hichiriki flute, biwa lute, koto zither, and taiko drums. Kabuki theater features elaborate costumes and dance-like movements accompanied by the shamisen guitar-like instrument. Bunraku puppet theater uses half-size puppets operated by three people with narration and shamisen music. Both Kabuki and Bunraku reflect important musical traditions in Japan.
Kishori Amonkar is an Indian classical singer known for her mastery of the vocal styles of khyal, thumri and bhajan. She received training from her mother Mogubai Kurdikar and is considered a preeminent representative of Hindustani classical music. Amonkar experimented with different vocal styles while maintaining her roots in the Jaipur gharana. She has received several prestigious Indian music awards, including the Padma Bhushan and Padma Vibhushan.
Three traditional Japanese instruments are described: the koto, shakuhachi, and taiko. The koto is a zither with 13 strings. The shakuhachi is an end-blown bamboo flute used in Buddhist meditation with its breathy tone. The taiko are large drums that are an important part of Japanese folk music. Details are provided on playing techniques and historical origins and uses of each instrument within Japanese culture.
The document summarizes court music traditions in East Asia, including China (ya yiieh with yiienh suan music and t'angko chamber songs), Japan (gagaku with kangen instrumental music, bugaku dance music, and ritual music for Shinto ceremonies), and Korea (chong-ak including sujechon, sijo lyric songs, and kasa narrative songs). The styles vary between being performed in gardens, buildings, or accompanying dances and rituals with different instrumental ensembles and vocal forms.
Japanese music originated in the 8th century and has developed different styles over time while retaining common characteristics like pentatonic scales. It influenced Western music with the incorporation of Western styles in 1868. Japanese music uses various traditional instruments divided into percussion, drums, and wind categories, many made of bamboo. Popular composers include Ai Otsuka and Akiko Yano. Contemporary popular music includes songs by Kat-Tun and Sekai No Owari. Japanese music influenced modern music through the development of J-pop and the ongoing use of traditional instruments.
Japanese music was influenced by Chinese court music and uses a pentatonic scale. Traditional Japanese music includes shomyo Buddhist chanting and gagaku court music brought from China in the 8th century. Some common Japanese musical instruments are the koto zither, shamisen lute, shakuhachi bamboo flute, and various drums. Music is an important part of Japanese theatrical forms like kabuki theater, noh theater, and bunraku puppet theater.
Taiko drumming has been part of Japanese culture for centuries, played in religious festivals and ceremonies. It was also used in warfare to intimidate enemies. The Kodo troupe popularized taiko globally in the last 40 years through regular international tours. Based in Sado Island, Japan, Kodo performances feature traditional drums and other instruments along with dance and vocal performances lasting around two hours. The largest taiko drum, the odaiko, can weigh over 4 tons and be over 9 feet in diameter.
This document provides an overview of traditional and modern Japanese music. It discusses several genres such as gagaku, which is classical court music performed since the Heian period. Traditional instrumental music includes kangen and bugaku, while vocal styles include kumeuta and kagurauta. Buddhist chanting is called shomyo. Joruri is narrative music featuring the shamisen instrument. There are four main styles of joruri that developed in different eras and regions. Other instruments described include the biwa lute, hyoshigi clappers, kane bells, kokyuu bowed string instrument, koto zither, and several types of bamboo flutes including shakuhachi and shinobue.
Traditional instruments in japanese and chinese musicCris Capilayan
The document summarizes four traditional Japanese instruments - the shamisen, koto, shakuhachi, and biwa. The shamisen is a three-stringed lute with a long neck and resonating box covered in animal skin. The koto is a six-foot long harp-like instrument played while kneeling. The shakuhachi is a vertical bamboo flute introduced in the 7th century and used by Zen monks for meditation. The biwa is a lute that arrived from China over 1300 years ago and is used to enhance storytelling performances.
1) The article explores the integral role that songs play in Hindi films, both narratively and for popularity. It discusses how songs became popular soon after the first Hindi talkie in 1931, as they provided relief from dialog.
2) The use of playback singing began in the 1930s, allowing better separation of acting and singing talents. Major playback singers from the 1940s to present shaped the destiny of Hindi film music. The 1949 film Barsaat, with music by Shankar-Jaikishan, was hugely popular and helped establish Hindi film music as its own industry.
3) The article examines the typical components of a Hindi film song and the roles of the music director, lyricist,
This curriculum vitae is for Souvik Pal, an Indian civil engineer. It provides his personal details including name, address, date of birth and education history. Pal completed his B.Tech in Civil Engineering from Bengal College of Engineering and Technology in 2015. He has 8 months of work experience as a Graduate Engineer Trainee with Bengal DCL Housing Development Company Pvt. Ltd. His skills include AutoCAD, STAAD Pro, Microsoft Office, teamwork and time management.
Dowiedz się więcej - obejrzyj film: http://www.metanoja.pl/zaufanie-i-zdrada/
Zaufanie i zdrada – można powiedzieć, że tworzą nierozerwalny związek… Dowiedz się więcej o zaufaniu, jakie są jego rodzaje. A także o tym, kto częściej zdradza i jak oceniamu zdrady własne i i innych.
There are several traditional Japanese musical genres described in the document. Some of the most important include:
- Gagaku, the ancient imperial court music featuring instruments like the koto, biwa, and sho.
- Nohgaku, music performed during Noh theater featuring the hayashi flute, tsuzumi drum, and other instruments.
- Shamisen music, featuring the three-stringed shamisen, often used to accompany Kabuki and Bunraku performances.
- Shakuhachi music, featuring the end-blown bamboo flute of the same name.
Alan Hovhaness was an Armenian-American composer known for his prolific output. He composed 67 numbered symphonies and 434 works overall. Hovhaness showed an early talent for music, writing his first composition at age 4. He destroyed many early works in the 1930s and 1940s. Hovhaness studied music in the U.S. and abroad, gaining influence from cultures like India and Japan. He had a breakthrough in 1955 with his Symphony No. 2, Mysterious Mountain.
- The document provides an overview of traditional and modern music styles in Japan, including both vocal and instrumental genres.
- Traditional Japanese music is based on human breathing intervals rather than strict timing, and includes genres like nagauta, noh, and gagaku that incorporate instruments like the koto, shamisen, and shakuhachi.
- Modern forms include popular music performed at karaoke venues. The document then examines various traditional musical genres and instruments in more depth.
MAPEH 8 2nd Quarter East Asian Vocal Music Cruz Ryan
1) The document discusses traditional vocal music from East Asian countries including Japan, China, and Korea.
2) It provides details on famous songs from each country - "Sakura" from Japan, "Mo Li Hua" from China, and "Arirang" from Korea.
3) The songs are described as iconic, traditional folk songs that have become symbols of their respective cultures.
Japan, also known as Nihon or Nippon, is an island country located in East Asia. It lies east of the Sea of Japan, China, North Korea, South Korea, and Russia. Japan has a population of over 125 million people and is known for its dense cities, imperial palaces, and thousands of shrines and temples. Traditional Japanese music is rich and varied, with influences from Chinese musical forms. Genres include shinto music for worship, folk music called saibara, and the elegant court music known as gagaku. Japanese musical instruments include strings like the koto and shamisen, winds like the shakuhachi flute, and percussion such as taiko drums.
