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Schwantner Joseph: more books (27)

Velocities: for Solo Marimba (Instrumental Solo)

Distant Runes and Incantations by Joseph Schwantner, 2010-01-01

Percussion Concerto by Joseph Schwantner, 2010-01-01

New Morning For The World Study Score by Joseph Schwantner -, 2010-01-01

Changing Faces ; New Piano Works by Kamran Ince, Stephen Paulus, Tobias Picker, Christopher Rouse, Joseph Schwantner, Alvin Singleton Robert Beaser, 1987

Magabunda (Study Score) by Joseph Schwantner - Study Score, 2010-01-01

In Evening's Stillness by Joseph Schwantner, 2010-01-01

Toward Light by Joseph Schwantner, 2010-01-01

Looking Back: for Flute and Piano (Woodwind Solo) by Joseph Schwantner, 2009-07-01

Looking Back by Joseph Schwantner, 2010-01-01

Play of Shadows by Joseph Schwantner, 2010-01-01

New Morning for the World: Wind Band Score Only (Schott) by Nikk Pilato, 2009-06-01

A Sudden Rainbow by Joseph Schwantner -, 2010-01-01

From Afar Study Score by Joseph Schwantner, 2010-01-01

lists with details

Classics 7 Program Notes
joseph schwantner (b. 1943) Percussion Concerto Born and raised in Illinois, josephschwantner became exposed to music in grade school, where he played in the
http://www.okcphilharmonic.org/c7_notes.html

Extractions: B orn and raised in Illinois, Joseph Schwantner became exposed to music in grade school, where he played in the band and studied classical guitar, the instrument to which he devoted his earliest efforts as a composer. In his teen years he wrote for his high school jazz band, and by his senior year his efforts were recognized through an award that allowed him to attend the National Stage Band Camp. He enrolled in the Chicago Conservatory College, where he majored in composition, studying with Bernard Dieter. It was there that he discovered contemporary concert music—especially when he happened to hear an "eye-opening" radio broadcast of the Warsaw Autumn Festival. "I never imagined music could sound like that, and I lay awake all night thinking about it." Jazz began to recede in his interests, as he immersed himself in a whole new body of music. In 1964 he entered Northwestern University as a graduate student in composition; his principal teachers there were Alan Stout and Anthony Donato. From that point he began to make his mark with remarkable speed. He won three BMI Student Composer awards during his years at Northwestern. One of these was for Diaphonia intervallum , composed for Fred Hemke, the saxophonist of the Chicago Symphony, who happened to be on the Northwestern faculty. In 1967 the work was awarded the Bearns Prize at Columbia University. This brought Schwantner's music to the attention of Arthur Weisberg, who not only performed it a number of times with his Contemporary Chamber Ensemble, but also recorded it on one of a series of records of recent American compositions that was appearing in those years on Nonesuch records. Schwantner finished his studies in 1968 and in 1970 took up his teaching position at the Eastman School of Music, where he is now Professor of Composition.
PHONE-SOFT INTERNET-VERZEICHNIS DEUTSCHLAND:KOMPONISTEN
schwantner, joseph; SCHWARTZ, ELLIOTT; SCRIABIN,ALEXANDEER; SEEGER, RUTH CRAWFORD; SENFL, LUDWIG; SESSIONS, ROGER;
http://www.phone-soft.de/cyber-world/o0155d.htm
Joseph Schwantner | Musiques.mysic.com
joseph schwantner biographies partitions et tablatures paroles de chanson vid©osclips dates de concert musiciens interviews mp3s actualit©s musicales
http://musiques.mysic.com/Joseph_Schwantner.html
DePauw University Band Repertoire: 1993-2002
Bridge Schuman, William Be Glad Then, America Schuman, William - When Jesus WeptSchuman, William- Chester schwantner, joseph - In evening's stillness . . .
http://www.depauw.edu/music/band/bandrep9302.htm
Repertoire
Saul, Walter, B. Emmaus. Schumann, Robert, Album for the young. schwantner, joseph,Velocities. Scogna, Flavio Emilio, La Mar (§). Sejournè, Emanuelle, Nancy.
http://www.marimba.it/rep.htm
Katalog - Wirtualna Polska
Serwis Katalog w Wirtualna Polska S.A. pierwszy portal w Polsce.
http://katalog.wp.pl/DMOZ/Arts/Music/Composition/Composers/S/Schwantner%2C_Josep
GM 2028 - New York New Music Ensemble: WUORINEN/SCHWANTNER/BLAUSTEIN
New York New Music Ensemble Charles Wuorinen New York Notes JosephSchwantner Music of Amber Susan Blaustein Sextet. Under the
http://www.gmrecordings.com/gm2028.htm

