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Music composition recital Rogers, Joseph Earl 1996

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MUSIC COMPOSITION RECITAL by JOSEPH E A R L ROGERS B.Mus., Oklahoma City University, 1994 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF T H E REQUIREMENTS FOR T H E D E G R E E OF M A S T E R OF MUSIC in F A C U L T Y OF G R A D U A T E STUDIES School of Music We accept this thesis as conforn^ing to the/^uj^cVsTja/dard^  T H E UNIVERSITY OF BRITISH COLUMBIA May 1996 ©Joseph Earl Rogers, 1996  In  presenting  degree freely  at  this  the  thesis  in  partial  University  of  British Columbia,  available for  copying  of  department publication  this or of  reference and study.  thesis by  this  for  his  scholarly  or  thesis  for  her  Sc  A«# / /  MA /y«t~>  The University of British Columbia Vancouver, Canada  Date  DE-6 (2/88)  of  I further  purposes  the  requirements  I agree  that  agree  may  representatives.  financial  permission.  •DepJitniem of  fulfilment  be  It  gain shall not  that  the  by  understood be  allowed  an  advanced  Library shall make  permission  granted  is  for  for  the that  without  it  extensive  head  of  my  copying  or  my  written  ABSTRACT This thesis is a compilation of the six compositions performed at The University of British Columbia, Recital Hall, May 12, 1996, in partial fulfillment of the requirements for the degree of Master of Music, with an emphasis in Composition. Second Sonata for Bassoon and Piano was written for performed by Tracie Pybas on bassoon, with Leslie Dala on piano. Mechanism for Horn, Alone was written for and performed by Marcia Titley. L'etre-en-soi, I'etre-pour-soi was written for and performed by Caroline Gauthier, clarinet. Hanblec'eya was written for and performed by Karen Noel-Bentley, clarinet, Laura McPheeters, violoncello, and Leslie Dala, piano. Plane for Flute, Alone was written for and performed by Mark McGregor. Woodwind Quintet was written for and performed by Tempest Winds: Mark McGregor, flute; Peter Gal, oboe; Caroline Gauthier, clarinet; Marcia Titley, horn; Tracie Pybas, bassoon. Performance notes, where applicable, proceed the scores.  ii  T A B L E O F CONTENTS Abstract Table of Contents Acknowledgement Chapter One  Second Sonata for Bassoon and Piano Notes Score I. Slow and vast II. Fast UJ. Slow IV. Fast  Chapter Two  Mechanism for Horn, Alone Notes Score  Chapter Three  L'etre-en-soi, I'etre-pour-soi Notes Score I. L'etre-en-soi II. L'etre-pour-soi a. Les reflexions b. Les metamorphoses c. Les improvisations d. Annexe 1 e. Annexe 2 f. Annexe 3A, 3B  Chapter Four  Hanblec'eya Notes Score  Chapter Five  Plane for Flute, Alone Notes Score  Chapter Six  Woodwind Quintet I. Fast II. Slow III. Fast  ACKNOWLEDGEMENT Thanks is given to Dr. Stephen Chatman and Dr. Keith Hamel, with whom I have studied at UBC. Thanks is also given to the eight performers agreeing to perform these works.  