Wind Ensemble Research Articles

Ensemble hindcasting of winds and waves for the coastal and oceanic region of Southern Brazil

When hindcasting wave fields of storm events with wave models, the quality of the results strongly depends on several factors such as the computational grid resolution and the accuracy of the atmospheric forcing. In an effort to minimize the uncertainties involved in this process, three ocean wave and surface wind ensemble hindcast systems were established using the Simulating WAves Nearshore (SWAN) model and Weather Research and Forecasting Model (WRF) with atmospheric data from ERA5 Ensemble of Data Assimilation (EDA) as well as deterministic high-resolution systems. We established three ensemble systems to tackle this: SWN-ERA5EDA using ERA5-EDA global reanalyses winds, SWN-WRFERA5 employing WRF downscaling of ERA5-EDA, and SWN-WRFPPar incorporating WRF multi-physics runs for dynamical downscaling. This study focuses on extreme events in southern Brazil during an austral winter, highlighting the importance of increasing the resolution of ocean wave and surface wind data to provide more accurate and reliable forecasts for coastal and marine activities. Our analyses revealed that atmospheric downscaling performed with WRF not only increased the ensemble spread by significant amounts but also enhanced the sharpness of the wave ensemble hindcast compared with those based solely on the ERA5 EDA. Specifically, for the Rio Grande buoy location, the significant wave height (Hs) from the SWN-WRFERA5 system showed an increase of 0.5 over SWN-ERA5, and Hs from the SWN-WRFPPar system increased by 0.6. Additionally, the wave peak period (Tp) for both SWN-WRFERA5 and SWN-WRFPPar systems experienced an increase of 1.2 compared to SWN-ERA5. Additionally, the ensemble produced with the WRF multi-physics approach captured peaks in the significant wave height registered by the buoy that were not reproduced by other ensemble systems, demonstrating an improvement in predictive accuracy, despite presenting a smaller correlation between spread and strong localized wave variations. Besides quantifying the hindcast error, the methodology presented in this work also offers a way to generate alternative and improved representations of past extreme events. This approach significantly contributes to our ability to sample recent climatic conditions and expand the dataset for statistical analyses, which is especially valuable for ocean and coastal engineering projects. This study underscores the critical role of enhancing computational and methodological approaches in wave modeling for better understanding and mitigating the impacts of extreme weather events on coastal and oceanic regions.

Body percussion in the band repertoire

When analyzing the band music repertoire, which includes works composed for wind ensemble as well as arrangements from orchestral compositions, an increase in the incorporation of body percussion as a compositional resource has been observed. This article focuses on the work La corrida de toros by Mario Bürki. The Swiss composer, in his descriptive symphonic poem, is dedicated to presenting the different parts of a Spanish bullfight, also called tercios if we stick to bullfighting terminology. Starting with the paseillo that leads the bullfighters into the arena, up to the tercio de muerte (third of death) in the final part. The composition includes sounds and rhythms combined with the percussion of different parts of the body. This paper presents a complete musicological analysis that contemplates structural, organological, harmonic and rhythmic parameters. Special attention is given to the aspects related to the musical function that body percussion plays in this composition.

‘Besolte Instrumentisten der Königlichen Stadt Breslaw’: The Hess Brothers’ Anthology (1555) and Its European Context*

Abstract The paper focuses on a comprehensive dance collection compiled by two Wrocław/Breslau town musicians (Stadtpfeifer), the brothers Bartholomäus and Paul Hess. The anthology, partly preserved at Wrocław University Library, was published in 1555 at the Wrocław printing house of Crispin Scharffenberg and documents the transition of dance repertoire from the courtly realm to the private and public spheres, which was typical of the mid-sixteenth century. The Wrocław collection, scored for wind ensemble, contains 477 four- and five-part dances of German, Polish, French, and Italian provenance. The paper offers some new views on the repertoire from the collection. Particular attention has been given to the so-called Polish dances.

