What's the Matter with Extended Techniques? Getting Beyond the Stigma in the Horn and Percussion Repertoire

For this project I prepared a series of recitals featuring music for horn and percussion, in which the horn part featured extended horn techniques. For this project, I considered anything beyond the open or muted horn an extended technique. These techniques range from the common hand-stopped note passages to complex new techniques involving half-valves, multi-phonics, and more, for new sounds desired by the composer. There are several pieces written for solo horn and percussion, with ensembles ranging from simple duets to solo horn with a full percussion ensemble. However, few include extended techniques for the horn. All of these select pieces are lesser known because of their difficulty, primarily because of the challenge of the extended techniques requested by the composer. In the introduction to this paper I give a brief background to the project, where the current repertoire stands, and my experiences with commissioning works for this genre. I then give a brief history and how-to on the more common extended techniques, which were found in almost every piece. I separated these techniques so that they could be referenced in the performance notes without being extremely repetitive in their description. Then follows the main performance notes of the repertoire chosen, which includes a brief description of the piece itself and a longer discussion for performers and composers who wish to learn more about these techniques. In this section my primary focus is the extended techniques used and I provide score samples with permission to further the education of the next musicians to tackle this genre. All works performed for this project were recorded and accompany this paper in the Digital Repository at the University of Maryland (DRUM). The following works were included in this project: o Howard J. Buss, Dreams from the Shadows (2015) o Howard J. Buss, Night Tide (1995) o George Crumb, An Idyll for the Misbegotten, trans. Robert Patterson (1986/1997) o Charles Fernandez, Metamorphosis: A Horn’s Life, “Prenatal and Toddler” (2016, unfinished) o Helen Gifford, Of Old Angkor (1995) o Douglas Hill, Thoughtful Wanderings… (1990) o Pierre-Yves Level, Duetto pour Cor en Fa et Percussion (1999) o David Macbride, Elegy for Horn and Timpani (2009) o Brian Prechtl, A Song of David (1995) o Verne Reynolds, HornVibes (1986) o Pablo Salazar, Cincontar (2016) o Mark Schultz, Dragons in the Sky (1989) o Faye-Ellen Silverman, Protected Sleep (2007) o Charles Taylor, Sonata for Horn and Marimba (1991) o Robert Wolk, Tessellations (2016) With this project, I intend to promote these pieces and the techniques used to encourage more works written in this style, and reveal to fellow horn players that the techniques should not prevent these great works from being performed. Due to the lack of repertoire, I successfully commissioned new pieces featuring extended techniques, which were featured in the final recital.

AMERICAN WOMEN COMPOSERS: SELECTED PUBLISHED WORKS FOR FLUTE AND PIANO AND FOR UNACCOMPANIED FLUTE COMPOSED BETWEEN 1930 AND 2008

The music of women composers often comprises only a small percentage of flutists‘ repertoire, yet there are actually many active women composers, many of whom have written for the flute. The aim of this dissertation is to chronicle a selection of works by several American women composers that have contributed to accessible flute repertoire. For the purpose of this dissertation, accessibility is described by the following parameters: works that limit the use of extended techniques, works that are suitable for performers from high school through a reasonably advanced level, works that are likely to elicit emotionally musical communication from the performer to the listener, and works that are reasonably available through music stores or outlets on the Internet that have a fairly comprehensive reach to the general public. My subjective judgment also played a role in the final selection of the 25 works included as part of this dissertation, and performed on three musically well-balanced recitals. A variety of resources were consulted for the repertoire, including Boenke‘s Flute Music by Women Composers: An Annotated Catalog, and the catalogs of publishers such as Arsis Press and Hildegard Publishing, both of which specialize in the music of women composers. The works performed and discussed are the following: Adrienne Albert – Sunswept; Marion Bauer – Prelude and Fugue, Op. 43.; Marilyn Bliss – Lament; Ann Callaway – Updraft; Ruth Crawford – Diaphonic Suite; Emma Lou Diemer – Sonata; Vivian Fine – Emily’s Images; Cynthia Folio – Arca Sacra; Nancy Galbraith – Atacama; Lita Grier – Sonata; Jennifer Higdon – The Jeffrey Mode; Edie Hill – This Floating World; Katherine Hoover – Masks; Mary Howe – Interlude between Two Pieces; Laura Kaminsky – Duo; Libby Larsen – Aubade; Alex Shapiro – Shiny Kiss; Judith Shatin – Coursing Through the Still Green; Faye-Ellen Silverman – Taming the Furies; Augusta Read Thomas – Euterpe’s Caprice; Joan Tower – Valentine Trills; Ludmila Ulehla – Capriccio; Elizabeth Vercoe – Kleemation; Gwyneth Walker – Sonata; and Judith Lang Zaimont – ‘Bubble-Up’ Rag. All of these works are worthy alternatives to the more frequently played flute repertoire, and they serve as a good starting point for anyone interested i n exploring the works of women composers.