iv  Notes This Second Sonata for Bassoon and Piano treats both instruments with equal importance, and the interest is generated by the combination and interaction of the two. Neither piano nor bassoon should overshadow the other. The first movement is rhapsodic in structure, with the harp-like arpeggiations first in the piano, then in the bassoon, and returning to the piano. These arpeggiations should not be played agressively; they should instead seem effortless and relaxed. The cantabile melodies of the bassoon should be to the fore. The second movement is of a straightforward and fast nature. The third movement is to be played apiacere throughout, and should sound stratospheric and nebulous. The fourth movement may be played faster than the indicated metronomic marking if desired, and must be played with high levels of energy from both players. Its performance should not be ponderous, however; the music is of a witty, and not a "declamatory," nature. The eighth-note is to remain constant throughout unless otherwise indicated. Approximate performance duration: 16 minutes.  1  for Tracie  Second Sonata for Bassoon and Piano  I Joseph Rogers Slow and vast J=c.56 Bassoon  Piano  3  4  6  I  7  II  8  18  18  delicate  /  *  34  1-  »=  hi  i '—\  10  11  f diminuendo poco a poco  itj- j 92  *"  7  i — = — =  |  d—  q«  ;a  'j  ii  -8  —i—\- • K* y  ' »  -  4-  •  100 V " 100  h i i t >• —  ,  J  •  ;  100  *>:<'. > ^ s »  -0* * >•— • 3 al fine  ** *  i  «>,r .ate  h,  k+-  —  —g-g—ttJ uj—hrd— ft• i* l]J  crescend i-ft *  §—n PT^-b-  'j'  7  V  7  -+  4  7 |  106  H  *  <  J  I  1  ' *"  ' "  >  crescendo alfine  / 106  -in—lv-pr—r-  ~fi  1 ' 1  '  '  106 L7-T->  •5 3  L  -  1  > •  •?  ^  H  :  —  **  1«  12  ) •  1'  '  —  *f  V — -2  L  - *  H 1  L  poco rallenlando  13  14  15  3F  4 JCT3 ^SJgp  ^ -ir -— ^ .  L 'i '11 * *f */ "*r^i*  •<ff> -S—K ' ' - - J — M — l — 7  2o  crescendo  '  mf  trr  j |  -fl__y__L_L_? —  —  i r — ^ f — i — — — •  16  —  „  —  «  ,  —  -P«_J_JLJ  i —>-.  =*  ? v,  *  f7  £  "-7 hfl  f  3  f  *  /  4& 8 T—J» H ; *  «  ////•  7  7  H - r - ' " —! r 'i  #v  crescendo  R  JLJ^—i^w.  —  -^-f-^r  28 v.  v.  jg  >—  hJ"fal»b.rtr=  vr*—  _n_|—  28 , rr*i  f  i—i—i—r"T  •7  1  mf  Si  *i bm —In  is  N-  t  —  m  J—j-. . •—t-4—  *  —  -a  r-P  *  crescen  h¥  •  OTp crescendo 33  TH^  1  1  i i  » 3  2Bj0 diminuendo  P  JLb  7 7  ^  mf  crescendo  crescendo  ^  17  _  18  a piacere  19  2 0  I  21  22  Performance Notes  1. Rhythmic durations are only used as respective to one another. They'are not measured and definite; an eighth-note is not necessarily equal in duration to another eighth-note. The notation should only be interpreted, then, in a very simple manner: J>= "short" note, J = "longer" note, J = "still longer" note, and so forth. The piece should sound fluid and loose, and any strictness of rhythm (except where requested) will destroy its vital nebulous nature. 2. Silence plays an important role in the piece, both to emphasize the piano resonance and to enhance the overall structure; appropriate lengths of time should be allotted to it. 3. A sort of dialogue exists between the two different registers of pitch, and audience attention should be drawn to this dialogue. 4. The piano pedal should be depressed throughout with a weight of some sort. The lid should be raised completely.  24  for Marcia Titley  Mechanism for Horn, Alone Joseph Rogers  Plaintive  play into piano 2  P  f  J^H  diminuendo  a piacere sempre ^~  i i| j w W J  —  ,  iifV^f'if - mp crescendo a  ^  PP  ^  P  PP  a little slower  W'rVi r i-n ij I i iii i f = = ^ Vp t M W - ^ i diminuendo ^ ^ W j V P  L J  L J J J  J  v  PP  ^  1*i  jf - ^  I  Z^*PP  P  J  /> ^echo)  (long)  M M 1 i i i i ri c r e s c e n d o  P  oco  a  mf  P  oco  dim.  mp  ^7s  r  /*"«/<?  4*  H  r n  rs  i— —  - J  ^ '  1  » J ^ ^  r*  •  ^  lamenting —  bJ  >!  mj.> cresc.  —  3*  HV /wore  JO  in time  ritard  diminuendo  ^  ^ff  —Rfi-  diminuendo  a tempo  mf  poco accelerando poco ritard  ^  ^ 3 P  tial'r-—h«. L - . h«  »  mp <^  gradually turning awayfrompiano ^  1 ^j/*  W/>  ritard  ikm.:  25  ^ ^ hi ^J J  poco accelerando  piK-o accelerando  poco ritard  poco ritard  T  very slow  (long)  l<v'H^ yllJl J  ijJ t> u  ^ ijg5 J  J  y 77/p  P  diminuendo  p dim. PP  Wp dim.  crescendo poco a poco  a little faster JO growing in intensity poco a poco  t  detente completely awayfrompiano faster, more intensely  J J  I,J  ini  j  J  3= 'i _ ? "r  i|J  J  r  j  iJ  J  >J ii  \ »  h J  V  •/Hp crescendo poco a poco  -»4[  h  r l iT l M r  h  «7  mfget  /  ion? 5  accel.  My  jjJ  a tempo  fast  j  ^^JftJU^J^LJ "C j£T demandingly  26  ^—  eriotis  ZZ__ae__Zi  +  FFF=  8^  ,—, —- •—•a^p-f-f, ——  rallentando (long) (long) moderately  poco accelerando a tempo  J b*  1  Wp growing relaxed  f  1  /joco ritard  F gradually turning to the piano a little slower  ooco /-/'tore/ #tempo ON  LL2  _  i  p  r  ON  |  mp  lamenting  P  «  I  ON  ,  ON  «////? play into piano slower, fluidly  ON  crescendo  ^  •  T  mp  -  "  f  —  ©  —  —  —  p  —  —  —  —  as a/ ON  O  ?  ON  p molto i espressivo espressivoalalfiifine mo  //'tt/e slower  a  beginning  ON  ON  ON  i  /jot'o accelerando  to  very  poco ritard  JT/WW,  a/  ..js r' p f  1  ii  (long) ON , O N  p 27  dim. al fine  t  l|  d-e-We. piece est divisee en deux parties. J_a primiere/ " L e k e - e n -  soi", est, pout* la majeure partie, tees sp^cifique; la deujdeme, "i_'etrepour-soi"/ consiste en quatce differences sections qui offrent plus de liberte. D a n s "J_'etre-en-soi" I'artiste doit adherer au texte donn^j dan "L/etre-pour-soi" l'artiste doit jouer chaque section avec liberte. L-es notes en petits caracteres peuvent £ t r e jouees a n'importe quel tempo. D a n s "L-'etre-en-soi", les barres de mesure sont utilisees pour faciliter la lecture; elles n'indiquent auciAy\e. division de la pulsation.  28  jL/et^e-e.K-soiy  I'etre-pou^-soi  pour clarinet+e seule  Lent, plaintif «h= C-larinet+e en la 4 - u  3/osepk Rogers  JX^'^  jD fluide, detendu  ^  ^  ^  ^  ^  ^  ^  ^ T^P  p 1  ^  —  Vs  ^  ^  j»  ^  ^  ^  ^  ^  ^  erase, poco a poco  ^  ^  TWjO " ^ ^ > />  presser un pen  ""^  a  $ ^ J ^ mp^ p^  p (ralentir)  1  mp  5" ~  ~~ »  5  —  dim. poco a poco  crescendo  Lent, plaintif «h= « e  p espressivo  T  possibili+e d ' a l l e r a la reflexion j A ou a la w e t a m o f p l i o s e ^  (echo)  •—^  LJ  - -  J g J ^ J ^ J I mf^ J ^ J JE^if II  ,1  -  —==mZZZZI  eresc. poco a poco  7WJ0  5  7]  L,_r  i r  uj  11  i  I.  / H p crescendo  i  ralentir  A tempo Plus lent possibility d ' a l l e r a la r e f l e x i o n ~Q an a la m e t a m o r p h o s e B  diminuendo  /*-!  —  /ms expressif 29  ~  —  pp  Lent, plaintif «h= ISO  possibilite  3  diminuendo  d'aller  3  Modere  rnp  -  -  p  mp Plus lent  <T\  ralentir  f7\  yO  Modere  5cr//j pressi '/*  ^  />  ////>  ^  I  1  7/7/"  mp  Jp  mp  r alentir ,—^  -•  P * *»  Oong) 1  mp doux  /A/yO  Lent comme tine recitative  1  /«/'  n>  TW/^  possibili+e d'aller a !'improvisation jA  4:3  chaque section e/ant tine pensee contemplative 4:3  1 il h ,  i  —  f—ttr 1 — :  — 1  l  30  P 1'  iJ—kf—n  lip—itF"—^—*  q*—^J——^ !->  'v ^ ^ |  If 1  f—£  p  :  1  •  *—bv=>  «y  o  ^  Plus lent  — ;d  ,  : i  1  r i p -  ON  >  r  J  ,,y  1  ON  v-*—1  ^TF  K  —  :  O N fang)  ON  possibility d'aller a I ' i m p r o v i s a t i o n 13 o n  Rythmique, mechanique J  •  r  •/  ^ 4 =  .  100  r  hr *  */ *  ip  1 IJ  5  7  ^1° saws accent  3  FN-  • 7  • h 7  5  5  m-  •  7  it"  ^  r ^-^7  Lie.