Japanese Theater - MAPEH 8 (Music 4th Quarter)Carlo Luna
This document discusses traditional Japanese theater forms such as Noh and Kabuki. It explains that Noh is a classical theater form that began in the 16th century, while Kabuki originated in entertainment districts but became very popular. Both forms reflect different social classes and time periods but use traditional Japanese pentatonic scales and vocalization techniques adapted from forms like narrative joruri singing. Accompanying music is typically provided by the shamisen instrument.
Every asian country has its own music whichNestor Idra
The document provides information about traditional music from China, Korea, and Japan. It discusses the history and characteristics of music from each country. For China, it describes ancient ritualistic music and how popular music is associated with theater. It also discusses traditional instruments. For Korea, it discusses court music (chong-ak) and folk music (sog-ak), as well as traditional instruments. For Japan, it discusses the oldest form of court music and dance (gagaku) and noh theater music. It also outlines traditional Japanese instruments. The document concludes with proposed learning activities for students to explore and perform East Asian music.
This document discusses the Soviet composers Aram Khachaturian and Dmitri Kabalevsky. It provides biographical information on Khachaturian, noting that he was Armenian and incorporated Armenian folk melodies and rhythms into his compositions while working within the Soviet system. It describes some of Khachaturian's major works, including his ballets Gayane and Spartacus. The document also discusses the political environment in the Soviet Union after World War II and the impact this had on composers being labeled as "insiders" or "outsiders", with Khachaturian being dismissed from his position in 1948.
Turkey has a rich musical heritage that includes both classical and folk traditions. Turkish classical music developed from the musical traditions of neighboring regions and is based on melodic modes and human voices. It uses various instruments and can be divided into religious and non-religious styles. The history of Turkish music spans different periods starting from the adoption of Islam and incorporation of Byzantine influences, to the modern reform period. Today, Turkish music blends classical, folk, Ottoman, and Western influences and though traditionally monophonic, some composers have adopted Western polyphonic styles while still incorporating Turkish melodic elements. The musical traditions of Turkey continue to be performed and developed through conservatories, orchestras, and regular music festivals.
Modern Japanese music has been influenced by Western genres like rock, pop, and jazz. Some common Japanese music terms include "aidoru" referring to pop idols, "gagaku" meaning traditional court music, and "kayokyoku" referring to pop music. Popular Japanese rock bands like Dir En Grey and An Cafe have incorporated Western styles into their own music. J-pop is Japanese pop music that sounds similar to American pop songs. J-rock copies the psychedelic rock style without drugs. Music festivals in Japan include Fuji Rock Festival, the largest, and Tokyo Music Marathon where live music is performed for free throughout the city.
Japanese music originated from festivals and ceremonies, using drums and flutes. Gagaku is the oldest orchestral style still performed today, dating back over 1300 years. Traditional Japanese instruments featured in Gagaku include the sho reed flute, hichiriki flute, biwa lute, koto zither, and taiko drums. Kabuki theater features elaborate costumes and dance-like movements accompanied by the shamisen guitar-like instrument. Bunraku puppet theater uses half-size puppets operated by three people with narration and shamisen music. Both Kabuki and Bunraku reflect important musical traditions in Japan.
Kishori Amonkar is an Indian classical singer known for her mastery of the vocal styles of khyal, thumri and bhajan. She received training from her mother Mogubai Kurdikar and is considered a preeminent representative of Hindustani classical music. Amonkar experimented with different vocal styles while maintaining her roots in the Jaipur gharana. She has received several prestigious Indian music awards, including the Padma Bhushan and Padma Vibhushan.
Three traditional Japanese instruments are described: the koto, shakuhachi, and taiko. The koto is a zither with 13 strings. The shakuhachi is an end-blown bamboo flute used in Buddhist meditation with its breathy tone. The taiko are large drums that are an important part of Japanese folk music. Details are provided on playing techniques and historical origins and uses of each instrument within Japanese culture.
The document summarizes court music traditions in East Asia, including China (ya yiieh with yiienh suan music and t'angko chamber songs), Japan (gagaku with kangen instrumental music, bugaku dance music, and ritual music for Shinto ceremonies), and Korea (chong-ak including sujechon, sijo lyric songs, and kasa narrative songs). The styles vary between being performed in gardens, buildings, or accompanying dances and rituals with different instrumental ensembles and vocal forms.
Japanese music originated in the 8th century and has developed different styles over time while retaining common characteristics like pentatonic scales. It influenced Western music with the incorporation of Western styles in 1868. Japanese music uses various traditional instruments divided into percussion, drums, and wind categories, many made of bamboo. Popular composers include Ai Otsuka and Akiko Yano. Contemporary popular music includes songs by Kat-Tun and Sekai No Owari. Japanese music influenced modern music through the development of J-pop and the ongoing use of traditional instruments.
Japanese music was influenced by Chinese court music and uses a pentatonic scale. Traditional Japanese music includes shomyo Buddhist chanting and gagaku court music brought from China in the 8th century. Some common Japanese musical instruments are the koto zither, shamisen lute, shakuhachi bamboo flute, and various drums. Music is an important part of Japanese theatrical forms like kabuki theater, noh theater, and bunraku puppet theater.
Taiko drumming has been part of Japanese culture for centuries, played in religious festivals and ceremonies. It was also used in warfare to intimidate enemies. The Kodo troupe popularized taiko globally in the last 40 years through regular international tours. Based in Sado Island, Japan, Kodo performances feature traditional drums and other instruments along with dance and vocal performances lasting around two hours. The largest taiko drum, the odaiko, can weigh over 4 tons and be over 9 feet in diameter.
This document provides an overview of traditional and modern Japanese music. It discusses several genres such as gagaku, which is classical court music performed since the Heian period. Traditional instrumental music includes kangen and bugaku, while vocal styles include kumeuta and kagurauta. Buddhist chanting is called shomyo. Joruri is narrative music featuring the shamisen instrument. There are four main styles of joruri that developed in different eras and regions. Other instruments described include the biwa lute, hyoshigi clappers, kane bells, kokyuu bowed string instrument, koto zither, and several types of bamboo flutes including shakuhachi and shinobue.
Traditional instruments in japanese and chinese musicCris Capilayan
The document summarizes four traditional Japanese instruments - the shamisen, koto, shakuhachi, and biwa. The shamisen is a three-stringed lute with a long neck and resonating box covered in animal skin. The koto is a six-foot long harp-like instrument played while kneeling. The shakuhachi is a vertical bamboo flute introduced in the 7th century and used by Zen monks for meditation. The biwa is a lute that arrived from China over 1300 years ago and is used to enhance storytelling performances.
1) The article explores the integral role that songs play in Hindi films, both narratively and for popularity. It discusses how songs became popular soon after the first Hindi talkie in 1931, as they provided relief from dialog.
2) The use of playback singing began in the 1930s, allowing better separation of acting and singing talents. Major playback singers from the 1940s to present shaped the destiny of Hindi film music. The 1949 film Barsaat, with music by Shankar-Jaikishan, was hugely popular and helped establish Hindi film music as its own industry.
3) The article examines the typical components of a Hindi film song and the roles of the music director, lyricist,
This curriculum vitae is for Souvik Pal, an Indian civil engineer. It provides his personal details including name, address, date of birth and education history. Pal completed his B.Tech in Civil Engineering from Bengal College of Engineering and Technology in 2015. He has 8 months of work experience as a Graduate Engineer Trainee with Bengal DCL Housing Development Company Pvt. Ltd. His skills include AutoCAD, STAAD Pro, Microsoft Office, teamwork and time management.