Estimating the benefit of Doppler wind lidars for short‐term low‐level wind ensemble forecasts

AbstractThis work focuses on the potential of a network of Doppler lidars for the improvement of short‐term forecasts of low‐level wind. For the impact assessment, we developed a new methodology that is based on ensemble sensitivity analysis (ESA). In contrast to preceding network design studies using ESA, we calculate the explicit sensitivity including the inverse of the background covariance matrix to account directly for the localization scale of the assimilation system. The new method is applied to a pre‐existing convective‐scale 1,000‐member ensemble simulation to mitigate effects of spurious correlations. We evaluate relative changes in the variance of a forecast metric, that is, the low‐level wind components averaged over the Rhein–Ruhr metropolitan area in Germany. This setup allows us to compare the relative variance change associated with the assimilation of hypothetical observations from a Doppler wind lidar with respect to the assimilation of surface‐wind observations only. Furthermore, we assess sensitivities of derived variance changes to a number of settings, namely observation errors, localization length scale, regularization factor, number of instruments in the network, and their location, as well as data availability of the lidar measurements. Our results demonstrate that a network of 20–30 Doppler lidars leads to a considerable variance reduction of the forecast metric chosen. On average, an additional network of 25 Doppler lidars can reduce the 1–3 hr forecast error by a factor of 1.6–3.3 with respect to 10‐m wind observations only. The results provide the basis for designing an operational network of Doppler lidars for the improvement of short‐term low‐level wind forecasts that could be especially valuable for the renewable energy sector.

Impact of studying practical instrumental music on the psychological well-being of disadvantaged university students

AbstractThe impact of practical instrumental music instruction on students’ psychological and sociological well-being is well documented in research literature. The extent to which these findings hold true for disadvantaged populations is unknown. Previous studies focused on young students with little to no research on disadvantaged young adults at university level. This study investigated the impact of group practical instrumental music instruction on the psychological well-being of disadvantaged university students. It particularly investigated changes in students’ optimism, self-esteem and happiness after participation in a wind ensemble. The study further looked at possible relationships between optimism, self-esteem, happiness and participation in an instrumental music ensemble. Results revealed increases in participant’s optimism, self-esteem and happiness and moderate to strong positive correlations between variables.

Music for Bass Trombone: A Reference Book of Works for Solo Bass Trombone with Orchestra, Band & Chamber Ensemble by Clinton F. Nieweg, and: Modern Times for Brass: Experimentelle Spieltechniken auf Blechblasinstrumenten = Experimental Playing Techniques for Brass Instruments by Malte Burba and Paul Hübner