*?  —  jrj  7  'l 2  —  |  5  31  t H  L  -  #  7  ^  _ = j  9-  E  *4 ~  «/  —  5  —  M> *  possibili+e d ' a l l e r a \a r e f l e x i o n C o n I'improvisation C  1  Rythmique, mechanique  f  J= 100  3  v5  3  1?  v  -3—  7  'v  If  HIT jr  1  - r-^J  3  mp sempre  3  v3  5am accent  possibility d'alter a l'anne?<e3B  7 7  possibility d'aller a I'improvisation 7/zp fluide, plus detendu  Lent  «h=  «J  encore plus detendu  I3  J p ralentir  ^3  ^  a77n. poco a poco  Lent, plaintif  J  ^  PP  ^  possibility d'aller a I ' i m p r o v i s a t i o n "DO.  })= m  absolument sans tension 3  J)  =  J) ralentir jusqu'd la fin  dim. al fine 32  I*— pp  3^r=- niente  cresc.  ffif diminuendo  Modere, intense  mp  34  l_e.s mefamorpKoses  *Les notes ayant des kampes dans les deux directions peuvent-etre repetees une seconde fois. ^ou^** »n seul p a s s a g e d'une meme boTte. l  35  wn pew en dehors  JII.IJi U'  B  ON  ^  0^0  •  assourdir  ON  ON  ON  /O  un peu en dehors  ON  assourdir  retoui'nec a la section principale  36  4  'I'  1 ll«=IE  f e t o u m e c a la section principals  37  >  L_es i m p ^ o v i s c r H o r v s  Lent, libre*  *4  Bp  )  7  ttg  1 ~ X  aV/w.  presser graduellement  ; _ _ ralentir  jO crcsc. poco a poco  Tempo I dt  7*2  jD/? sempre  i  mp  IE  cetoumei" a la section principals  H E p diminuendo  *jouer une des notes de I'intervalle ou a c c o r d  *les notes d'un gfoupe pewvent etre j o u l e s dans n'importe quel ovAve. et rythme 38  39  Dl  r-0 JL  —a -j-n v  v  br» ^  ' 1  1"  kn  ^^""p  v , LJ— y \ J "—  retourner a \a section pnncipale  'T^  <0 (long)  D2  retoumer a l<a section pnncipale  40  Modere, fluide, doux  h  ir*  ir* ir*  IS  £3i diminuendo  j0*  ~>  "I  y  fc  PP  fii—n—aw—i— t* 'I—<L-**~£  ?  I  '  . ir*  P  1  1  '  1-  mp ajout facnitatif-  i  3n —  L  PP  jp Sciitpi'6  p-^ZWp  wf diminuendo  P  p sempre ralentir  ON  ON  ON  ? mp  ON  ON  ir*  i f  3E  ?  dim. al fine  "  projeter dans la caisse de rdsov\v\aY\ce du piano (activer la p^dale de  i"^sonnance  avec  im  A tempo  poids avant la performance)  fetotimei  1  a  la  section principals  ;Arme;<e 52  Modere, calme 7\  ^=  •  M i  1  1  •  r — i  — —  mf  mp  r — \ — \ i—l—  mp :> p  9  T? •  mp  absblument satis tension Lent presser  f—l  _  —  mf  +  ^—*—hw - , J -^—4—^  mp ^>  p  £-  mf  A tempo  3 r-  P crescendo poco a poco Lent presser  pp crescendo poco a poco  ff  diminuendo poco a poco  Lent  (long)  EE mp diminuendo alfine  pp 42  fetoMmec ci la section principale  unexe 3;A  jij3W»M^i W ^ ^ f r  E?3  ^  1  J  3  Plus lent  Encore plus lent  P I P S ralentir jusqu'a la fin —  diminuendo al fine  44  —  v  u  *j  ^  '. sec+icm p r i n c i p l e  r e t o f u f i e c  a  \a  Notes  Events joined by a double-pointed arrow ( p are to be simultaneous. A measure line indicates simultaneous beginnings of the gestures immediately following. Note-to-note sequences of events are not intended to be specifically lined up. Tempo indications are to be followed, but precision of vertical alignment for each note is not desired. All metronomic markings throughout are only to be taken as approximations of tempi. Rhythm throughout is to be performed a piacere. o  held note lasting the proportional duration indicated  t  held note (shorter)  •fj 11~ free passages (faster)  fillfreepassages (slower) Whole-rests indicate longer pauses than half-rests, quarter-rests, or eighth-rests; these different notations should not be taken as indicating specific lengths of time. The boxed clarinet passage indicates a passage to be repeated until new materials appear, at which point the performer is asked to proceed immediately to them without necessarily completing the current repetition. The bracketed piano passage indicates a continuing in a manner similar to that presented immediately previous. The ranges for these ad libitum passages are outlined by the bracketed pitches.  