Dowiedz się więcej - obejrzyj film: http://www.metanoja.pl/zaufanie-i-zdrada/
Zaufanie i zdrada – można powiedzieć, że tworzą nierozerwalny związek… Dowiedz się więcej o zaufaniu, jakie są jego rodzaje. A także o tym, kto częściej zdradza i jak oceniamu zdrady własne i i innych.
This document lists several residential properties in Southern California and Northern California and the systems installed at each property. These include security systems like CCTV cameras, access control, and intrusion alarms. Other common systems included are fire alarm systems, two-way communication systems, public safety radio DAS, WiFi systems, and voice/data systems. The properties range from apartments, condominiums, and single family home developments built by developers like The Irvine Company, Lennar Homes, and SummerHill Housing Partners.
Dowiedz się więcej - obejrzyj film: http://www.metanoja.pl/sie-klocic-zasady-uczciwego-sporu/
Jak się kłócić, czyli zasady uczciwego sporu, które można wykorzystać nie tylko w czasie sporów w małżeństwie, ale również w innych sferach życia.
This document outlines guidelines for serving veterans through the Department of Labor in Sussex. It prioritizes clients as veteran consumers and describes the roles of front desk staff, employment services personnel, and DVOP specialists in registering and assisting veterans. Case managers are responsible for completing assessments, advocating for clients by referring them to social services and training to address their barriers to employment. Successful case management requires partnership and networking across organizations to develop resources and provide holistic support to veterans.
H2FLOW is a scale prevention technology that does not use chemicals like traditional water softeners. It uses a proprietary media inside a cartridge to eliminate scale buildup in pipes and water heating equipment. The cartridge only needs replacing every two years, requiring little maintenance compared to water softeners which need salt added regularly. Noritz plans to launch H2FLOW in April 2010 after training their sales and technical staff on the product's benefits as a total solution for hard water scale issues, not just for tankless water heaters. It is expected to sell well by providing an environmentally-friendly alternative to water softeners.
This document provides a history of the Eureka High School band program and fight song from the 1920s to present day. It describes how the fight song originated in the 1930s and has been arranged over time. It also discusses how the school nickname became the Hornets in 1940. The bulk of the document then summarizes the tenure of different band directors from 1928 to the 1980s, highlighting accomplishments and challenges faced by the program over the decades.
This document provides biographical information about several composers and performers involved in a concert celebrating the 80th anniversary of composer Carey Blyton. The concert will feature premiere performances of works by Blyton and his friends Frank Bayford, Derek Foster, John Mitchell, and Peter Thompson. A personal tribute is also given by composer Gary Higginson, who studied under Carey Blyton. The concert is scheduled for May 19, 2012 in London.
This biography summarizes the career of American composer and pianist Robert Helps. It outlines that he is currently a professor of music at two universities and has received many awards for his compositions. It describes some of his major compositions, including his Symphony No. 1 which won awards. It also lists that he has extensively performed as both a pianist and composer, recording many of his works, and has toured nationally and internationally with other musicians.
This document provides biographies of several notable Filipino composers including Jose Maceda, Lucrecia Kasilag, Ramon Santos, Fr. Manuel Maramba, Jerry Dadap, Francisco Feliciano, and Josefino Toledo. It discusses their educational backgrounds, musical styles, and major compositions. It highlights that these composers demonstrated both Western and indigenous Philippine influences and made significant contributions to the development of Filipino music.
Arnold Jacobs was a renowned brass teacher and tuba player for the Chicago Symphony Orchestra. He developed an influential teaching method focused on "Song and Wind," emphasizing singing into the mouthpiece and using air as fuel rather than a primary focus. His teachings emphasized treating the brass instrument like the voice and developing musicianship over technical prowess. Jacobs taught generations of brass players and had a profound global influence through his masterclasses, lectures, and writings. He is widely considered one of the most important brass pedagogues of all time.
Arnold Jacobs was a renowned brass teacher and tuba player with the Chicago Symphony Orchestra. He developed an influential teaching method focused on "Song and Wind," emphasizing vocalization and breath support. This document provides excerpts from books and articles about Jacobs' teachings. The excerpts discuss key aspects of his method, including motivating vibration over air, treating the instrument like a singer treats their voice, and balancing the physical, aural, artistic and stylistic elements of playing. Jacobs stressed the importance of music over technique and viewed the embouchure as an extension of the voice. His teachings focused on developing musicianship and had a profound impact on generations of brass players.
This document provides biographies and information about several prominent Filipino composers who helped develop a new style of contemporary Philippine music that departed from classical forms and incorporated non-Western and indigenous Philippine influences. It discusses composers such as Jose Maceda, Lucrecia Kasilag, Ramon Santos, Manuel Maramba, Jerry Dadap, and Francisco Feliciano, and provides details about their educational backgrounds, major compositions, and contributions to developing a uniquely Filipino musical style and tradition.
- Jose Maceda's musical style shifted after encountering indigenous tribes in Mindoro in 1953, leading him to dedicate his life's work to researching and preserving Filipino traditional music. His fieldwork resulted in an immense collection of recorded music from remote villages.
- Fr. Manuel Maramba is best known as a liturgical composer whose works focus on religious figures and events. He was a versatile musician, composer, arranger, theorist, and teacher.
- Ernani Cuenco was a National Artist for Music who composed film scores and embodied a Filipino sense of musicality through classical kundiman-style works. He was mentored from a young age in music.
Aaron Copland was an influential American composer known for developing a distinctly American style of classical music. He studied composition in the US and France, where he was greatly influenced by his teacher Nadia Boulanger. Throughout his career, Copland championed American composers and promoted new American music. He is renowned for compositions like Appalachian Spring, Fanfare for the Common Man, and scores for Hollywood films. Copland developed different musical styles throughout his life and made major contributions to the growth of classical music in the Americas in the 20th century.
This document discusses several Filipino composers who helped develop contemporary Philippine music by incorporating non-Western influences and indigenous Philippine musical traditions into their compositions. It provides biographies and discusses the works of Jose Maceda, Lucrecia Kasilag, Ramon Santos, Manuel Maramba, Jerry Dadap, Francisco Feliciano, and Chino Toledo - composers who pioneered this new direction in Philippine music and helped establish its unique identity.
A Brief History of Music Education in AmericaBrian Ebie
This presentation briefly examines the growth of music education in American educational systems, with an emphasis on singing schools and the transition to choral programs and general music appreciation courses. The presentation concludes with a birdseye view of the trends and developments in music education during the 20th century, including various Education Acts, NCLB, Common Core, and the role of the arts--specifically music--in those legislative educational policies.
Leonard Bernstein (1918-1990) was an American composer, conductor, and educator. He was born in Massachusetts and studied at Harvard. He got his start in New York conducting for the New York Philharmonic in 1943 and later became their music director. Bernstein gained fame for his compositions like West Side Story and Candide as well as his Young People's Concerts that introduced classical music to television audiences. He conducted internationally and remained active until his death from pneumonia in 1990.
This document examines Keith Emerson's life and career through his compositions. It provides a biography of Emerson from his early classical piano training in the UK in the 1940s-50s to his time with the bands The Nice and Emerson, Lake & Palmer which showcased his rock adaptations of classical works and original compositions like Tarkus. The summary discusses how Emerson published music across three continents over thirty years for piano, rock groups, and orchestra, though he is best known as a performer and his compositions have been overlooked.
