No description available.

No description available.

Three Movements for Thirteen Instruments is a musical composition for large chamber ensemble, scored for flute, oboe, clarinet, bassoon, trumpet in C, horn in F, two percussion, two violins, viola, violoncello, and double bass. The composition is slightly over 15 minutes in duration and consists of three movements of contrasting character and thematic content that reflect the musical elements that most interest me at the moment: rhythm, counterpoint, melody, and tonality. The first movement is a developmental, syncopated fast movement. The second movement is slow and lyrical. The third movement is an incessant march that draws the work to a spirited conclusion. Three Movements for Thirteen Instruments was written for the University of Iowa Center for New Music Ensemble, and the ensemble has read it in order to secure ideas for orchestration.

from the signal is a piece for two simultaneously existing trios, where Trio 1 is comprised of clarinet, trumpet and percussion, and Trio 2 of violin, viola and violoncello. I use open form, indeterminacy, and non standard methods of notation to neutralize narrative form, creating instead a static world where sounds interact without implying purpose or direction. The ideas of identity and concealment are central to from the signal, as each trio embodies a set of timbral characteristics that are respectively unique but exposed in different ways. Trio 1’s direct, strident material is an orchestrated amplification/extension of the slow progression of an EBow down the string of an acoustic guitar (played by the percussionist), while Trio 2’s softer sounds explore notions of space and closeness as they relate to pitch. The title refers to the roles of the percussionist and violinist, as they are responsible for leading and pacing their respective trios throughout the piece. This piece may raise questions about power dynamics, relationships and balance, but is in no way an attempt to make a conclusion about these things. My intent is rather to create a musical situation where listeners are invited to consider the ramifications of such juxtaposition for themselves (drawing their own conclusions, or not). from the signal was written for the Chicago Civic Orchestra Composers Project, and will be premiered on May 28th, 2017.

Thomas Lee Dvorak (b. 1941) uniquely blended his experience as a music educator with his long career as a collegiate conductor. In his ten-year career as a public school instrumental music educator, Dvorak taught bands at the elementary, middle school or junior high, and high school levels. During this time, he encountered beginning instrumental music instructional methods that allowed his beginning band students to advance at a rapid pace. Dvorak parlayed his school band teaching experience with his growing reputation in band music education into an appointment to the music education faculty at the University of Michigan. At Michigan, Dvorak combined his experience and duties in music education with a conducting position when he was assigned to conduct the University of Michigan Youth Band/Wind Ensemble in 1975. After being named its Director of Bands in 1979, Dvorak created a similar symbiotic role for himself at the University of Wisconsin--Milwaukee (UWM) when he founded the Greater Milwaukee Youth Wind Ensemble in 1982. Throughout his twenty-seven year tenure as Director of Bands at UWM, Dvorak also combined education and conducting through the mentorship of graduate conducting students, his sponsorship of new and original music for young/developing bands, and his outreach work with Milwaukee-area school band programs. Dvorak also enjoyed a reputation as an insightful interpreter of wind band music, a leader of national professional organizations, authority on wind band repertoire, and as a frequently invited guest conductor of school, collegiate, and professional ensembles Thomas Dvorak retired from UWM in May 2007 and was named Professor Emeritus of Music.

No description available.

Stylistic elements in the Masses of Loyset Compère parallel contemporary aesthetic values seen in the visual arts. Compère's Missa L'homme armé, Missa Allez regrets, Credo Mon Père, and Motetti missales are examined.

Source: Dissertation Abstracts International, Volume: 39-06, Section: A, page: 3211. / Thesis (Ph.D.)--The Florida State University, 1978.

Source: Dissertation Abstracts International, Volume: 39-11, Section: A, page: 6390. / Thesis (Ph.D.)--The Florida State University, 1978.

Source: Dissertation Abstracts International, Volume: 35-09, Section: A, page: 6183. / Thesis (D.Mus.)--The Florida State University, 1974.