n  used as a dynamic (niente). An accelerando or a ritard lasts only the duration of the arrow.  45  Hanblec'eya is an attempted phonetic representation of an Oglala Lak'ota concept which, when literally translated, means "crying for a vision." It is a traditional rite in which the individual in need of a solution to a difficult matter goes through certain specific processes {e.g. fasting, meditation, seclusion) in order to receive a vision. When it presents itself, the vision is revealed to the individual in personal ways; it generally unveils some sort of reply to a problem initially brought forth by the Lak'ota. The native peoples living across the central plains of North America gave the Hanblec'eya a place within their lives that was very important. The Lak'ota, more commonly known as the Sioux, are among the Natives who have managed to retain their cultural beliefs and customs, beliefs and customs that the colonialists/conquerors of the continent had posited themselves above. European and post-European men embarked upon terra incognita throughout the world as self-ordained racial superiors (a belief enforced primarily by militaristic strength) and justified through this doctrine the assaulting/conquering/enslaving of the indigenous peoples encountered in every global region the notion of Manifest Destiny brought them to explore. Nevertheless, in the face of these tyrannies, and in the face of prejudices which still remain as (un)healthy as ever, many of these beliefs and customs have been retained by certain Native peoples, and the Lak'ota are among these. This piece received inspiration from a number of directions; suffice it to say that a stopping at the Pine Ridge Oglala Lak'ota Reservation in South Dakota, where I viewed the site of the Wounded Knee massacre, solidified my decision to work with a consciousness of the above.  46  If) 1  J )  )0  A -  Mir  E "5 fH  PA  I  --}  #  Z4  -•I  tttt  4*  <>=<r  95  09  19  59  99  69  LL  6L  08  Performance Notes  1. Numerals followed by two vertical lines (e.g. 10") are used to indicate an approximate time length measured in seconds. 2. All metronomic markings are only approximations of tempi, and need not be strictly observed. 3. " X " as a time signature implies senza misura. The notes contained therein are to be performed in a tempo determined by the performer. 4. All fermatas without given temporal duration are simply indications of pauses within the flow of the music, and should be performed with a duration the performer finds appropriate. 5. Notes with irregular noteheads {e.g. J ) indicate sound with an absence of pitch. Notes with a "+" sign accompanying them indicate a predominance of percussive key-slaps. The resultant effect should be that of a gradual evolution from pitchless noise in the beginning to actual musical notes and a gradual retrocession from actual musical notes to pitchless sound in the end. This pitchless noise may be produced by covering the embouchure hole and fingering the notes normally. 