This document examines Keith Emerson's life and career through his compositions. It discusses Emerson's early musical training and performances in bands in the 1960s. In 1967, Emerson joined The Nice and began arranging classical works for rock trio. Notable compositions from this time include Five Bridges Suite. In 1970, Emerson formed Emerson, Lake & Palmer and composed large works like Tarkus and The Endless Enigma triptych. Throughout the 1970s with ELP and after, Emerson continued writing original compositions and arrangements, producing over 100 published works. After ELP disbanded in 1978, Emerson focused on film soundtrack composition in the 1980s while also releasing two albums of original music.
This curriculum vita summarizes Jamie Sinatra's education and experience as a bassoonist. It details her doctoral studies at the University of Memphis, as well as master's studies at Baylor University and bachelor's studies at West Virginia University. Her professional experience includes numerous orchestral and chamber music performances across the United States and Mexico. She has also held teaching positions at the University of Memphis and Baylor University.
The greatest jazz musicians from the swing era developed styles that inspired the music industry immensely. You can listen to them on the swing music radio.
This curriculum vita summarizes Jamie Sinatra's educational and professional experiences as a bassoonist. He holds a Doctor of Musical Arts from the University of Memphis, a Master of Music from Baylor University, and a Bachelor of Music from West Virginia University. His career has included extensive orchestral, chamber music, solo, and teaching experience in the United States and Mexico. He has performed with numerous orchestras and ensembles and has appeared on television, radio, and in recordings.
The Beatles were a highly successful English rock band formed in Liverpool in 1960 that helped drive social and cultural revolutions of the 1960s with their folk rock and psychedelic pop music. The band was composed of John Lennon, Paul McCartney, George Harrison, and Ringo Starr. They gained popularity performing in clubs in Liverpool and Hamburg before their career skyrocketed after appearances on television shows in the UK and US in 1963. The Beatles went on to become the best-selling band of all time and a significant influence on rock music over the 1960s, though internal tensions grew and they split up officially in 1970.
The Beatles were a highly successful and influential English rock band formed in Liverpool in 1960. Originally consisting of John Lennon, Paul McCartney, George Harrison, and Pete Best, they went through lineup changes before settling on Ringo Starr as their drummer. Managed by Brian Epstein and produced by George Martin, the Beatles saw immense popularity in the 1960s with hit songs that helped define the rock era. Their popularity grew until they ceased touring in 1966 to focus on studio recordings, though conflicts over musical direction led to their eventual breakup in 1970.
The document provides biographical information about three prominent Filipino composers: Francisco B. Buencamino Sr., Francisco S. Santiago, and Nicanor S. Abelardo. Buencamino Sr. studied music composition at Liceo de Manila and taught at Ateneo de Manila. He is known for his zarzuelas and kundiman compositions. Santiago studied in Chicago and was the first director of UP Conservatory of Music. He is considered the "Father of Kundiman" and composed works like "Pilipinas Kong Mahal". Abelardo developed a style fusing European Romanticism with chromaticism. He composed the UP anthem and works like "Mutya ng Pas
2. ii
cover photo: The Ithaca College Percussion Ensemble; Terry Hulick, director.
April 1965 Percussion Ensemble concert (George Andrix, Concert for
Percussion premiere), Ford Hall, Ithaca College; Ithaca, NY.
3. iii
Table
of
Contents
Table
of
Contents
.......................................................................................................
iii
Preface
.......................................................................................................................
iv
Ithaca
College
Percussion
Faculty
.................................................................................
1
Warren
Benson
...........................................................................................................................................................
2
Terry
Hulick
.................................................................................................................................................................
3
Paul
Price
......................................................................................................................................................................
3
John
(Robin)
Engelman
...........................................................................................................................................
4
Jack
Moore
....................................................................................................................................................................
4
Douglas
Igelsrud
........................................................................................................................................................
5
William
Youhass
.........................................................................................................................................................
5
Gary
Rockwell
..............................................................................................................................................................
6
Gordon
Stout
................................................................................................................................................................
7
Ted
Rounds
...................................................................................................................................................................
7
Robert
Bridge
..............................................................................................................................................................
8
Conrad
Alexander
......................................................................................................................................................
8
Greg
Evans
....................................................................................................................................................................
9
Ithaca
College
Notable
Alumni
...................................................................................
10
Ithaca
College
Percussion
Ensemble
Premieres
..........................................................
12
Ithaca
College
Percussion
Studio
Guest
Artists
...........................................................
13
Ithaca
College
Percussion
Photos
...............................................................................
14
Bibliography
..............................................................................................................
20
4. iv
Preface
The Ithaca School of Music Percussion Studio Portfolio is a comprehensive
history of Ithaca College’s percussion studio. The majority of the information obtained
came from past concert programs from the Ithaca College School of Music archives,
which date as far back as 1924. Gordon Stout, Kirsten Hampton (Warren Benson’s
daughter), and Robin Engelman were key sources in the collection of data that was used
to create this portfolio.
5. 1
Ithaca
College
Percussion
Faculty
1892 – 1953
No percussion program
1953 – 1964 (continued at IC on composition faculty until 1967)
Warren Benson (d. 2005)
1964 – 1966
Terry Hulick
1966 – 1967
Paul Price (d. 1986)
1967 – 1968
John (Robin) Engelman
1968 – 1970
Jack Moore
1970 – 1971
Douglas Igelsrud
1971 – 1979
William Youhass
1979 – 1980
Gary Rockwell
1980 – present
Gordon Stout
1989 – 1995
Ted Rounds*
1995 – 2000
Robert Bridge*
2000 – present
Conrad Alexander*
2011 – present
Greg Evans
*Adjunct faculty
6. 2
Warren
Benson
1953 – 1964
The distinguished composer Warren Benson (1924-2005) is best known for his
innovative and expressive music for wind ensemble and his finely wrought song cycles.
With such striking works as The Leaves Are Falling (1964), The Solitary Dancer (1966),
The Passing Bell (1974) and Symphony II-Lost Songs (1983), Benson created
compositions for band and wind ensemble that are masterworks in the repertoire and
acclaimed as “among the most important of this century” (United States Marine Band,
Bicentennial Collection). His fondness for contemporary poetry led him to write a large
body of solo vocal music, much of it for voices with instruments. Benson set to music the
poetry of many recognized poets including Tennessee Williams, Kenneth Patchen, May
Swenson, Earle Birney, Octavio Paz, and perhaps most memorably, Louise Bogan (Five
Lyrics of Louise Bogan [1977], for mezzo soprano and flute), along with Shadow Wind
(1968; revised 1992/93), also a masterpiece in its revised version for mezzo-soprano and
wind ensemble.
From his early days as a percussionist and timpanist for the Detroit Symphony,
Benson was captivated by the variety of sounds percussion instruments can produce and
used these in compositions for winds ensemble and a wide variety of music for chamber
ensembles. His catalog includes over 150 compositions touching on almost all significant
genres of music. His music has been performed in more than 50 countries throughout the
world and some 30 works have been recorded.