Reviewed by: Music for Bass Trombone: A Reference Book of Works for Solo Bass Trombone with Orchestra, Band & Chamber Ensemble by Clinton F. Nieweg, and: Modern Times for Brass: Experimentelle Spieltechniken auf Blechblasinstrumenten = Experimental Playing Techniques for Brass Instruments by Malte Burba and Paul Hübner Peter G. Fielding Music for Bass Trombone: A Reference Book of Works for Solo Bass Trombone with Orchestra, Band & Chamber Ensemble. 3rd ed. By Clinton F. Nieweg. Vancouver, BC: Cherry Classics Music, 2018. [292 p. ISBN 9790530057865 (paperback and e-book), $52.50.] Bibliography, list of publishers and sources, select indexes by accompanying ensemble. Modern Times for Brass: Experimentelle Spieltechniken auf Blechblasinstrumenten = Experimental Playing Techniques for Brass Instruments. By Malte Burba and Paul Hübner. Translation by Daniel Costello. Wiesbaden: Breitkopf & Härtel, 2019. [154 p. ISBN 9783765104459 (paperback), $72.] German and English. Illustrations, diagrams, indexes of music examples. Clinton Nieweg's Music for Bass Trombone provides a revised and enlarged update to the recent second edition of 2017 and serves as a significant expansion of the original sixty-three pages of Music for Bass Trombone with Orchestra: A Handbook (Denton, TX: Kagarice Brass Editions, 2010). This work is constructed as two autonomous compendiums of repertory information for solo bass trombone and accompanying ensemble. Part 1 surveys solo bass trombone repertory with orchestra (or string ensemble), and part 2 provides a similar listing of solos with varied band ensembles (concert band, wind ensemble, brass band, jazz ensemble, big band). Each part is augmented with lists of compositions for three or more trombones. Each part contains introductory materials, including a preface, accompanying instruments, pricing, grade level, and acknowledgements. The work contains over seven hundred entries for compositions, including information concerning composer/ arranger, instrumentation, duration, movements, first performance, range, grade level, sources, publisher, copyright date, available recordings, You-Tube links, and information about alternate editions and alternate accompanying ensembles. The extensive internal cross-referencing of solos with both orchestral and band accompaniment is valuable. The entries make frequent reference to Vern Kagarice's Annotated Guide to Trombone Solos with Band and Orchestra (Lebanon, IN: Studio Publications Recordings, 1974), Thomas G. Everett's Annotated Guide to Bass Trombone Literature (Nashville, TN: Brass Press, 1985), and Erik Thomas Shinn's "Annotated Bibliography of Works for Solo Bass Trombone and Wind Band," D.M. treatise, Florida State University, 2015 (http://purl.flvc.org/fsu/fd/FSU_migr_etd-9453, accessed 3 January 2022), a resource to which Shinn provides updates through a website listing wind band solo repertory at http://www.erikshinn.com/bassboneband (accessed 3 January 2022). Music for Bass Trombone is a valuable resource for institutions possessing a sizable bass trombone studio and needing to support bass trombone performance, literature, and research projects, as well as orchestral and band ensembles and organizations that regularly schedule solo bass trombone works in their artistic seasons. Given the number of hyperlinks and URLs Nieweg provides, I recommend the e-book format for ease of access to these web-based resources. Malte Burba and Paul Hübner's Modern Times for Brass is a bilingual English-and German-language treatise with companion compact disc that surveys extended brass performance techniques and their notation to help convey the nuances of pitch and timbre that these approaches can produce. The foreword, by Romanian-born German composer and music educator Adriana Hölszky, affirms relevance of the volume to contemporary solo brass repertory, reflecting explorations at Darmstadt and the Institute for Research and Coordination in Acoustics/ Music to transcend conventional notation and sound possibilities. Over seventy music compositions spanning [End Page 569] fifty-one composers are referenced, with a large number of twenty-first-century examples. While somewhat trumpetcentric, reflecting the authors' expertise, this work provides a comprehensive chronicle of extended performance techniques spanning a range of traditional brass instruments, as well as historical (ophicleide, Wagner tuba) and less common brass-affiliated aerophones (alphorn, didgeridoo, hose tubing). The book is divided into chapters, with a detailed table of contents and subheadings in lieu of an index. Fundamental aspects of sound production are paired with acoustical explanations to present and explain a range of extended and nonstandard alternative sound production techniques. To provide an example of breadth...

Modifying a recital hall to extend its range of use: A case study

Rosen Concert Hall, in the Broyhill Music Center at the Appalachian State University Hayes School of Music, is a beloved 400-seat recital hall designed in the 1980s by architect Dennis Yates and acoustician Rein Pirn (Acentech/BBN) and was featured in the 1990 ASA publication “Acoustical Design of Music Education Facilities.” The hall was designed for pipe organ, vocal chorus, and smaller classical instrumental ensembles, with significant variable absorption in the form of curtains. Since then, the school’s program has broadened, and the hall is now used also for jazz band, large wind ensemble, and some amplified forms. A 2017 study included acoustical measurements in the hall, listening sessions with eight different ensembles in the hall, and discussions with faculty and staff. These resulted in detailed recommendations for acoustical improvements and new audiovisual equipment. The school has completed two recommended acoustical improvements, with positive results: hinged absorptive wall panels surrounding the platform, and extended reflective canopy. Users report improved on-platform clarity for louder ensembles, and better self-hearing and presence of sound for downstage performance locations.

