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Faculty Woodwind Quintet: Max Schoenfeld, Flute; David Sheaffer, Oboe; Herbert Sanders, Clarinet; James Thornton, Bassoon; Philip Hillstrom, Horn; December 2, 1971, Max Schoenfeld, David Sheaffer, Herbert Sanders, James Thornton, Philip Hillstrom

School of Music Programs

Hayden Auditorium
Thursday Evening
December 2, 1971
8:15 p.m.

Strait, V.1, No. 5, 1971-11-24, Andrew Elston

Strait, Student Magazine of Politics and Arts

No abstract provided.

Faculty Recital: Won-Mo Kim, Violin; Harold Gray, Piano; November 21, 1971, Won-Mo Kim, Harold Gray

School of Music Programs

Centennial East Recital Hall
Sunday Evening
November 21, 1971
8:15 p.m.

Piano Music For Four Hands, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Faculty Recital: Max Schoenfeld, Flute; Harold Gray, Piano; November 18, 1971, Max Schoenfeld, Harold Gray

School of Music Programs

Hayden Auditorium
Thursday Evening
November 18, 1971
8:15 p.m.

Guest Recital: Michael Coonrod, Piano; November 17, 1971, Michael Coonrod

School of Music Programs

Centennial East Recital Hall
Wednesday Evening
November 17, 1971
8:15 p.m.

Senior Recital: Robert W. Gill, Percussion; Kris Baker, Piano; November 14, 1971, Robert W. Gill, Kris Baker

School of Music Programs

Centennial East Recital Hall
Sunday Afternoon
November 14, 1971
3:15 p.m.

Faculty Recital: Christoph Henkel, Cello; Francoise Regnat, Piano; November 12, 1971, Christoph Henkel, Francoise Regnat

School of Music Programs

Centennial East Recital Hall
Friday Evening
November 12, 1971
8:15 p.m.

Strait, V.1, No. 4, 1971-11-10, Andrew Elston

Strait, Student Magazine of Politics and Arts

No abstract provided.

Ensemble Concerts: Contemporary Percussion Quintet And Concert Percussion Ensemble, November 3, 1971, Roger Faulmann

School of Music Programs

Centennial East Recital Hall
Wednesday Evening
November 3,1971
8:15 p.m.

Graduate Woodwind Quintet: Sally Titland, Flute; Peggy Mccreary, Oboe; Sarkis Halajian, Clarinet; Lora Tannenholz, Horn; Adrienne Nescot, Bassoon; November 1, 1971, Sally Titland, Peggy Mccreary, Sarkis Halajian, Lora Tannenholz, Adrienne Nescott

School of Music Programs

Hayden Auditorium
Monday Evening
November 1, 1971
8:15 p.m.

Faculty Trio Concert: Tong-Il Han, Piano; Won-Mo Kim, Violin; Christoph Henkel, Cello; October 31, 1971, Tong-Il Han, Won-Mo Kim, Christoph Henkel

School of Music Programs

Centennial East Recital Hall
Sunday Evening
October 31, 1971
8:15 p.m.

Strait, V.1, No. 3, 1971-10-27, Andrew Elston

Strait, Student Magazine of Politics and Arts

No abstract provided.

Stafford Wing, Tenor, Department Of Music, University Of Richmond

Music Department Concert Programs

No abstract provided.

Faculty Recital: Ed Livingston, Tuba; Harold Gray, Piano; October 27, 1971, Ed Livingston, Harold Gray

School of Music Programs

Capen Auditorium
Wednesday Evening
October 27, 1971
8:15 p.m.

Ensemble Concerts: Concert And Treble Choir, October 21, 1971, Donald Armstrong, Douglas Weeks, Patricia Whikehart

School of Music Programs

Capen Auditorium
Thursday Evening
October 21, 1971
8:15 p.m.

Faculty Recital: Tong-Il Han, Piano; October 20, 1971, Tong-Il Han

School of Music Programs

Centennial East Recital Hall
October 20,1971
Wednesday Evening
8:15 p.m.