6. Smaller notes (i.e. grace notes) are to be played quickly and fluidly while retaining the integrity of each individual note. 7. The whole of the piece should be performed a piacere by the flutist. All rhythmic elements are to be interpreted as relative lengths of duration. Ligatures, subdivisions of notes and the like indicate absolutely no conception of pulse or accent. They are only used to facilitate reading.  82  for Mark McGregor  Plane for Flute, A l o n e Joseph Rogers  ila 'S  -  12  Flute  5"  10"  5"  pp  3"  0\  I  1  4-  4"  5" <TS -  ON  =#=  /Hp  J. -44  J?  -x  mp mf  -44  1  -44  p poco a poco crescendo  5  69  J  T =  J>  -4<  :  x  -44  p poco a poco crescendo  5  accelerando  g  -44  7H/  |  U  3  P  >^  J  44  -44  mp  >  3  <a  -t—  !L  1,1 1  ~ -  is—* v — =^4—  L_  ^  83  1>(  poco a poco accelerando  poco a poco crescendo gradual evolution to ordinary notes  |  p  . l i p p ^ h p y ^  ^ N p p ^ y ^ f c l ^ ^ j ^  .ilpg^yfa. y^ f  poco a poco ritard /^p  >  ~  k  ir^  -  ir*  ir*-  „  poco a poco diminuendo  4*  A, -fttr  &t  b**—  =  1  1 — i  2  i  P  v  #  i /ZZjD espressivo  ^SM==  =  1  1JO-  't  —ip-  c  If  - h =  mf  1-  P m  *i  7  84  7  bm  P' : •  j4rnr—^  vastly, openly, boundlessly  rT\  r-r\  ^TN  I  r\ i,  <T\ M °  rr\  rT\  t„  n  l  -13  P a piacere  1 = 58 rubato  H»|»» 2 p cantabile, recitative-like  irr^riF^S—  Q>  ^  *  'T T r O  , t I" \ '  ^ >—>—V * 7?  • U-r»U  <Ts.  ON  ^  —  «^=«  1  v  mp espressivo  mf  8 5  ^  *  : JfO  jt> o piacere  *~  S-  a piacere  d= 7 2  ^—^—A 1 |  tfr-^iLfljiij  poco a poco rita \rd -ft*  IT  poc< ya, poco dminuendo  -f 4 poco a poco ritard  •.jhJi^nJgj  *h  YT'T'TT^  ' =  i"r"rv«r»rrV'r r ^ ^ ^ ^ l|  gradual retrocession to percussive notes  86  i  pp  87  diminuendo al niente  for Tempest Winds  WOODWIND QUINTET /  •  I  (J"  1 0 0  )  •  1  ':  J o s e p h Rogers  88  89  90  91  94  97  140  98  99  100  II Slow (J=54)  101  poco accel.  P poco at.  dim. al niente a tempo  cresc.  102  103  105  "^P  235  4 U  :  23S  ^  i ~  235  :  i*—t"  alfine  i — — — r4 1  .— =  1  i  ^  dim. alfine 4  ,  i -  "i  ^  j  n  J  •  j  '  dim. alfine i  •mp  235  •J-  •—  -i  i  —  i  ,  Iph  1  rvi  <J~  dim. alfine  J^ "^P  i  |jj t#iz;.  alfine  106  •  =  1  Ill  96 -4  109  110  Ill  113  P delicato  P dellcato  EE f  Peres  =5  7350  116  owe  117  118  I — p —  fay?  i  >  119  >•  >•  f r tf  Is  Tempo I  J>=74  cresc. aiflne  -"^cresc. alfine  /"?>  y  -1  <;r<?^c a/fine  s  I  crewc alfine  «zr csprcss.  ,.y 120  CTWC  alfine  iff—ifJf  cresc.  JJJ  ">•  ^=1  cresc.  JJJ  mm fffi  jjf  p 121  THE UNIVERSITY OF BRITISH COLUMBIA SCHOOL OF MUSIC Recital Hall Sunday, May 12, 1996 8:00 p.m. GRADUATE RECITAL* J O S E P H R O G E R S , Composer  Second Sonata for Bassoon and Piano Slow and vast Fast Slow Fast Tracie Pybas, bassoon Leslie Dala, piano  L'etre-en-soi, retre-pour-soi L'etre-en-soi L'etre-pour-soi a. Les reflexions b. Les mdtamorphoses c. Les improvisations d. Annexe 1 e. Annexe 2 f. Annexe 3A, 3B Caroline Gauthier, clarinet  Mechanism for Horn, Alone Marcia Tidey, horn  Hanblec'eya Karen Noel-Bentley, clarinet Laura McPheeters, violoncello Leslie Dala, piano  Plane for Flute, Alone Mark McGregor, flute  Woodwind Quintet Fast Slow Fast  The Tempest Winds: Mark McGregor, flute Peter Gal, oboe Caroline Gauthier, clarinet Marcia Titley, horn Tracie Pybas, bassoon  * In partial fulfillment of the requirements for the Masters of Music degree with a major in Composition.  


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