Elements of Programme Music in the Instrumental Works of the Late Period by Oleg Meremkulov (the Case of the Symphony Concerto for Cello, Piano and Orchestra)

This article reveals some aspects of the creative identity and later works of the greatest Krasnoyarsk composer O. Meremkulov. To understand the artistic aspirations and originality of O. Meremkulov’s works, his Symphony Concerto for Cello, Piano, String Orchestra, Percussion and Wind Ensemble (2015) is an illustrative piece of art. The concerto genre was conceived by the composer as a composition showing the essential problems of human existence, preserving the modus of a personal statement «in the first person». This has led to the introduction of epigraphs and programme titles of parts that not only tune the listener in a certain way, but are elements of concept and means of realising the author’s intentions. The musical analysis regarding the main intonational characteristics of all parts of the concerto, their relations, aspects and orientation of the development of musical thematism are correlated with possible interpretations of titles and epigraphs. This made it possible to come to the conclusion about the original programme music of the concerto. It is revealed by a combination of means functioning at various levels, addressing the sensations of different modalities, individual experience, cultural memory, as well as activating associative thinking and figurative representations. Not only part titles and epigraphs work in this respect, but also the author’s remarks introduced into the musical score and audio records with natural sounds during the performance. Programme music is also recognised in the process of thematic transformations that reflect the orientation of the Hero’s emotional experiences clarifying the essence of a certain image or reproducing a chain of events related to a certain plot. It has been suggested that this plot bizarrely refracts in the composer’s mind the real events experienced by him during different periods of life, sprouted into the subjective perception and understanding of artistic images of world culture. In his dialogue with the authors of past centuries, the composer reached a new level of generalisation, thereby capturing his ideas and feelings in an intonational form. This has led to the originality and unique harmony of the Symphony Concerto

Not Yet “Bridging the Gender Gap”: Women’s Experiences in Composing for the Twenty-First-Century Wind Ensemble

Not Yet “Bridging the Gender Gap”: Women’s Experiences in Composing for the Twenty-First-Century Wind Ensemble

Music Received

Music Received Compiled By Kathleen A. Abromeit A key to abbreviated imprints is found at the end of this column. For information about the content and arrangement of this list, consult the introduction to the column in the September issue (p. 148 of this volume). Due to shipping and mailing delays during the COVID-19 pandemic, this column was compiled by using the Theodore Front website. Structural racism continues to disproportionately segregate composers of color and women from access to performance opportunities. We at Notes realize that music libraries play a crucial role in elevating these composers and the public discourse around race and racism. As such, the editor of the Music Received column has curated this column based on recently published works by BIPOC composers (Black, Indigenous and People of Color) and women. Special thanks to Jake Balmuth and Julia Klein for their assistance with this column. ASIAN AMERICAN COMPOSERS Chen, Yi. Happy Tune: For Violin and Viola. Presser, 2020. ISBN 9781491132333. Score, 7 p. and 2 parts. $14.99. Chen, Yi. Shuo Chang: For Guitar, 2014. Revised edition. Presser, 2020. ISBN 9781491132944. Score, 7 p. $9.99. Chen, Yi. Totem Poles: For Organ. Presser, 2020. ISBN:9781491132326. Score, 8 p. $11.99. Fung, Vivian. Clarinet Quintet - Frenetic Memories: For Clarinet in B Flat and String Quartet (2017). Bill Holab Music, 2020. Score, 42 p. and 5 parts. $90. Fung, Vivian. Prayer: For Full Orchestra. Bill Holab Music, 2020. Study score, 20 p. Spiral. $40. Fung, Vivian. String Quartet No. 4: Insects and Machines. Bill Holab Music, 2019. Score, 45 p. and 4 parts. $80. Lee, Thomas Oboe. Christmas Cantata (2001). Departed Feathers Music, 2020. Score, 68 p. and parts. Download. $52.15. Lee, Thomas Oboe. Christmas Cantata (2001). Departed Feathers Music, 2020. Score, 68 p. and 6 parts. $74.50. Lee, Thomas Oboe. Octet: For Strings. Departed Feathers Music, 2020. Score, 132 p. and parts. Download. $76.65. Lee, Thomas Oboe. Octet: For Strings. Departed Feathers Music, 2020. Score, 132 p. and 8 parts. $109.50. Lee, Thomas Oboe. Préludes - Hommage à C. D.: For Piano. Departed Feathers Music, 2020. Score, 42 p. $27. Tanaka, Karen. Wind Whisperer: For Flute, Viola and Harp. Schott, 2019. Score, 12 p. and 3 parts. $47. BLACK COMPOSERS Adams, Leslie. L'Amour Éternel: For Flute and Piano (2012). American Composers Alliance, 2014. Score, 60 p. and 1 part. $39.95. Adams, Leslie. Danza Di Tre Bambole: For Piccolo, Flute and Piano (2017). American Composers Alliance, 2020. Score, 11 p. and 2 parts. $14.75. Adams, Leslie. String Quartet in D Flat (2003). American Composers Alliance, 2015. Score, 27 p. and 4 parts. $39.95. Anderson, Thomas J. Aurelia, In Memoriam: For Solo Violin. American Composers Alliance, 2020. Score, 1 p. $6.75. Day, Kevin. Dancing Fire: For Wind Ensemble (2016). Murphy Music Press, 2020. Full score, 17 p. Spiral. $25. [End Page 477] Day, Kevin. Galactic Voyage: For Concert Band (2018). Murphy Music Press, 2020. Full score, 25 p. Spiral. $30. Day, Kevin. Havana: For Wind Ensemble (2018). Murphy Music Press, 2020. Full score, 30 p. Spiral. $40. Day, Kevin. Ignition: For Low Brass Quartet. Murphy Music Press, 2020. Score, 11 p. and 5 parts. Spiral. $25. Day, Kevin. J.R.: For Expanded Wind Ensemble (2017). Murphy Music Press, 2020. Full Score, 19 p. Spiral. $50. Day, Kevin. Lightspeed: Fanfare for Orchestra. Murphy Music Press, 2019. Full Score, 18 p. Spiral. $25. Day, Kevin. Manhattan Nights: For Symphony Orchestra (2017). Murphy Music Press, 2018. Full Score, 34 p. Spiral. $45. Day, Kevin. Pyrotechnics: Concerto for Trumpet and Wind Ensemble. Murphy Music Press, 2020. Full Score, 27 p. Spiral. $80. Day, Kevin. Rocketship!: For Concert Band (2017). Murphy Music Press, 2020. Full Score, 16 p. Spiral. $25. Day, Kevin. A Song for Tomorrow: For Concert Band. Murphy Music Press, 2019. Full Score, 16 p. Spiral. $25. French, Alexis. The Sheet Music Collection: For Solo Piano. Leonard, 2020. ISBN 9781540091741. HL 00345258. Score, 143 p. $19.99. Marsalis, Wynton. A Fiddler's Tale: For Clarinet, Bassoon, Cornet, Trombone, Percussion, Violin & Bass (1998). Wynton Marsalis, 2020. 29110050. Study score, 152 p. $100. Moore, Dorothy Rudd. Baroque Suite: For Solo Cello (1965). American Composers Alliance, Second...