A graduate of the University of Michigan, Benson received four Fulbright grants,
and was the author and director of the first pilot project of the Ford Foundation’s
Contemporary Music Project, whose aim was to create new music for schools. He was
also honored with a John Simon Guggenheim Composer Fellowship, National
Endowment for the Arts composer commissions and the Diploma de Honor from the
Republic of Argentina. He held three residencies at the MacDowell Colony, was elected
to the National Band Association Academy of Wind and Percussion Arts in 1988, and the
Percussive Arts Society Hall of Fame in 2003. Benson was also a founding member of
the World Association for Symphonic Bands and Ensembles.
Warren Benson was Professor of Percussion and Composition for fourteen years
at Ithaca College, Ithaca, New York. In 1967 he became Professor of Composition at the
Eastman School of Music, and was named Kilbourn Distinguished Professor and
University Mentor. From 1986-88, he served as Meadows Distinguished Visiting
Professor of Composition at Southern Methodist University. He then returned to Eastman
where he taught until his retirement as Professor Emeritus in 1993 (Hampton Consulting
& Film).
7. 3
Terry
Hulick
1964 – 1966
Terry Hulick came to Ithaca College to study with Warren Benson after meeting
him at the Brevard Music Camp in North Carolina. Hulick attended Ithaca alongside
percussionists such as Robin Engelman and George Andrix. After teaching percussion at
Ithaca College from spring of 1964 to 1966, Hulick went on to play percussion in the
Louisville Orchestra. After the Louisville Orchestra, Hulick studied conducting in
Austria. Following his travels, he briefly taught percussion in Memphis, Tennessee. He
is now currently living in Jacksonville, Florida (Engelman).
Paul
Price
1966 - 1967
Paul Price was a native of Fitchburg, Massachusetts. After his early percussion
studies, he attended the New England Conservatory of Music where his exposure to the
works of Varese and contact with visiting artist Henry Cowell aroused his interest in
percussion ensemble music. Upon receiving his diploma in 1942, he spent four years in
the U.S. Army after which he resumed his musical career, taking the position of First
Percussionist and xylophone soloist with Frank Simon's Band (1946 to 1949). He earned
his B.Mus (1948) and M.Mus (1949) from Cincinnati Conservatory of Music.
Price taught percussion at the University of Illinois from 1949 until 1956,
establishing the first accredited college percussion ensemble course. He championed the
percussion works of Cowell, Varese, Roldan, Harrison, Cage, Antheil, and others. He
created a performing environment that stimulated an extraordinary interest in
composition for percussion, both among established composers and among his own
students. Price's influential publishing firm, Music for Percussion, was founded during
this time.
In 1955 he moved to the Eastern United States, performing, conducting, and
publishing while holding teaching positions at Boston University, Ithaca College, Newark
State College, and beginning in 1957 and continuing until his death in 1986, the
Manhattan School of Music. He had a remarkable ability to attract talented students, and
the Manhattan Percussion Ensemble and his own Paul Price Percussion Ensemble
received international acclaim. He premiered hundreds of compositions and made
numerous recordings both as player and conductor. Composers eagerly sent him new
works, hoping for performance or desiring publication by one of his two publishing
companies, Music for Percussion and Paul Price Publications.
Paul Price wrote two textbooks, Beginning Snare Drum Method and Techniques
for Playing Triangle, Tambourine, and Castagnettes, and numerous percussion
compositions, mostly of an educational nature. He was well known as a lecturer,
8. 4
reviewer, and author of journal articles. In 1975 the Percussive Arts Society inducted him
into its Hall of Fame, and in 1977, the National Association of American Composers and
Conductors awarded him a citation for his "outstanding contribution to American music."
These two awards describe Paul Price's importance to contemporary percussion. It is
doubtful if the percussion ensemble would have achieved its present status and level of
attainment without the influence he had on its literature and performance practices
(Fairchild).
John
(Robin)
Engelman
1967 - 1968
Robin Engelman studied percussion and composition with Warren Benson at
Ithaca College in Ithaca, New York. He then taught percussion at Ithaca College, the
Eastman School of Music Preparatory Department and York University, Toronto.
Robin’s long relationship with Nexus as a founding member led to his induction into the
Percussive Arts Society Hall of Fame and to receiving the Toronto Arts Award and the
Banff School of Fine Arts Donald Cameron Medal.
Nexus was formed in the early part of the 1970s by six percussionists and remains
today a hallmark name in percussion and contemporary music. Nexus toured the world
after its career was launched with the help of Professor Warren Benson and was propelled
to international recognition by its association with Japanese composer Toru Takemitsu.
Takemitsu arranged tours of Japan and wrote a major work for percussion and symphony
orchestra, From me flows what you call Time, a work which Nexus performed close to
100 times with major orchestras and conductors world wide.
Nexus has championed the works of American composer Steve Reich, Canadian
composer Bruce Mather, Japanese composer Jo Kondo as well has commissioned works
by other international composers. Nexus writes a substantial amount of its concert
repertoire and gives clinics, workshops and master classes for many of the major
universities in North America, Great Britain and Europe. Nexus was the first western
percussion ensemble to perform in the People’s Republic of China (Engelman, About).
Jack
Moore
1968 – 1970
In 1965 Jack Moore became the Rochester Philharmonic’s new principal
percussionist to replace Norman Fickett, who went to the Detroit Symphony. Jack Moore
stayed in Rochester for two seasons before leaving to join the Philadelphia Chamber
Orchestra (Cahn).
9. 5
Douglas
Igelsrud
1970 – 1971
Douglas Igelsrud kept Syracuse Symphony audiences on the edge of their seat
from September, 1971 to August, 2005 with the thundering sound that emanates from
those glorious brass colored kettle drums (better known as timpani). Mr. Igelsrud holds
Bachelor's and Master's degrees from the University of Miami and from the University of
Iowa. He did advanced study at the Cleveland Institute of Music with his mentor,
Cleveland Orchestra Timpanist Cloyd Duff, and performed in the Institute Orchestra
under the baton of James Levine. He has also played with the San Antonio Symphony,
Colorado Philharmonic, and the Birmingham Symphony (Percussion Music Online).
William
Youhass
1971 – 1979
Bill Youhass is the mallet keyboard tuner behind Fall Creek Marimbas. A native
of Teaneck, New Jersey, Youhass first became interested in percussion when some
friends of his joined a local drum and bugle corps. He began to study percussion during
grade school and soon started taking snare drum lessons at the local music store. His
teacher was New York Philharmonic percussionist Buster Bailey.
Youhass received a Bachelor of Music degree in performance from Ithaca
College, where he studied with Warren Benson. He continued his education with Jack
MacKenzie at the University of Illinois in Champaign-Urbana, where he received a
master’s degree. In the fall of 1967, Youhass took a job teaching percussion at what was
then Memphis State University (now the University of Memphis) and played with the
symphony and opera.
Three years later, Youhass left Memphis to study woodworking in the hopes of
learning to build his own quality marimbas. He apprenticed with craftsmen in upstate
New York. That same year, 1971, Youhass accepted the position of Percussion Instructor
at his alma mater in Ithaca, not far from where he was living. He moved to Ithaca and
continued to build marimbas. The first one he sold was to his former teacher, Warren
Benson. Soon, students began bringing Youhass their keyboards for him to tune. In 1973,
he named his fledgling business (Fall Creek Marimbas) after the Fall Creek Gorge, which
feeds into the Ithaca Falls.