Faculty Recital: Robert Oppelt, Viola; Harold Gray, Piano; October 17, 1971, Robert Oppelt, Harold Gray

School of Music Programs

Capen Auditorium
Sunday Evening
October 17,1971
8:15 p.m.

Strait, V.1, No. 2, 1971-10-13, Andrew Elston

Strait, Student Magazine of Politics and Arts

No abstract provided.

Faculty Recital: Alan Peters, Bass-Baritone; Harold Gray, Piano; October 3, 1971, Alan Peters, Harold Gray

School of Music Programs

Capen Auditorium
Sunday Evening
October 3,1971
8:15 p.m.

New Mexico Musician Vol 19 No 1 (October 1971)

New Mexico Musician

No abstract provided.

Faculty Recital: Philip Hillstrom, Horn; Harold Gray, Piano; Diane Merril, Violin; Miriam Oppelt, Violin; Toyoko Henkel, Violin; September 30, 1971, Philip Hillstrom, Harold Gray, Diane Merrill, Miriam Oppelt, Toyoko Henkel

School of Music Programs

Capen Auditorium
Thursday Evening
September 30, 1971
8:15 p.m.

Strait, V.1, No. 1, 1971-09-29, Andrew Elston

Strait, Student Magazine of Politics and Arts

No abstract provided.

Ensemble Concerts: Summer Choir In Concert, August 8, 1971, Donald Armstrong

School of Music Programs

Hayden Auditorium
August 8, 1971
8:00 p.m.

The Transcription Of Piece Heroique For Wind-Band, Douglas Frazier Cairns

All Master's Theses

Wind ensemble performers have had to rely on transcribed music for their repertoire since the earliest days of the eleventh century. The situation showed little change through the nineteenth century as composers of the stature of Cesar A. Franck continued to demonstrate their disregard for the medium. However, the advent of the public school band has provided the economic stimulus necessary to attract the efforts of major modern composers. Though this trend satisfies the need for contemporary wind-band music, transcriptions continue to serve as a major means of teaching music history. The transcription of Piece Heroique for wind-band provides an …

Handel's Bass Solos In His Oratorios, Ronald E. Jones

All Master's Theses

Handel, recognized as a great Baroque composer, has had his vocal compositions performed by most serious singers. Many of these would agree that his compositions are, in general, very considerate of the singer and seldom vocally awkward. Since Handel wrote for all types of voices, most singers may find appropriate literature in his oratories. All singers should have some acquaintance with Handel's vocal compositions. Unfortunately, much of the present repertoire represents little of the bel canto techniques of the golden age of singing of which Handel was a part. This writer believes every serious vocal student should at least know …

The Performance Interpretation Of Paul Creston's Six Preludes, Opus 38 For Piano, Ginger Anne Jensen

All Master's Theses

It was the purpose of this study to help enable a pianist to make the best possible interpretation of the work for piano, Six Preludes, Opus JS by Paul Creston. The procedure used was (1) devising alternate melodic, rhythmic, and tempo interpretations and alternate ways of pedaling; (2) consultations with the composer, which included performing the work for him and questioning him concerning the alternate methods; and (3) finally deciding upon the composer's preferred interpretation for performance of the work.

A Guide For The Teaching Of Vocal Technique In The High School Chorus, David A. Quam

Theses and Dissertations

In general, high school choruses do not reach their potential as far as choral tone is concerned. The tone is generally characterized by either a completely undisciplined and labored sound or a pseudo "mature" sound imposed upon the students by a director seeking to emulate his college choir.

When high school choruses sing freely and naturally, they do so because they are taught and inspired to do so by their director. Therefore, the director must understand the concepts of correct singing and must have in his possession practical techniques that will develop a program of correct singing in the high …

Recital: Vincent Cosmano, French Horn; Sharon Kazmierski, Piano; Diane Merrill, Violin; August 1, 1971, Vincent Cosmano, Sharon Kazmierski, Diane Merrill

School of Music Programs

Centennial Recital Hall
August 1, 1971
4:00 p.m.

Cummings Guest House Register Pages 080 And 081, Usm African American Collection

We Exist Series 4: Cummings Guest House Register Excerpts

This is a detail from the Cummings Guest House Register. You can see a digital version of the full text HERE.