Hi-Fi, Middle Brow? Frederick Fennell, Mercury Records, and the Eastman Wind Ensemble From 1952 to 1962

Frederick Fennell, founder of the internationally acclaimed Eastman Wind Ensemble (EWE), is considered by many to be the catalyst for the modern wind-band movement, often credited with revolutionizing thought and practice within the discipline. While this perception remains valid, evidence suggests that Fennell was much less serious (or “high-brow”) than many believe. Derived from original research in the Fennell Archive at the Eastman School of Music, this article seeks to highlight tensions between Fennell’s desire to record serious wind-band music and the demands of Mercury Records (EWE record label, 1952–1964) to record populist repertoire. Fennell’s archival material suggests that his philosophy was directly influenced by Mercury’s bottom line with the objective of selling records to the masses. Surprisingly, this synthesized a dynamic approach to programming for Fennell and the EWE—one that remains a tradition to this day. The influence of recorded media’s populist objective fused an approach for Fennell that is much more “middle-brow” than many may have believed.

Renesaissance wind instruments with a double reed, part 1

The present article is aimed at collecting and arranging information about the Renaissance wind instruments with a double reed, which never before or after that period in the history of music presented as many tone colours. The author pays attention to the great importance of the sound of a wind ensemble as without these instruments – as Lorenz Walker claimed – neither a prince nor any wealthy city would have been able to fully show their significance. The first part of the article in this issue of the magazine presents the shawm, rackett, dulcian and bassanello – the instruments in which the reed was fully outside or partially enclosed by a pirouette – a small wooden part on which a musician could rest their lips and prevent fatigue. The author discusses the history and construction of these instruments, their use, scales, varieties and ways of playing. An addition to the text are the illustrations presenting construction details and circumstances in which these instruments were used. New concepts and ideas of instrument makers from the turn of the 16th century, such as the extended range of the bassanello, the piruet, or the “twist” of the bore of the over 2-metre-long bass shawm and thus creating a shorter instrument yet still remaining in the same register – the dulcian, are still admired by modern restorers of historical instruments. The article is meant both for people playing early music and modern performers interested in the topics connected with historical performance using old wind instruments.