Following nine years in Ithaca, Youhass, along with Jim Culley, joined Al Otte on
the faculty at the University of Cincinnati College Conservatory of Music in Ohio and as
a member of The Percussion Group Cincinnati, Artists-In-Residence at the school. For
the next six years, Youhass and the ensemble taught as well as toured throughout the
United Sates and Europe. In 1982, Youhass went to Japan to work for the Custom Music
Company, who import and sell Korogi marimbas and xylophones. After six years in
10. 6
Cincinnati, Youhass returned to upstate New York in 1985 to focus his efforts on Fall
Creek Marimbas full-time, concentrating on tuning, refinishing, and repairing keyboards.
He also began making his K-100 series of glockenspiels. As his business grew, Youhass
quit playing for seven years. That changed when he went to a steel drum workshop in
California being run by Eugene Novotney, a former student. Youhass now leads his own
15-piece steel band, frequently playing at parties and concerts (Vogel Weiss).
Gary
Rockwell
1979 – 1980
Gary Rockwell has played percussion instruments since the fifth grade in upstate
NY. He began taking lessons with students of Warren Benson of Ithaca College. His
earliest teachers include Robin Engelman, then a student at Ithaca College, now of Nexus
fame, and Gene Attleson in Cortland, NY. Gary then studied with John Alling, another IC
grad and drum corp drummer with the Geneva Appleknockers Drum Corps of Geneva,
NY, and Doug Bascom, snare drummer with the Appleknockers. While in high school he
played in the Syracuse Bridgadiers Drum and Bugle Corps under legendary rudimental
drummer, Bobby Thompson.
Gary was accepted to the School of Music at Ithaca College in 1965. He had the
opportunity to study with Terry Hulick, Paul Price, Robin Engelman and timpanist of the
Chamber Symphony of Philadelphia, Jack Moore. While a student at IC, Gary performed
with the Concert Band, Jazz Band, Orchestra, Percussion Ensemble and Phi Mu Alpha
Sinfonia ensembles. The Concert Band premiered " Music for Prague 1969" by Pulitzer
Prize Winner, Karel Husa and he worked closely with Mr. Husa and the percussion
section. Gary performed under Karel Husa, Kenneth Snapp, Walter Beeler, Greg Smith,
Thomas Mikalak, Steve Brown, and Ed Gobrecht. He attained the positions of principal
percussionist in the concert band and orchestra and was the orchestra manager and soloist
in his senior year. His drum set experience was expanded performing with Que Pasa
under leader Steve Brown and he worked with Joe Bouchard who became the bass player
for the Blue Oyster Cult after college.
Career decision time arrived in 1969, graduating with a Bachelor of Music in
Music Education (Percussion), he was accepted both at Temple University for a master's
degree and The U.S. Army Band, Pershing's Own in Washington, D.C. In the summer of
1969 he studied with Charles Owen, Principal Percussionist of the Philadelphia Orchestra
and Jack Moore at the Temple University Ambler Festival, performing in percussion
ensembles, chamber music and the student orchestra. Gary decided to accept the position
in the Army Band and to study at Catholic University of America while in the service.
Gary filled the opening created by the retirement after 30 some years of Vince Battista, a
student of Gus Moeller. Initial study with Vince, an absolute master of the Moeller
method, provided the understanding and benefits of this unique system of drumming
(Rockwell).
11. 7
Gordon
Stout
1980 – present
Gordon Stout (b.1952) is currently Professor of Percussion at the School of
Music, Ithaca College, Ithaca, N.Y., where he has taught percussion since 1980. A
composer as well as percussionist who specializes on marimba, he has studied
composition with Joseph Schwantner, Samuel Adler and Warren Benson, and percussion
with James Salmon and John Beck.
As a composer-recitalist he has premiered a number of his original compositions
and works by other contemporary composers. Many of his compositions for marimba are
published, and have already become standard repertoire for marimbists worldwide.
His recordings are devoted not only to his own music, but also that of the general
standard repertoire by important American composers.
A frequent lecture-recitalist for the Percussive Arts Society, he has appeared at
twelve International PAS Conventions to date, as featured marimbist, as well as
throughout the United States and Canada, Europe, Japan, Taiwan, Thailand, Singapore,
Hungary, Mexico, Denmark, Puerto Rico, and Spain. In May of 1983 he performed
clinics and recitals in France, Germany, Holland and Belgium with "transcendental
virtuosity,” being described as "the Rubinstein of all aspects of the marimba.”
Gordon was on the jury of the first and second Leigh Howard Stevens
International Marimba Competitions during the summers of 1995 and 1998. In the
summer of 1998 he was a featured marimbist at the World Marimba Festival in Osaka,
Japan and he was a member of the jury for the second and third World Marimba
Competitions in Okaya, Japan and Stuttgart, Germany respectively. In the summer of
2006 he was a member of the jury at the International Marimba Competition in Linz,
Austria. On New Years Day in 2006 he conducted a 100-person marimba orchestra in the
National Concert Hall in Taipei, Taiwan as part of the Taiwan International Percussion
Convention. His composition "New York Triptych" for marimba orchestra, was
commissioned by and written for the 50th anniversary celebration of the Percussive Arts
Society, premiered at PASIC 2011 in Indianapolis, IN.
Gordon was inducted into the PAS Hall of Fame in November of 2012 at PASIC
2012 in Austin, Texas. Gordon is a clinician/recitalist for Malletech, and performs on and
owns their M5.0 Roadster five-octave marimba. Gordon Stout is represented by the
Percussion Events Registry Company. Gordon is also an endorser of Dream Cymbals and
Gongs (Stout, Bio).
Ted
Rounds
1989 – 1995
Ted Rounds first started giving drum lessons when he was in junior high school.
He attended college at the Eastman School of Music. During that time, he took lessons
12. 8
with Leigh Howard Stevens and performed often with Gordon Stout. He went to Ithaca
College for his Masters of Music in Percussion Performance. Rounds was a Lecturer in
Percussion in 1989 at Ithaca College School of Music, until 1995 when he became an
Assistant Professor of Percussion at Kent State University. He is currently an Associate
Professor of Percussion at Kent State University (Rounds).
Robert
Bridge
1995 – 2000
Robert Bridge is an Associate Professor of Music at Onondaga Community
College where he was recently honored with the "Trustees Award for Excellence in
Teaching." He is also a 2005 recipient of the National Institute for Staff and
Organizational Development "Excellence Award." Robert has degrees from the
University of North Texas (BME), Southern Methodist University (MM), and the
Eastman School of Music (DMA). In 1995 he was awarded the Eastman School’s
“Performer’s Certificate”. He has performed concertos with the Eastman Kilbourn
Orchestra and the Southern Methodist University Symphony Orchestra. In both 1985 &
1986, Robert won first place at the Percussive Arts Society’s “Marching Percussion
Forum” Individual Marimba Competition. Robert has twice been selected to present his
research at the Percussive Arts Society's International Convention - "Traditional
Performance Practices in the Timpani Parts of Beethoven's Symphonies" (1999) and "An
Overview of Steve Reich’s Sextet” (2002). Robert has performed as a solo marimbist in
many venues including "Day of Percussion" in Virginia, Long Island, and Kingston,
Ontario. Robert also performs regularly in the Syracuse area including performances with
the Society for New Music and the Syracuse Symphony Orchestra and can be heard on
commercial recordings of both groups. His compositions for percussion are published by
Warner Brothers and Kendor. He is an artist endorser for Yamaha Percussion, Sabian
Cymbals, and Innovative Percussion mallets and sticks (Innovative Percussion).
