Browsing by Author "Brown, Richard"
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Item Afterimages(1979) Lavenda, Richard; Cooper, Paul; Milburn, Ellsworth; Brown, RichardAfterimages, for soprano and chamber ensemble, is based on three poems by Carl Nagin. Rather than being a set of three detached pieces, it is a unified work, played from beginning to end without break. The motivation for this kind of organization comes from the poems themselves; they are related in style and imagery, and can be considered as a set. The music seeks to develop and explore the various kinds of connections within the poems. In this sense, Afterimages may be said to be inspired by the structure as well as the content of the poems. The music is based on four related motives. These are the generative devices which both unify and propel the piece. All four are short, and, depending on the context in which they are used, can sound forceful, reflective, introspective or out-reaching. The small number and brevity of the themes help make the piece unified. The instrumentation, however, is used to provide variety. Each of the three poems, plus the introduction and interlude, have different groups of instruments. This avoids sameness and the density that can occur if twelve instruments are constantly playing. The various combinations were chosen not only for their orchestrational potential, but for their relation to the poems and their possibility for illuminating various aspects of them. Afterimages is approximately twenty-one minutes in duration.Item Contacting Contractors Richard Brown(The Shepherd School of Music, Rice University, 2014) Brown, Richard; Rarick, JanetRichard Brown discusses how to best contact a music contractor when looking for work.Item Deep Song: The Historical and Musical Contexts of Osvaldo Golijov's Ayre(2013-12-06) Hauschildt, Craig; Bailey, Walter B.; Brown, Richard; Harter, Deborah; Lavenda, RichardOsvaldo Golijov (b. 1960) composed Ayre, a song cycle for soprano and large ensemble, in 2004. On the larger thematic level, it explores the history of the conflicts among Christians, Jews, and Muslims—as well as their similarities—to reflect more broadly on the contemporary relationship between Israel and Palestine. To accomplish his goal, Golijov utilizes folk music and poetry from Andalusia, Morocco, Sardinia, and Lebanon as well as poetry by Mahmoud Darwish, a Palestinian poet. Golijov also interweaves the unique talents of specific musicians into the score, which thus becomes a vehicle to showcase the virtuosity of soprano Dawn Upshaw, who premiered and recorded the work, and Golijov’s hand-selected ensemble of instrumentalists, known as the Andalucian Dogs. Like Luciano Berio’s Folk Songs (1964), which served as Golijov’s model, Ayre is constructed using significant amounts of preexisting material. In addition, it incorporates substantial contributions from its original performers. This study examines Golijov’s own contributions and those provided by others to identify more clearly Golijov’s role as composer. It also places Golijov’s work in the broad historical context of twentieth-century music, taking into account the unique relationship between the composer and performer in the world of jazz and the many classical composers who have incorporated elements of folk and popular music into their art music. Additionally, it examines the music of select classical and popular composers—Béla Bartók, Igor Stravinsky, Aaron Copland, Duke Ellington, George Gershwin, and Gil Evans—to understand the censure that has often accompanied the appropriation of music from outside one’s normative style. The study concludes that Golijov, like many other postmodern composers, is not composing in reaction to the complexity and intellectualism of mid-century modernism, but rather he is composing in the manner of composers from the past who reverentially appropriated materials from a wide variety of musical traditions. Thus, even though Golijov relies on a significant amount of pre-existing material to construct Ayre, the work is ultimately a result of his own creative energy.Item Getting Started: Assertive or Aggressive? Richard Brown(The Shepherd School of Music, Rice University, 2014) Brown, Richard; Rarick, JanetRichard Brown discusses proper protocol for becoming established as a freelance musician.Item Getting to Know Working Musicians Richard Brown(The Shepherd School of Music, Rice University, 2014) Brown, Richard; Rarick, JanetRichard Brown shares effective ways to get to know working musicians in a music freelance community.Item Getting Work and Getting Rehired Richard Brown(The Shepherd School of Music, Rice University, 2014) Brown, Richard; Rarick, JanetRichard Brown discusses the hiring system and how to break into a music freelance community.Item How to Act on the Job Richard Brown(The Shepherd School of Music, Rice University, 2014) Brown, Richard; Rarick, JanetRichard Brown discusses proper etiquette for the working musician.Item TOM JABER 25th ANNIVERSARY CONCERT Sunday, September 23, 2012 6:00 p.m. Stude Concert Hall(Shepherd School of Music, Rice University, 2012-09-23) Jaber, Andrea; Jaber, Benjamin (horn); van der Werff, Ivo-Jan; Fink, Richard Paul; Ballentine, Frederick (vocal); Kamins, Benjamin (bassoon); Brown, Richard; Snouffer, Lauren; Hawley, Richie; Watson, Wayne; Green, Alan H.; Rice Chorale; Houston Masterworks Chorus; Chancel Choir of Chapelwood United Methodist ChurchPROGRAM: Prologue from I Pagliacci / Leoncavallo -- Kyrie, Christe, Kyrie from REquiem Mass for the Dead / Maurice Durufle -- Shepherd on the Rock -- Humming Chorus from Madama Butterfly / Giacomo Puccini -- O Mio Babbino Caro from Gianni Schicchi / Giacomo Puccini -- Wintersturme Wichen Dem Wonnemond from Die Walkure \ Richard Wagner -- Nemico Della Patria from Andrea Chenier / Umberto Giodano -- Allerseelen, Heimliche Aufforderung, Morgen, Cacilie / Richard Strauss -- Romance Edward Elgar -- Would I Know You Now / Wayne Watson -- Tico Tico / Fred Waring -- The Touch of the Master's Hand / Alan H. Green -- I'm Beginning to See the Light / Alan H. GreenItem Transmission and performance of taiko in Edo Bayashi, Hachijo, and modern kumi-daiko styles(2009) Vogel, Brian; Bailey, Walter B.; Brown, RichardThis document is a study of the history, instruments, transmission method and performance practices of three types of Japanese taiko drumming. Included are transcriptions of representative pieces, several of which have never been written down in Western notation, as taiko is generally an orally transmitted musical form. Field research was done throughout the summers of 2007 and 2008 with renowned taiko artist Kenny Endo at the Taiko Center of the Pacific in Honolulu, Hawaii.Item What Do Musicians Contractors Do? Richard Brown(The Shepherd School of Music, Rice University, 2014) Brown, Richard; Rarick, JanetRichard Brown discusses the role of musicians contractors.