YSU Percussion Ensemble OMEA Tour Itinerary:
Wednesday, January 27 - Centerville High School, Centerville, Ohio
•YSU Percussion Ensemble and Glenn Schaft, Clinic for Wind Ensemble Percussion Section, 1:56 P.M.
•YSU Percussion Ensemble Performance Clinic, 3:00 P.M.
•OMEA Preview Concert featuring YSU Percussion Ensemble, Centerville Jazz and Wind Ensemble, 7:30 P.M.
January 28-30 - Ohio Music Education Association Professional Development Conference, Cincinnati, Ohio
•YSU Percussion Ensemble Concert - Thursday, January 28 - 2:45P.M., Millenium Grand Ballroom
•Dr. Glenn Schaft, Clinic - Teaching Rhythm - fundamentals for all musicians, Friday, January 29, 4PM, Convention Center CCC 260-262
Youngstown State University Percussion Ensemble Concert Program
Dr. Glenn Schaft - director, Tetsuya Takeno - assistant director
28 January 2010, 2:45PM, Millennium Grand Ballroom
Welcome! As you have likely noticed, today's music has already begun and it will continue, without pause, until 3:30 or thereabouts. We have chosen to paint our pre-concert canvas with several solo marimba works. Please feel free to talk until our concert officially begins at 2:45. You are encouraged to applaud whenever the spirit moves you.
Land (2002) Takatsugu Muramatsu. Performed by Robert Young.
Virginia Tate (1999) Paul Smadbeck Performed by Matthew Hayes
Nancy (2004) Emmanuel Sejourne Performed by Daniel Danch
As a full-time freelance musician, I earned my living performing in large and chamber ensembles in myriad musical styles. It is therefore probably not surprising that one of my primary objectives is to help my students develop their own musical versatility. If their future experiences are even remotely similar to mine, one thing is certain, neither I, nor they can really predict how their careers may unfold. I hope that what they learn here will provide them the means for a lifetime of self-directed learning.
When I reflect on their pre-college (K-12) formal musical experience, the vast majority of it is typically comprised of large, conducted ensembles and perhaps private lessons. They have typically been afforded few opportunities to master chamber music skills such as playing without a conductor, cueing, breathing, making collective interpretive decisions, and so on. In order to compliment their large ensemble experiences, I emphasize solo and chamber music throughout their percussion studio experiences, including private lessons, group lessons, studio class, percussion ensemble, and other mixed instrumentation chamber groups.
When I consider some of my favorite musicians such as Bach, Mozart, Beethoven, Miles Davis, and Chick Corea, their musical output was, or is, comprised of three closely inter-related things: performance (original and others' works), improvisation, and composition. I would relish the opportunity to "study" with them or others possessing similar mindsets. When my students teach, I hope they will model not just performance for their students, but also improvisation and composition. Indeed, I hope "all" our students come to understand music as a process of creating organized sound via these three inter-related components; components that should ideally defy categorical division.
It is in this spirit that we prepared today's concert. The "without pause" presentation format is an opportunity to meaningfully connect four pre-existing works with our students' original composition, improvisation, and music theatre ideas.
We thank you for your support and welcome your comments immediately afterwards on stage, or via our website <www.ysu.edu/percussion>
A special thanks to Dr. Michael Crist, Chair of the Dana School of Music and Dr. Bryan DePoy, Dean of the YSU College of Fine and Performing Arts for their support of our tour and for being here today. Thanks also to our industry sponsors Avedis Zildijian Company, Remo Inc. , ProMark Inc., Dynasty, and Black Swamp Percussion for their support of Dr. Schaft and the YSU Percussion Studio.
Trio Per Uno (1995/99) Nebojsa Jovan Živković (b. 1962)
III. Molto energico
The outer movements possess similarities in manner and appear as if they would present a perfection of wildness in an archaic ritual cult. The second movement has its own special lyric and contemplative mood and serves as an isle of quietness between two volcanoes, in both atmosphere and instrumentation. This music expresses the principle: three bodies – one soul.
Piru Bole (1986) John Bergamo (b.1940)
Based on East Indian drumming concepts, the vocalizations utilize some of the syllables or chant language, called Konocol, of South India. The frame drums are chosen by the performers and improvised upon.
Musique de Table (1987) Thierry De Mey (1956)
Thierry De Mey is a Belgian film director and composer. The incorporation of movement and rebound are the common thread at the core of his work: "the rebuttal of the idea of rhythm as a simple series of durations in a time frame, but rather as a generative system for impulses, falls and new developments” constitutes the preliminary overture for his musical and cinematic endeavors.
Tribeca Sunflower (1993) Julie Spencer
Tribeca Sunflower incorporates rhythmic ideas from the gahu music of the Ewe people of Ghana in West Africa and from traditional North Indian classical music. The marimba mallets are wrapped in dowel rods to create a rattle effect, suggesting the African amadinda, a log xylophone. Our arrangement, including an added fifth player, affords many opportunities for improvisation by everyone.
Daniel Danch, New Wilmington, PA
Matthew Hayes, Coshocton, OH
Kevin Rabold, Pittsburgh, PA
Tetsuya Takeno, Kanagawa-Ken, Japan
Robert Young, Austintown, OH