Conrad
Alexander
2000 – present
Conrad Alexander is currently on the percussion faculty at Mansfield University,
Ithaca College and the Brevard Music Center. His teaching experience includes positions
at Interlochen Center for the Arts, James Madison University, The University of Virginia,
The Odessa/Midland (TX) school system and Blue Lake Fine Arts Camp. He is a
member of the Binghamton Philharmonic, the Cayuga Chamber Orchestra and the
Ensemble X New Music Ensemble. He has performed with the New York City Opera
Touring Orchestra, the Albany and Harrisburg (PA) Symphonies, as well as the Dallas,
Richmond (VA), Greensboro (NC), Knoxville (TN), Oklahoma, and Anchorage
Symphonies. In addition to performing and teaching, he is the owner of DAY Percussion
Repair, specializing in all facets of percussion instrument repair and unique wooden
13. 9
percussion products. He has recorded for the Sony, Centaur, AmCam, and ProArtes
recording labels. Conrad earned the Masters of Music degree, and Performer’s Certificate
from the Eastman School of Music, and the Bachelor of Music degree from Southern
Methodist University. His major teachers include John Beck, Doug Howard, Kalman
Cherry, John Bannon, Don Liuzzi and Charles Owen.
In 2007, Conrad became an honorary member of Kappa Kappa Psi and received
Mansfield University’s Bertram Francis Award from Kappa Kappa Psi for outstanding
contributions to the MU Band program. He resides in Ithaca, NY with his wife, Paige
Morgan, and their two dogs (Alexander).
Greg
Evans
2011 – present
A native of Liverpool, New York, Evans earned his Masters of Music at Ithaca
College (2011) in percussion studies where he studied under the incomparable marimbist
and educator Gordon Stout. It was while completing this degree that Evans also served
as the Jazz department’s teaching assistant where he held various teaching duties. Evans
holds a Bachelors of Music in jazz studies from the Manhattan School of Music (2009)
where he studied under Justin DiCioccio.
Evans has also has an extensive performing career. He has performed in multiple
national tours including those of the bands ISM, Remington, and Turkuaz. He has also
recorded multiple records with these bands as well as the Danny Rivera Orchestra. Evans
has also performed with many artists including: The Count Basie Orchestra,
Jonathan Batiste, Terence Blanchard, Chick Corea, Joey DeFrancesco, Melinda Doolittle,
Kurt Elling, Robin Eubanks, Jimmy Heath, Joe Magnarelli, Eric Marienthal, Branford
Marsalis, John Pizzarelli, Hank Roberts, Dave Samuels, and Allen Vizzutti.
At Ithaca College, Evans plays in the IC Jazz Quartet, conducts the Tuesday
Night Lab Band, coaches various combos, teaches Survey of Jazz History and maintains
an active private studio. Evans strives in his teachings to help guide students to realize
their potential as improvisers and ensemble players. By referencing jazz tradition, Evans
helps students assimilate sounds of the past to create the new sounds of the future
(Evans).
14. 10
Ithaca
College
Notable
Alumni
Students of Warren Benson:
• Terry Hulick
o Ithaca College graduate
o see page 3
• Robin Engelman
o Ithaca College ’61 graduate
o see page 4
• Ruth (Komanoff) Underwood
o Ithaca College ’64 graduate
o Percussionist in Frank Zappa and the Mothers of Invention (1967 – 1982)
Students of William Youhass:
• Steve Mathiesen (BM 1978), Timpanist, Binghamton Philharmonic
Students of Gordon Stout:
• College Professors:
o Moses Howden (BM 1980), St. Bonaventure University
o Valerie Naranjo (MM 1982), New York University
o Charles Peltz (BM 1983), New England Conservatory (W.E. director)
o Dane Richeson (MM 1983), Lawrence University
o Daniel Fabricius (MM 1983), Binghamton University
o Chris White (BM 1987), University of Maine
o David Gluck (BM 1989), SUNY Purchase (until 2012)
o Ted Rounds (MM 1989), Kent State University
o Thom Hasenpflug (BM, MM 1989), University of Idaho
o Tony Steve (MM 1990), Jacksonville University
o Giff Howarth (BM 1992), Bloomsburg University
o Tom Burritt (BM 1993), University of Texas/Austin
o Todd Caschetta (MM 1994), Southwestern College, San Diego, CA
o Michael Overman (MM 1996), James Madison University
o Kevin Bobo (MM 1999), Indiana University
o Matthew Richmond, (MM 1999), UNC-Ashville
o Isabell Huang, (MM 2008) , Bowling Green State University
o Michael Burritt, Eastman School of Music
• Professional Musicians:
o Donald Skoog (MM 1980), Contemporary Music Project
o Valerie Naranjo (MM 1982), Saturday Night Live band, Lion King on
Broadway
o Paul Smadbeck (BM 1978, MM 1982) Massey Knakal Realty Services
(NYC)
o Michael Baker (BM 1983), Charms Music Office Assistant, President
o Dave Hall (BM 1984), Percussionist, Grand Rapids Symphony
o Samuel Lunt (BM 1984), Founder/Director, Santa Fe Marimba Festival
15. 11
o Brian McKenna (BM 1987), McKenna Group Productions, LLC
o Chip Bubeck (BM 1987), Library of Congress
o Vince Pitzuolo (BM 1992), United States Air Force Band of the Golden
West
o Brian Czach, (BM 1998), Las Vegas drummer for "Pin Up", Manheim
Steamroller, etc
o Tom Collins (BM 1999), Composer, vibraphonist, drummer, educator
§ MMus Manhattan School of Music
§ Lives in Munich, Germany
o Naoko Takada (MM 2001), Young Concert Artists, 2006 S&R Foundation
Award, Outstanding Young Artist
o Heather Thorn/Wosar (BM 2003), freelance musician, Orlando, FL
o Tom Kline (BM 2003), Director of Admissions, School of Music, Ithaca
College
o Ian Craft (BM 2004), Howling Brothers bluegrass band, Nashville
o Taryn Lott (BM 2005), Senior Publicity Director, Boston Symphony
Orchestra
o Jennie Herreid (BM 2006), Metropolitan Museum of Art
o Larissa Venzie (BM 2004, MM 2007), marimbist
o Cayenna Ponchione (MM 2003 – conducting; MM 2004 - percussion)
§ Trustee, Zeltsman Marimba Festival since 2004, Secretary since
2010.