A range of large music rehearsal spaces: 3 case studies

A rehearsal room for a large music ensemble must strike a balance between acoustic support and loudness control. Typically Kirkegaard approaches this by capturing a large volume and treating it with a mix of reflective and absorptive surfaces, plus some movable absorption. The size of the room’s volume, the treatment of the reflective and absorptive surfaces, and the location and extent of the adjustable absorption responds to the types of ensembles and music that the room serves. Three examples: At University of Virginia’s Hunter Smith Band Building, the main user was the 250-person marching band. This new construction used generous height and deep absorption to control loudness, despite extensive glazing. At University of Southern California’s Schoenfeld Symphonic Hall, a former soundstage was adapted into the primary rehearsal room for the Thornton School’s orchestra, wind ensemble, and percussion ensembles, with secondary use as a recording space. The renovation had to compensate for limited acoustic volume and directly adjacent mechanical room while transforming the room architecturally. At Oregon Bach Festival’s purpose-built Berwick Hall the focus was on early music—rehearsal, instruction, and performance. Our response was a moderate volume with little fixed absorption, creating an unusually reverberant rehearsal room with an extraordinarily beautiful sound.

European Female Wind Band Composers and Their Works

Name: Renata Oliveira Main Subject: Wind Band Conducting Research Supervisors: Anna Scott, André Granjo Title of Research: European Female Wind Band Composers and Their Works Research Question: Can shedding new light on women composers’ contributions to the wind band and ensemble repertoire via the creation of a catalogue, the preparation of a critical edition, and the commission of a new work, help to encourage more Portuguese women to compose for this medium? Summary of Results: In Portugal, as far as it is possible to assess, only two established women composers have written works for wind band or large wind ensemble: Berta Alves de Sousa, who composed Porto Heróico in 1943, and Maria de Lourdes Martins, who composed Rapsódia de Natal, Rondó and Suite de Danças Tradicionais Portuguesas in 1978. In a country with an important tradition of wind band musical practice, it seems strange that so few women composers have used this medium to convey their musical ideas. In order to put the production of female composers for this medium in perspective, I researched relevant works from as many European female composers as possible. Ultimately, the hope was to better understand their outputs for wind band, to promote their works, and to make way for a new composition for wind band from a female Portuguese composer. This project has three main outcomes: 1) an online and physical catalogue of virtually all European female composers who have written for wind ensemble, including biographical data, a list of their works, and statistical analyses of their personal data (by age, country, type of ensemble); 2) a critical edition of Berta Alves de Sousa's Porto Heróico manuscript; and 3) my commissioned work for wind band O Soldado da Misarela by Anne Victorino d’Almeida. At the end of this project I can answer yes to the question of whether shedding new light on this field can encourage more female Portuguese composers to write for wind band. Biography: Renata Oliveira is a Portuguese conductor. She began her orchestra conducting studies with Jean-Marc Burfin and later with Jean-Sebastien Béreau. In conducting masterclasses Renata has worked with: Jose Pascual-Vilaplana, Kenneth Kiesler, Jean-Sebastien Béreau, Ernst Schelle, Robert Houlihan, Felix Hauswirth, Jan Cober and Douglas Bostock. She holds a Masters in Psychology and a Masters in Orchestra Conducting. She is conductor of two Portuguese wind bands, and is responsible for their associated music schools. Renata simultaneously studies Wind Band Conducting with Alex Schillings at the Royal Conservatoire of The Hague and a Masters in Music Teaching (Wind Band Conducting specialisation) at the University of Aveiro.