Repertório para saxofone, criado e estreado no âmbito da Escola Superior de Música

Este relatório de Projeto Artístico pretende documentar o contributo das classes de Saxofone e Composição da Escola Superior de Música de Lisboa (ESML) no desenvolvimento do repertório contemporâneo para Saxofone. Como resultado da investigação realizada, foi possível compilar uma lista de obras escritas ao longo dos 16 anos de existência da Classe de Saxofone da ESML, para as mais variadas formações. Será também apresentada uma breve análise, feita pelos compositores, das obras a apresentar em Recital, assim como vários meios de resolução que utilizei para as dificuldades encontradas na sua preparação. De forma a ajudar na divulgação desta produção, este trabalho é complementado com uma base de dados relativa a todas as obras escritas para Saxofone na ESML, que pode ser consultada em Base de Dados online.

Técnicas estendidas na performance e no ensino do contrabaixo acústico no Brasil

Pós-graduação em Música - IA

Preparação para performance de música de câmara com violão: o uso do corpo no repertório com técnicas estendidas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

TCP Performance Optimizations for Wireless Sensor Networks

Since the appearance of downsized and simplified TCP/IP stacks, single nodes from Wireless Sensor Networks (WSNs) have become directly accessible from the Internet with commonly used networking tools and applications (e.g., Telnet or SMTP). However, TCP has been shown to perform poorly in wireless networks, especially across multiple wireless hops. This paper examines TCP performance optimizations based on distributed caching and local retransmission strategies of intermediate nodes in a TCP connection, and proposes extended techniques to these strategies. The paper studies the impact of different radio duty-cycling MAC protocols on the end-to-end TCP performance when using the proposed TCP optimization strategies in an extensive experimental evaluation on a real-world sensor network testbed.

Explorando a execução de técnicas estendidas no oboé encontradas em quatro peças contemporâneas

This dissertation presents an investigation of the evolutionary process of extended oboe techniques, through literary analysis and practical research. The objective of this work is to provide assistance to oboists interested in learning these techniques. Additionally, this work encourages the student, through the process of experimentation, to explore the questions that may arise around the aesthetics of sound, the concept of gesture as an additional visual and aural element in music, and the collaboration and “real-time” creation processes. Discussed within the work, are the relationship between the instrument (the oboe) and extended techniques, and two possible definitions of extended techniques, provided by Luk Vaes (2009) and Gardner Read (1993). Also explored are the how and why some composers have utilized extended techniques in their compositions, including brief discussions relating to extended techniques in real-time composition (improvisation), extended techniques and technological resources, theatrical gesture as an extended technique, and suggestions of how musicians might approach theatrical gestures in performance. Four works were visited: “I Know This Room So Well” – Lisa Bielawa (2007-9); “Four Pieces for Oboe and Piano” – Ernst Krenek (1966); “In Freundschaft” – Karlheinz Stockhausen (1978); “Atem” – Mauricio Kagel (1969-70); and an exploration of the difficulties and solutions associated with each extended technique found within these pieces, was carried out. The following founding works on extended oboe techniques were used, as a basis for research: books - Heinz Holliger’s Pro Musica Nova (1972); Gardner Read’s Compendium of Modern Instrumental Techniques (1993); Peter Veale & Claus-Steffen Mahnkopf’s The Techniques of Oboe Playing (1994); and Libby Van Cleve’s Oboe Unbound: Contemporary Techniques (2004); and articles - Nora Post’s “Monophonic sound resources for the oboe: Part I – Timbre” (1984), “Part II- Pitch and other techniques” (1984), and “Multiphonics for the oboe” (1982).

Abordagens de estudo e performance da obra Responsório ao vento para violoncelo solo de Sílvio Ferraz

Recognized for his relevant writing for the cello, Silvio Ferraz wrote , in 2012, Segundo Responsório for cello solo and chamber group which followed Responsório ao Vento , a version of the same piece for solo cello . The work is characterized by the idea of continuity of sound moving through different textures , timbres , dynamics and musical gestures. The composer uses extended techniques, such as large sections in sul tasto playing three strings simultaneously, trills of natural harmonics , muffled trills with natural harmonics , col legno batuto , different types of glissando and simultaneous sounds of harmonic and non harmonic notes corroborate to a wealth of sounds and layers that create different textures. This article investigates the relationship of the composer with the cello, and relates Responsório ao Vento to his other works and studies the influences of the composer addressing technical and interpretive aspects of the piece drawn from performance experiences.

Técnicas estendidas para saxofone em obras compostas por meio de colaboração compositor-intérprete

This dissertation deals with the use of extended techniques for the saxophone in the piece Minus (for solo saxophone in Bb), composed through a composer-performer collaboration between Agamenon de Morais and the saxophonist Kleber Dessoles. The text is organized in the following manner: the first part brings the historical background of the concert music written for the saxophone since the beginning of the 20th-century, exploring the use of extended tehcniques and the main characters and historical facts of this period, with data obtained through a literature review; the second part deals with the issue of the composer-performer collaboration, since cases documented in the 18th and 19th centuries until nowadays, exploring in which different ways collaborations may happen and the motivations behind them; the third and final part is about the specific work, followed by a detailed description of the collaboration between the composer and the interpreter, as well as detailed explanations about the extended techniques present in the work (multiphonics and flatterzunge), through bibliographic and documental research, as well as descriptions of the meetings between composer and interpreter. At the end of the collaborative process, one may say that the final result was created from a sum of the composer's knowledge with the interpreter's, almost as if the composition had double authorship. The document describing this process may help composers and interpreters in composing for the saxophone, as well as guide future collaborative experiences.

