Arts and Humanities Commons^™

Lagu Obo, Randall Snyder

Randall Snyder Compositions

For Narrator and Oboe.

poem: Goenawan Mohamad

7 pages

Furthest South, Randall Snyder

Randall Snyder Compositions

For Violin Solo.

-Region One-
-Region Two-
-Region Three-
-Region Four-
-Region Five-

6 pages

Saxophone Concerto, Randall Snyder

Randall Snyder Compositions

For Flute (2), Oboe, English Horn, Bb Clarinet, Bass Clarinet, Bassoon, Contrabassoon, Horn (3), C Trumpet (2), Trombone (2), Tuba, Timpani, Percussion, Harp, Alto Saxophone, Violin (2), Viola, Cello, and Contrabass.

I Sehnsucht
II Song of the Loon
III Riff
IV Rondo

68 pages

Passage, Randall Snyder

Randall Snyder Compositions

“Passage” , one of those words with several definitions, is used here as “the action or process of passing from one place or condition to another”. The genesis of this piece sprang from a remarkably vivid dream I experienced several years ago, a dream never forgotten, that suggested a powerful concept for a piece but remained on the back burner until planning this work for wind ensemble last summer. Since the structure and content of “Passage” represents a direct, “programmatic” transfer of this dream, I feel it important and useful to describe it, even though some may perceive it as …

The Divine Madness, Randall Snyder

Randall Snyder Compositions

The Divine Madness, a comedic theater piece for six players in five scenes by Randall Snyder (1996) the players (in order of appearance) a middle-aged composer, dressed in 19th century costume an impresario, speaks with W.C.Fields accent, dressed in a Dickensian style the cast (chorus) of the Willy-Nilly Traveling Opera-Circus Troupe: a flamboyant soprano, an aging diva, colorfully dressed an alto, a timid musicologist, dressed as a college co-ed a tenor, a jazzer, dressed in a pin-striped zoot suit, wearing sun-glasses a bass, a bitter old man, speaks with a German accent, wearing shabby clothes stage audience including a critic, …

Wiser Than Despair: The Evolution Of Ideas In The Relationship Of Music And The Christian Church, Quentin Faulkner

Glenn Korff School of Music: Faculty Publications

The fact that human beings want to make music, as well as all other forms of art, is a given of human existence. Artistic expressions, however, are not isolated or autonomous. They are conditioned, among other things, by social and cultural factors, and these factors have a powerful influence in shaping any art form.

There is no more compelling example of a culture's power to condition art than the evolution of European art music during the Middle Ages under the influence of the Christian church and its theological stance with regard to the arts. The church's ideas about the purpose …