Effects of wind ensemble seating configurations on college instrumentalists’ perceptions of ensemble sound

The purpose of this study was to examine the effects of wind ensemble seating configurations on college instrumentalists’ ratings of ensemble sound. Members of a university wind ensemble ( N = 40) were recorded while performing a 1-minute excerpt of Only Light by Aaron Perrine in one of four ensemble configurations. At the conclusion of the recording session, the performers wrote free-response comments to “In which of the four configurations did you feel the ensemble sounded their best?” and “Why?” Another set of participants, college ensemble members ( N = 121), listened to the four audio recordings and rated the ensemble tone quality, ensemble balance, and ensemble blend of each performance. Performers mentioned that ensemble balance and ensemble blend were important factors that influenced their decision as to why the ensemble sounded their best in a particular configuration. An analysis of the composite ratings revealed a significant main effect for ensemble configuration. However, there was a significant ensemble configuration × order interaction signifying that participants’ ratings were influenced by the order in which they heard the excerpts. Our results may suggest that ensemble configurations produce different listening environments for performers and audience members.

Guide to the Solo Horn Repertoire by Linda Dempf and Richard Seraphinoff

Reviewed by: Guide to the Solo Horn Repertoire by Linda Dempf and Richard Seraphinoff Scott Stone Guide to the Solo Horn Repertoire. By Linda Dempf and Richard Seraphinoff. (Indiana Repertoire Guides.) Bloomington: Indiana University Press, 2016. [xiii, 603 p. ISBN 9780253019295 (hardback), $68; ISBN 9780253019356 (e-book), price varies.] Bibliography, index. This hefty volume, dedicated to the great horn virtuoso and pedagogue Philip Farkas, "is meant to serve as a comprehensive guide to the music for solo horn that is significant and available" (p. ix). Its scope is clearly defined to include only music originally written for the horn, thereby excluding arrangements, no matter how common they might be in the established repertoire (with the exception of piano reductions of select pieces originally written for horn and ensemble). Although several pieces were obtained directly from the composer, the vast majority of the works were either commonly available at American libraries or else commercially available for purchase at the time of this compilation. Because of this, potential users of this book should be able to hunt down the repertoire fairly easily and not be tantalized by potential works they would like to perform but cannot locate. The authors, Linda Dempf and Richard Seraphinoff (both of whom hold advanced degrees in horn performance) created this repertoire guide, [End Page 622] arranged as an extensive annotated bibliography, after consulting other previously existing bibliographies, guides, dissertations, and other types of publications. They divide the book into three main sections: "Music for Unaccompanied Horn," "Music for Horn and Keyboard: Piano, Organ, Harpsichord," and "Music for Horn and Ensemble: Orchestra, String Orchestra, Band, Wind Ensemble, or Other Instrumental Group." The guide also includes multiple indexes to help the reader more effectively access the vast amount of information in the main sections. Of special interest is the index of pieces for horn with large nonorchestral ensembles (i.e. band, wind ensemble, and brass ensemble) and the index of pieces for horn with small instrumental ensemble. Also noteworthy is a list that groups together by nationality the composers included in the guide, which could be a helpful tool for recital or recording projects of a certain bent. Each of the three main sections is comprised of entries that uniformly list the composers' birth years (and if applicable, death years), birth countries (and, if applicable, other countries in which they spent significant portions of their careers), titles of works and their years of composition, publishers and dates of publication of easily available editions, ranges required to play the pieces, and approximate durations. A few composer entries also include a bit of brief biographical information; however, it is unclear why some composers have this additional information and others do not. In a similar manner, biographical notes for composers who are listed in all three sections (e.g., Paul Basler) appear in a single entry (which makes sense to save space and reduce duplication), but this information seems to occur randomly in the volume, rather that with the composer's first mention. This volume is particularly valuable for the descriptive annotations that accompany most of the listings. In a few cases, especially when the authors were not able to examine the scores, these annotations are non-existent or limited to a single sentence. However, most provide a plethora of excellent information on each piece, including compositional history, notice of extended techniques, and the general style. Dempf and Seraphinoff purposefully chose not to create a grading system, but they do indicate the difficulty levels of most pieces and their appropriateness for high school or college students, a feature that could be extremely useful for horn teachers looking to explore different repertoire for their students. However, the lack of a graded index means that readers can only serendipitously discover pieces of particular levels as they peruse the entries in the volume. Because this guide is focuses on solo horn repertoire, the third section, "Music for Horn and Ensemble," only lists a piece "if the composer conceived the work as featuring the horn as a solo voice" (p. 337). Consequently, the vast majority of this section is comprised of works for horn and large ensemble (or their piano reductions), and only thirty-one of...