§ Co-producer of Intermediate Masterworks for Marimba, of ZMF
New Music
§ Winner, Percussive Arts Society Composition contest 2004
§ Commissions from Gilmar Goulart, Pedro Carneiro and Julie Hill
o Shay Godwin (BM), freelance musician, Los Angeles, edrumsessions.com
16. 12
Ithaca
College
Percussion
Ensemble
Premieres
Title Composer Debut
Concert for Percussion *Andrix, George 1965
Five Perspectives for Percussion *Andrix, George 1963
Trio Suite *Brown, James 1963
Overture in Texture Campfield, Donald 1980
Concerto for Percussion Chenail, AJ 1997
Tun Tun de Pasa y Grifiera de la Torre, Javier J. 1986
Vejigantes, for horn and percussion de la Torre, Javier J. 1988
Alegoria (1989) de la Torre, Javier J. 1990
Perfusion, Number 1 (1992) Dingley, Michael 1993
Concerto for Percussion Dingley, Michael 1994
°Six Slick Stix Click Licks *Goldstaub, Paul 1991
°Leksaker Hasenpflug, Thom 1989
Bitsch Hasenpflug, Thom 1991
°Bicksa Hasenpflug, Thom 1991
The Foundry, for steel band Hasenpflug, Thom 1992
Flat Iron Wolf, for steel band Hasenpflug, Thom 1993
Tower Music (1974) Husa, Karel 2013
Cycles of Fifths in Lines of Self-Similarity (2012) Kornicki, Steve 2013
Symphony for Percussion Kupferman, Meyer 1997
Zonk (1994) LaFleur, Brian 1995
Four Prints Posed Before a Plastic Prism *Lewis, Malcolm 1974
Triphammer Bridge (1988) Macaulay, Janice 1989
Chronomosaic (1993) McIntire, David 1994
Room for Four (2011) Nazziola, Tom 2012
(Five)5 Ostwald, Steve 1991
Skank, for steel band Ostwald, Steve 1991
Refrigerate After Opening (1994) Overman, Michael 1995
Bluebird Samba (1993) Rounds, Theodore 1994
Rhythm Song No. 2 *Smadbeck, Paul 1993
Glacier, Stone, Lake Spangler, Erik 2005
Pastoral and Dance of the Reindeer People Steve, Tony 1990
Outgoing (2011) Stout, Gordon 2012
Echoing Tides for Tape and Marimba Tamul, Jack 1990
Kairos (1985) Wegge, Glen 1986
Sinister Footwear Zappa, Frank; arr. Brian Hibbard 1998
° = published by Keyboard Percussion Publications
* = not IC student
17. 13
Ithaca
College
Percussion
Studio
Guest
Artists
Marimba
Adam Blackstock, 2010,
2011
Blake Tyson, 1995
Bob Becker, 1978, 1993
Dana Kimble, 2000
David Hall, 1990
David Samuels, 1983
Doug Walters, 1986
Gifford Howarth, 1998,
2012
Gordon Stout, 1977
J. B. Smith, 1997
Janis Potter, 2009
Julie Spencer, 2008
Katarzyna Mycka, 1999
Keiko Abe, 1981
Kevin Bobo, 2001, 2004
Leigh Howard Stevens,
1976, 1985, 1993, 2005
Linda Maxey, 2003
Michael Burritt, 1994
Michael Waldrop, 2005
Nancy Zeltsman, 1991
Nathaniel Bartlett, 2012
Ney Rosauro, 2000
Robert Van Sice, 1997
Robert Zolnowski, 2013
Ruud Weiner, 2006
Thomas Burritt, 1995
Valerie Naranjo, 1998, 2013
William Moersch, 1988
Drum Set/Latin
Anthony Miranda, 1999
Bobby Sinabira, 2000
Chico Hamilton, 2008
Dan D’Imperio, 1992, 1993
David Gluck, 1996, 2003,
2011
David Mancini, 1986
J. B. Smith, 1997
Jim Walker, 1991, 1994
Joe Hunt
John Riley, 1997
Keith Copland
Michael Waldrop, 2005
Ney Rosauro, 2000
Rick Consadine
Ron Riddle, 1994, 1995
Sherrie Maricle, 2009
Steve Houghton, 1996
Jimmie Finnie - Velvet
Brown and Mojatuba (2012)
Timpani
David Woodhull
Frederic Macarez, 2013
Jesse Kreigel
John Beck, 1981
Paul Yanchich
Vibraphone
David Johnson, 1997
David Samuels, 1983
Doug Walters, 1986
John Piper, 1998
Mike Freeman, 1994
Ruud Weiner, 2006
General Percussion
Bob Becker Ensemble,
2011, 2012
Coast Guard Band, 2006
Cornell University
Percussion Ensemble, 2005
David Cossin (Bang on a
Can All-Stars), 2000
Eighth Blackbird, 2011
ESCLATS, 2007
Eugene Koshinski & Mike
Correa, percussion duo,
2009
J.C. Combs, 1980
Jim Royle Percussion
Studio Ensemble, 2005
Loop2.4.3, percussion duo,
2009
Michael Waldrop, 2005
NJ Youth Symphony
Percussion Ensemble, 2011
Roberts Wesleyan College
Percussion Ensemble, 1997
The Oberlin Percussion
Group, 1976
Sam Denov, 1996
Sao Paulo State University
Percussion Ensemble, 2010
Strike - Jeff Meyer, Paul
Vaillancourt, 2009
Talujon Percussion Quartet,
2000
USAF Band of Liberty
Concert Band, 2008
USAF Brass Quintet -
Michael Correa, 2009
West Point Band, 2006
William Elliott, 1996
Steel Drums
Andy Narell, 1989
Cliff Alexis, 1991
Liam Teague, 2004, 2012
Michael Overman, 2011
Pan Ramajay, 1995
Pangaia, 1997
Marching Percussion
Cortland H.S. Marching
Percussion Section, 1991
West Point Band, 2006
Willie Calohan, 2012
World Percussion
Barry Olsen, 1998, 2013
Bob Becker, 1993
Bobby Sanabria, 2000
Gaudencio Tiago de Mello,
2004
Kathy Armstrong, 1997
Nexus, 1998
Valerie Naranjo, 1998, 2013
Women of the Calabash,
2000
18. 14
Ithaca
College
Percussion
Photos
(Stout)
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Ithaca College Percussion Ensemble, filmed by WICB-TV (L-R: John Alling (not
shown), Robin Engelman, Albert Hendrick, Warren Benson, Joe Mane, Eugene
Attleson, Bob Sterling, Glen Brown, and Henry Ketterer) 1958, Cooperstown, NY
24. 20
Bibliography
Alexander, Conrad. Conrad Alexander. 12 July 2013
<http://www.conradalexander.com/bios.html>.
Cahn, William L. Rochester's Classic Percussion - Part 3. 7 July 2012. 5 July 2013
<http://nexuspercussion.com/2012/07/rochesters-classic-percussion-part-3/>.
Engelman, Robin. 23 July 2013.
—. About. 5 July 2013 <http://robinengelman.com/about/>.
Evans, Greg. About Greg. 15 September 2013 <http://faculty.ithaca.edu/gevans/about/>.
Fairchild, Frederick D. PAS Hall of Fame, Paul Price. 1975. 11 June 2013
<http://www.pas.org/experience/halloffame/PricePaul.aspx>.
Hampton Consulting & Film. Short biography. 2011. 9 June 2013
<http://www.warrenbenson.com/biography/short-biography/>.
Innovative Percussion. Robert Bridge. 2013. 2013 12 July
<http://www.innovativepercussion.com/artists/robert_bridge>.
Percussion Music Online. Soundings - Timpani. 2006-2013. 19 June 2013
<http://www.percussionmusiconline.com/407.shtml>.
Rockwell, Gary. Teaching Studio of Gary Rockwell. 2007. 10 June 2013
<http://www.percussionworld.biz/Studio.html>.
Rounds, Ted. Biography. 2007. 12 July 2013 <http://tedrounds.com/bio.html>.
Stout, Gordon. 17 July 2013.
—. 17 July 2013.
—. Bio. 2012. 9 June 2013 <http://www.gordonstout.net/bio.html>.
Vogel Weiss, Lauren. "Bill Youhass, 30 years with Fall Creek Marimbas and still going
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Wagner, Alan D. A Bio-Bibliography of Composer Warren Benson. Lewiston: The
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