Técnicas estendidas na obra Traçado Íntimo e Hesitante para violoncelo solo de Bruno Ângelo e sua utilização na iniciação ao violoncelo

This works sheds light on the technical challenges regarding the use of extended techniques at the piece “Traçado Íntimo e Hesitante” by Bruno Angelo and the use of some of these techniques in the cello initiation. The main goal of the research is to provide cellists interested in the performance of the piece with ideas to surpass the technical difficulties as well as to introduce new ideas of using sound materials of contemporary music in the beginner cello teaching.

Classificação de técnicas estendidas no contrabaixo acústico

This work is to identify and classify extended techniques on acoustic bass. The main purpose of this classification is to provide the bass better understanding and practice these techniques. For this, we carried out a literature review, it was noted that, in academia, this topic is new and understanding for some musicians is still complex and nebulous. To assist in the difficulties of the bass player, the extended techniques were divided into two parts, proposing different approaches. The first part proposes the experimentation and exploration of conventional and unconventional techniques from other instruments on acoustic bass. The second seeks to identify and rank the extended techniques, showing excerpts from the solo instrument repertoire compositions. On each, there are still referenced authors and their contributions to the instrumental practice these techniques. In both categories of classification procedures were presented to be adopted by the bass player for the implementation of those techniques, as well as suggestions for their study. Among the main results, it was found that through the proposed classification of these techniques, one can incorporate new resources to technical universe and timbre of the instrument. Lastly, it was found a creation of a composition performed by interaction between composer and performer, containing new extended techniques or extended techniques not found in the instrument's contemporary soloist repertoire.

Classificação de técnicas estendidas no contrabaixo acústico

This work is to identify and classify extended techniques on acoustic bass. The main purpose of this classification is to provide the bass better understanding and practice these techniques. For this, we carried out a literature review, it was noted that, in academia, this topic is new and understanding for some musicians is still complex and nebulous. To assist in the difficulties of the bass player, the extended techniques were divided into two parts, proposing different approaches. The first part proposes the experimentation and exploration of conventional and unconventional techniques from other instruments on acoustic bass. The second seeks to identify and rank the extended techniques, showing excerpts from the solo instrument repertoire compositions. On each, there are still referenced authors and their contributions to the instrumental practice these techniques. In both categories of classification procedures were presented to be adopted by the bass player for the implementation of those techniques, as well as suggestions for their study. Among the main results, it was found that through the proposed classification of these techniques, one can incorporate new resources to technical universe and timbre of the instrument. Lastly, it was found a creation of a composition performed by interaction between composer and performer, containing new extended techniques or extended techniques not found in the instrument's contemporary soloist repertoire.

Obras para clarinete solo produzidas por compositores portugueses em 2014 e 2015

O objeto de estudo do presente trabalho é o repertório para clarinete solo produzido por compositores portugueses. Por ser um campo vastíssimo, tornou-se necessário definir um espaço temporal mais reduzido, surgindo, assim, os anos 2014 e 2015. Este trabalho pretende contribuir para uma interpretação informada, através do estudo e análise das obras escolhidas e divulgar a música portuguesa recente, não só, o repertório existente, mas, também, com a estreia de obras. Como metodologia, foram realizados: uma pesquisa bibliográfica sobre o instrumento, um levantamento de obras, uma análise e estudo de três obras dos compositores Costa, Pascoal e Ceitil. O trabalho inicia-se com uma breve contextualização do instrumento, dando especial atenção às técnicas estendidas. Após o estudo das obras, e da reflexão do mesmo, confirma-se que de facto existe uma enorme vantagem em trabalhar as obras com os compositores e que este trabalho se reflete no ato performativo; WORKS FOR SOLO CLARINET PRODUCED BY PORTUGUESE COMPOSERES IN 2014 AND 2015 ABSTRACT: This report studies the repertoire for solo clarinet produced by portuguese composers. Giving the vastness of the subject, only a smaller time frame could be analyzed and it was the years of 2014 and 2015. The goals of this report are to create an informed interpretation, through the study and analysis of the chosen repertoire and to disclose modern portuguese music, not only existent works but also with the premiere of repertoire. The methodology was: a literature search, a survey of works, analysis and study of three works by composers Costa, Pascoal and Ceitil. This report begins with a brief background of the clarinet, paying special attention to the extended techniques. After the study of the selected works, and the reflection of it, it's confirmed that in fact there is a huge advantage in working the repertoire with composers and that this work is reflected in the performative act.