Study on the improvement plans for Jeju International Wind Ensemble Festival through the survey and evaluation of satisfaction

Study on the improvement plans for Jeju International Wind Ensemble Festival through the survey and evaluation of satisfaction

20세기 삼현육각 [타령]에 관한 고찰 - 서울ㆍ경기지역을 중심으로 -

20세기 삼현육각 [타령]에 관한 고찰 - 서울ㆍ경기지역을 중심으로 -

Whatsoever Things . . . : The Life and Teachings of John P. Paynter by Conceived and ed. by Mark Camphouse (review)

MUSIC EDUCATION Whatsoever Things . . . : The Life and Teachings of John P. Paynter. Conceived and edited by Mark Camphouse, with a foreword by Ray E. Cramer. Chicago: GIA Publications, 2015. [xxviii, 267 p. ISBN 9781622771325. $29.95.] Music examples, illustrations, recommended reading.Simply put, this book is a paean to John P. Paynter and the University Bands. There is no question that John Philip Paynter (1928-1996) was a major figure in the American symphonic band world, and this book explains why.Mark Camphouse, a graduate and composer of Whatsoever Things (dedicated to the memory of John P. Paynter), felt that more than a fifteenminute musical composition was needed to preserve the legacy of his mentor and friend. After discussing the idea with the Paynter family, Camphouse thought that a collection of recollections, stories, and anecdotes by friends and former students would do more to preserve that legacy than a straight biographical study. These recollections comprise a significant part of the book: I wanted this story of JPP to be an eminently readable one that was told by a select group of individuals who knew him well (family, colleagues, former students, and friends) to help inspire and better prepare future generations of musicians, teachers, and, yes, audiences (p. xviii). encouraged the contributors to discuss Paynter's impact on the profession, not just his work at Northwestern.Paynter entered the music program of University as a theory and composition major in 1946. soon became assistant to Glenn Cliffe Bainum, the director of the 150-piece Wildcat Marching Band. After Bainum suffered a significant heart attack in 1950, Paynter became acting director of bands while completing his master's degree in composition; in 1953, he became director. In addition to teaching conducting and music theory, Paynter was responsible for the Marching Band, Concert Band, Wind Ensemble, and miscellaneous ensembles such as the pit orchestra for the Waa-Mu Show, a yearly original, student-composed, musical. In 1956 he became conductor of the Northshore Concert Band, a volunteer adult community organization that soon achieved international renown. With such a full schedule, one wonders how he found time to guest conduct all over America, give clinics and lectures, and serve in administrative positions (most often as president) in major band organizations and the Midwest Clinic (International Band and Orchestra Conference).Following a brief biographical sketch by Marietta Paynter, John's wife of forty-six years, twelve graduates describe their Northwestern Experience, some recollecting events and anecdotes more than fifty years in the past. It is inspirational to read these tributes by Richard Blatti, Mark Camphouse, Chip De Stefano, John DeWitt, Bernard J. Dobroski, Nancy Golden, Scott Golinkin, Charles B. Hawes, David C. McCormick, Mark Peterson, Stephen Peterson, and Mallory Thompson. Dennis Montgomery, a member of the Northshore Concert Band for more than forty years (and a member of the Midwest Clinic board), writes of his experiences in that adult community organization. The contributors express universal admiration of Paynter's passion for music, his constant striving for excellence, his teaching philosophy and techniques, and the friendship that inspired such loyalty. As Golinkin remembers, part of what inspired that loyalty was how Mr. Paynter approached teaching and mentoring. He recognized and complimented a job well done, whether performing or staff work. When he pointed out failings, it was almost always with grace and understanding. …

The Internationalization Process and Factors of Music Festival - The Case of Jeju International Wind Ensemble Festival

The Internationalization Process and Factors of Music Festival - The Case of Jeju International Wind Ensemble Festival