Browsing by Subject "Percussion"
Now showing 1 - 6 of 6
Results Per Page
Sort Options
Item Concerto for percussion and wind ensemble(2013-12) Ozley, Christopher; Pinkston, RussellThis thesis is a musical composition featuring solo percussion with wind ensemble. It is in three movements with a cadenza linking the second and third movements. The performance time of this work is approximately 12’ 30”. The work will receive its world premiere in the spring of 2014 by Adam Groh and the Graceland University Symphonic Band.Item Just lucky(2011-05) Mino, Diana; Pinkston, Russell; Welcher, DanielJust lucky is a chamber work for three singers, three percussionists and saxophone quartet. It is a setting of a poem of the same name by David Bush.Item Long distance : for solo percussion, wind ensemble, and electronics(2014-05) Snowden, Steven, 1981-; Pinkston, RussellLong Distance is a work for solo percussion (marimba and vibraphone), wind ensemble, and electronics consisting of four movements and lasting approximately twenty minutes. Each movement is designed to be able to stand on its own and, when multiple movements are performed, their order is flexible. A version of this piece with no wind ensemble also exists and was commissioned by a consortium of 33 percussionists. From its inception, this solo version was composed with the possibility of expansion to a larger instrumentation in mind. In this paper, I will discuss and analyze many of the factors and influences involved in my composition process for this piece. This will include performance techniques, extracting and utilizing musical material from field recordings, audio processing techniques, orchestration, drawing musical inspiration from non-musical sources, and stylistic juxtaposition. In addition, I will provide some background on how this commission came about and how composition as a collaborative process shaped this piece especially in the context of working with such a large and diverse consortium.Item Música dramática(2010-05) Wilson, Zackery Joseph; Sharlat, Yevgeniy; Pinkston, RussellIn my years as a composer, I’ve had a great fascination with the concept of juxtaposition and superimposition of various moods and styles of music. Although I’d written many pieces before thesis, I had yet to examine the results of this polarization in music. Thus, the purpose of this present composition was to explore contrasting musical elements while combining them in a coherent, competent manner. To begin, I chose two differing instrumentations of which to amalgamate: strings and percussion. música dramática exploits the different timbres and colors of the instruments and presents them by a uniform method. Musical elements of the piece such as style, mood, harmony, melody, rhythm, tempo, register, and dynamics all work together in order to conform to a single composition no matter how jarring the differences may be. Altogether, the various elements of this single movement work for string orchestra and percussion were fused to create a well-balanced, well-proportioned piece of music. The results were spectacular: regardless of the extreme differences in the many factors of music, one coherent composition was formed. In música dramática, this single idea is brought to fruition.Item Rasgueado for flute, clarinet in Bb, violin, cello, percussion and piano(2011-12) Barkoskie, Alvez Theodore; Sharlat, Yevgeniy; Welcher, Dan"Rasgueado” is an expansion of a chorale from an earlier work I composed for brass quintet. It is based on a seven measure progression that appears in many several different variations throughout the work. Traditionally, this form is known as a passacaglia, which has origins in Spain and Italy. In Spain, the pasacalle, is a rasgueado, or strummed interlude between dances or the verses of a song. I choose to name this piece “Rasgueado” since parts of the piece are loosely based on the idea of the passacaglia and since the piece opens and closes with the strumming of the cello.Item The speaking world, tarab and iPod alchemy : The Sensuous Terrain, for mixed chamber ensemble and percussion(2010-05) Stamps, Jack W.; Sharlat, Yevgeniy; Antokoletz, Elliott; Pinkston, Russell; Grantham, Donald; Perzynski, BogdanThe Sensuous Terrain, a work for violin, clarinet, piano, cello and two percussionists is a 28-30 minute commission for the SOLI Chamber Ensemble of San Antonio. The goal of the work is a hybrid, or reconciliation, of Sufi devotional music and Western, jazz-inspired impulses and continues my interests in weaving pop idioms through a post-modernist canvas. It is also reflective of my ongoing research and exploration of the application of extended graphic design to score mechanics and construction. The work is inspired by the melodic structures, phrasing and voice-exchange concepts found in the music of the late Pakistani composer and singer, Nusrat Fateh Ali Khan. The preliminary plans for the piece included the piano prepared to mimic the sounds of traditional Middle Eastern percussion instruments such as the dumbek, a tabla-like instrument. This idea quickly evolved into the incorporation of two percussionists whose parts consist of nearly all Middle Eastern instruments or their closest Western equivalents. These percussion parts, which are notated in a purely Western style and evoke many traditional Middle Eastern rhythmic modes, are symbolic of the aforementioned “reconciliation” of the Eastern and Western styles found in the piece.