Browsing by Author "Rector, Malcolm Wayne"

Now showing 1 - 3 of 3
  • Thumbnail Image
    Item
    Kidnapped
    (1999) Rector, Malcolm Wayne; Gottschalk, Arthur W.
    This piece is built around the interval of a tritone followed by a major third and is mostly a through-composed work. Through most of this piece, the percussion plays a polyrhythm that operates as a foreground and sometimes background ostinato. An upward rhythmic motif, constructed of a tritone followed by a major third, begins in measure 3. This motif develops throughout the work, becoming a primary figure in the woodwinds. The static harmony and melody, not spanning beyond a tritone in the strings, are found in various stages. Murmuring flutes and air being blown in the trumpets and trombones in measure 18 temporarily replace the percussion choir. This is accompanied by a canon in the upper strings, glockenspiel and harp that emphasizes the tritone. The climax of the piece is seen in measure 73 with the entire orchestra's explosion of rhythmic variety and harmony.
  • Thumbnail Image
    Item
    S.q 2 for string quartet
    (2002) Rector, Malcolm Wayne; Gottschalk, Arthur W.
    Throughout this string quartet, one tone cluster, the "primary cluster", is developed and varied in each of the four movements, as the unifying factor. Movement One is a through-composed section organized by texture, orchestration, and pitch material, derived from the primary cluster. Divided into eleven sections, the movement includes an introduction, five complete divisions, four transitional segments and a coda. The primary cluster gradually grows from measure one through measure eleven, beginning with the unison pitch D. Upon reaching measure eleven, the cluster realizes its principal form: C#-D-Eb-E. Movement Two is also through-composed, although slightly rounded by the relationship between the beginning and the ending. This movement consists of eight sections, including an introduction, four divisions, two transitions, and a coda. The pitches in measures two through four are repeated in retrograde in measures eighty-three through eighty-five; those played by the upper three instruments in measure one are repeated verbatim in the last measure, as well as the cello melody that concludes the movement. Divided into eight sections, Movement Three is a loose rondo, concentrating equally on its various motives and on the primary cluster. Unlike the first two movements, it does not have an introduction. Instead, there are four sections, with the first section repeating before the coda, and three transitions to separate each of the four structral divisions. Movement Four is an expanded rondo, contrasting a total chromatic idiom with a diatonic character. It is by far the largest of the four movements. The movement has eighteen sections consisting of ten variants, with the initial variant occurring four times, and the second and third variants occurring twice. There are also six transitional sections and a coda, which is an expanded version of the introduction to this movement.
  • No Thumbnail Available
    Item
    Society of Composers Region VI Conference - Concert 7 Saturday, February 11, 2006 11:00 a.m. Edythe Bates Old Recital Hall and Grand Organ
    (Shepherd School of Music, Rice University, 2006-02-11) Perttu, Daniel; La Rocca, Frank, 1951-; Rector, Malcolm Wayne; Hinds, Stuart W.; Baker, Drew, 1978-; Coleman, Christopher, 1958-; Alon, Aaron, 1981-; Gottschalk, Arthur, 1952-; Allen, Brian
    Program: Whisper Wall / Drew Baker -- Valediction / Daniel Perttu -- Hibakusha / Aaron Alon -- UtQueant Laxis / Arthur Gottschalk -- Splitivef / Brian Allen -- Autumn Moon / Stuart Hinds -- O Vos Omnes / Frank LaRocca -- since feeling is first / Christopher Coleman -- Shabbat Shalom / Malcolm Rector.