Extractions: Susan Blaustein: Sextet Under the leadership of conductor Robert Black, the New York New Music Ensemble has become one of the most exciting recent additions to New York's contemporary music scene and has established a reputation not only for the virtuosity of its performances, but also for the number and quality of the works it has commissioned. The pieces presented here were all composed for and premiered by the NYNME, and they represent some of the finest works of these three outstanding modern composers, two of whom Schwantner and Wuorinen are recipients of the Pulitzer Prize. (Also hear the New York New Music Ensemble perform Stravinsky's Pierrot Lunaire on GM 2030 "Unrivaled virtuosity and expressivity...
Sibelius Press Releases
LOS ANGELES 28 January 1999, Pulitzer winning composer joseph Schwantnerswitches to Sibelius® for Windows. Pulitzer Prize winning
http://www.sibelius.com/news/press3.html

Extractions: Pulitzer Prize winning composer Joseph Schwantner has switched from another music notation program to Sibelius for Windows. Schwantner's compositions have won numerous awards including the coveted Pulitzer Prize for his orchestral work, Aftertones of Infinity. Mr. Schwantner has performed his work around the world and his orchestral compositions been performed by the London Symphony, the New York Philharmonic, and the Chicago Symphony among others. Currently Professor of Composition at the Eastman School of Music in Rochester, Schwantner has also served on the faculty of the Juilliard School in New York City. "Sibelius for Windows is much easier to work with than anything else I've tried," comments Schwantner. "The software essentially performs like virtual manuscript paper and I really like that concept. Sibelius is clear and simple and doesn't require constant searching through nested menus. It has been my experience that learning to work with any new software can sometimes be a daunting process, but with Sibelius for Windows, there really isn't much of a learning curve at all. The program handles both traditional and contemporary notational procedures with simplicity and elegance." Sibelius for Windows handles music of all kinds and complexities, from keyboard and vocal music to 128-instrument modern orchestral works and graphic scores. Offering full Internet compatibility, playback feature options and publishing quality printing, Sibelius for Windows is the most comprehensive composition tool available.
Www.vivanet.com/~jschwant/
http://www.vivanet.com/~jschwant/
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http://www.wizvax.net/abe/winds/list/index-s.html
MUS 688a - Topic 9: Contemporary Styles And Techniques: Syllabus
http://uts.cc.utexas.edu/~neumeyer/688A_syllabus.html

Extractions: Spring 2002 unique days time room 20205 MWF 200 - 300P MRH 4.116 Instructor: Dr. David Neumeyer Office: MRH 3.748 Office hours: MWF 10:00-10:45 or by appointment Phone: 741-7346 (you can leave voicemail) Email: neumeyer@mail.utexas.edu Course website: http://uts.cc.utexas.edu/~neumeyer/styleshome.html Object: Ideally, "contemporary styles and techniques" should dwell somewhere between a music history course (styles, genres, repertoires), a music theory class (analysis methods and practices), and composition forum (presentation, vocabulary, discussion). To satisfy the first requirement, we will study compositions from throughout the century (even though we will favor the second half). I will discuss certain works, but in addition, you will give a presentation based on one of your four projects. To satisfy the second requirement, I will discuss fifteen compositions in detail through the semester. These are not necessarily famous works, but all represent some important facet of 20th/21st century compositional practice or have been the focus of discussion in the scholarly literature. To satisfy the third requirement, we will focus on drawing out of the scholarly and general literature vocabularies for analysis, interpretation, and presentation. To draw all three requirements together, you will complete four projects, as described below. The fifteen "discussion" pieces are: Corigliano, John, Symphony no. 1 for orchestra
- 1 -
http://uts.cc.utexas.edu/~neumeyer/688A_syllabusf02.html

Extractions: Fall 2002 unique days time room 20990 MWF 100 - 200P MRH M3.114 Instructor: Dr. David Neumeyer Office: MRH 3.748 Office hours: MWF 10:00-10:45 or by appointment Phone: 471-7346 (you can leave voicemail) Email: neumeyer@mail.utexas.edu Course website: http://uts.cc.utexas.edu/~neumeyer/688A_homef02.html Object: A course called "contemporary styles and techniques" resides somewhere between a music history course (styles, genres, repertoires), a music theory class (analysis methods and practices), and composition forum (presentation, vocabulary, discussion). Therefore, it is important that we study compositions from throughout the past century (even though we will favor the more recent half), read in the scholarly literature, and draw out of that literature vocabularies for analysis, interpretation, and presentation. The first half of the semester will focus on three topics in turn: pitch design; rhythm, meter, and form; texture, instrumentation, and style. The second half of the semester will be a series of studies of individual pieces. In the first half, you will concentrate on reading and short assignments; in the second half, you will concentrate on analysis projects and presentations. Your responsibilities: 1. Class attendance. I expect regular class attendance but I never grade attendance for graduate students.
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http://sui-chev.hp.infoseek.co.jp/con_cd/con_s-s.htm

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