"Arts, Faculty of"@en . "Music, School of"@en . "DSpace"@en . "UBCV"@en . "Rogers, Joseph Earl"@en . "2009-02-10T23:49:01Z"@en . "1996"@en . "Master of Music - MMus"@en . "University of British Columbia"@en . "This thesis is a compilation of the six compositions performed at The University of\r\nBritish Columbia, Recital Hall, May 12, 1996, in partial fulfillment of the requirements for\r\nthe degree of Master of Music, with an emphasis in Composition.\r\nSecond Sonata for Bassoon and Piano was written for performed by Tracie Pybas on\r\nbassoon, with Leslie Dala on piano.\r\nMechanism for Horn, Alone was written for and performed by Marcia Titley.\r\nL'etre-en-soi, I'etre-pour-soi was written for and performed by Caroline Gauthier,\r\nclarinet.\r\nHanblec'eya was written for and performed by Karen Noel-Bentley, clarinet, Laura\r\nMcPheeters, violoncello, and Leslie Dala, piano.\r\nPlane for Flute, Alone was written for and performed by Mark McGregor.\r\nWoodwind Quintet was written for and performed by Tempest Winds: Mark\r\nMcGregor, flute; Peter Gal, oboe; Caroline Gauthier, clarinet; Marcia Titley, horn; Tracie\r\nPybas, bassoon.\r\nPerformance notes, where applicable, proceed the scores."@en . "https://circle.library.ubc.ca/rest/handle/2429/4427?expand=metadata"@en . "7264955 bytes"@en . "application/pdf"@en . "MUSIC COMPOSITION RECITAL by JOSEPH EARL ROGERS B.Mus., Oklahoma City University, 1994 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR T H E DEGREE OF MASTER OF MUSIC in F A C U L T Y OF GRADUATE STUDIES School of Music We accept this thesis as conforn^ing to the/^uj^cVsTja/dard^ THE UNIVERSITY OF BRITISH COLUMBIA May 1996 \u00C2\u00A9Joseph Earl Rogers, 1996 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Sc A\u00C2\u00AB# / MA \u00E2\u0080\u00A2DepJitniem of / /y\u00C2\u00ABt~> The University of British Columbia Vancouver, Canada Date DE-6 (2/88) 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 C O N T E N T S 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 * hi i '\u00E2\u0080\u0094\ 34 1- \u00C2\u00BB= 10 11 f diminuendo poco a poco 92 | d\u00E2\u0080\u0094 itj- j - 7 *\" i \u00E2\u0080\u0094 = \u00E2\u0080\u0094 = ' j ; a -ii q\u00C2\u00AB 10 \u00E2\u0080\u0094i\u00E2\u0080\u0094\- \u00E2\u0080\u00A2 K* y ' \u00C2\u00BB \u00E2\u0080\u00A2 -8 4-100 hiit >\u00E2\u0080\u00A2 V \" -0* * >\u00E2\u0080\u00A2\u00E2\u0080\u0094 i h , \u00C2\u00AB>,r .ate \u00C2\u00A7\u00E2\u0080\u0094n PT^ \u00E2\u0080\u0094 ; 100 *>:<'. > , J \u00E2\u0080\u00A2 \u00E2\u0080\u00A2 crescend * \u00E2\u0080\u0094 3 al fine i-ft \u00E2\u0080\u0094g-g\u00E2\u0080\u0094 k+-ttJ uj\u00E2\u0080\u0094hrd\u00E2\u0080\u0094 -b--+ ^ s \u00C2\u00BB * * * ft\u00E2\u0080\u00A2 i* l]J ' j ' 7 V 7 7 | 4 106 106 -in\u00E2\u0080\u0094lv-pr\u00E2\u0080\u0094r-H * < J I 1 ' *\" ' \" > / ** *f ) \u00E2\u0080\u00A2 crescendo al fine 106 L7-T-> ~fi 1 ' 1 ' ' \u00E2\u0080\u00A25 L \u00E2\u0080\u00A2? > \u00E2\u0080\u00A2 1 ' 1' 3 - ^ H : \u00E2\u0080\u0094 \u00E2\u0080\u0094 1 \u00C2\u00AB V \u00E2\u0080\u0094 L - * H -2 1 L 1 2 poco rallenlando 13 1 4 1 5 3 F 4 JCT3 ^SJgp L 'i '11 * *f */ \"*r^ i* i-^-r\u00E2\u0080\u0094^ . trr f7 \u00E2\u0080\u00A2 -S\u00E2\u0080\u0094K ' ' 7 - - J \u00E2\u0080\u0094 M \u00E2\u0080\u0094 l \u00E2\u0080\u0094 2o crescendo ' j | mf \u00E2\u0080\u0094 \u00E2\u0080\u0094 -fl__y__L_L_? \u00E2\u0080\u0094 \u00E2\u0080\u009E \u00E2\u0080\u0094 \u00C2\u00AB , \u00E2\u0080\u0094 i ? \u00C2\u00A3 \u00E2\u0080\u0094>-. v, \"-7 i r \u00E2\u0080\u0094 ^ f \u00E2\u0080\u0094 i \u00E2\u0080\u0094 \u00E2\u0080\u0094 \u00E2\u0080\u0094 \u00E2\u0080\u00A2 - P \u00C2\u00AB _ J _ J L J =* * hfl 16 / H - r - ' \" \u00E2\u0080\u0094 r 'i 3 f f * 4& 8 T\u00E2\u0080\u0094J\u00C2\u00BB H ; 7 7 -* ////\u00E2\u0080\u00A2 R \u00C2\u00AB J L J ^ \u00E2\u0080\u0094 i ^ w . crescendo #v ! \u00E2\u0080\u0094 -^-f-^r 28 v. v. > \u00E2\u0080\u0094 j g t v r * \u00E2\u0080\u0094 hJ\"fal\u00C2\u00BBb.rtr= r - P 28 , rr*i i \u00E2\u0080\u0094 i \u00E2\u0080\u0094 i \u00E2\u0080\u0094 r \" T \u00E2\u0080\u00A271 f mf Si *i bm \u00E2\u0080\u0094 I n _ n _ | \u00E2\u0080\u0094 N - m \u00E2\u0080\u0094 * - a \u00E2\u0080\u0094 * h\u00C2\u00A5 crescen i s . \u00E2\u0080\u00A2 \u00E2\u0080\u0094t-4\u00E2\u0080\u0094 J\u00E2\u0080\u0094j-. \u00E2\u0080\u00A2 OTp crescendo 33 1 \u00C2\u00BB 3 i i TH^1 2Bj0 diminuendo P JLb 7 7 ^ crescendo mf ^ _ 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 Plaintive play into piano Joseph Rogers P 2 J^H f a piacere sempre diminuendo PP PP P ^~ \u00E2\u0080\u0094 , ^ ^ a little slower i i | j iifV^f'if W ' r V i r i - n i j I i i i i i f = = ^ w W J a - L J L J J J ^J ^ W j V V t M W v - ^ i crescendo mp diminuendo P p PP i jfJ- ^ I M M 1 i i i i r i ^ (long) 1* /> ^echo) Z^*PP P c r e s c e n d o Poco a Poco mf dim. mp /*\"\u00C2\u00AB/! ikm.: nting \u00E2\u0080\u0094 1 tial'r-\u00E2\u0080\u0094h\u00C2\u00AB. L - . h\u00C2\u00AB mj. > cresc. \u00E2\u0080\u0094 3* H V \u00C2\u00BB \u00E2\u0080\u0094Rfi-^j/* diminuendo /wore in time ritard a tempo JO W / > ritard ^ ^ ^ff ^ gradually turning away from piano mp <^ mf poco accelerando poco ritard ^ 3 ^ ^J hi J^ diminuendo P 25 poco accelerando poco ritard piK-o accelerando poco ritard T l < v ' H ^ J y l l J l very slow (long) ijJ t>J u ^ J i j g 5 77/p crescendo poco a poco a little faster y diminuendo P Wp dim. p dim. PP JO growing in intensity poco a poco t detente completely away from piano faster, more intensely 3= \ \u00C2\u00BB h J V J J ini I,J j J i|J 'i J_ ? r \"r j i J J >J ii \u00E2\u0080\u00A2/Hp crescendo poco a poco h -\u00C2\u00BB4[ r l T l M r \u00C2\u00AB7 h FFF= i / mfget ion? 5 My eriotis ^\u00E2\u0080\u0094 accel. a tempo ZZ__ae__Zi ,\u00E2\u0080\u0094, \u00E2\u0080\u0094- \u00E2\u0080\u00A2\u00E2\u0080\u0094\u00E2\u0080\u00A2a^p-f-f, \u00E2\u0080\u0094\u00E2\u0080\u0094 + fast 8^ jjJ ^ ^ J f t J U ^ J ^ L J j \"C j\u00C2\u00A3T demandingly 26 rallentando J (long) (long) moderately poco accelerando a tempo f Wp growing relaxed 1 b* 1 /joco ritard F ooco /-/'tore/ #tempo O N gradually turning to the piano a little slower _ LL2 i I \u00C2\u00AB r | O N p mp lamenting O N , O N P \u00C2\u00AB////? crescendo mp \u00C2\u00A9 p moito espressivo al fii O N play into piano slower, fluidly olto espre sivo al fine ^ \u00E2\u0080\u00A2 T - \" f \u00E2\u0080\u0094 \u00E2\u0080\u0094 \u00E2\u0080\u0094 \u00E2\u0080\u0094 p \u00E2\u0080\u0094 \u00E2\u0080\u0094 \u00E2\u0080\u0094 \u00E2\u0080\u0094 a //'tt/e slower O N O ? O N O N as a/ beginning O N O N very JT/WW, a / i . . j s i i r ' t p l | f 1 (long) O N , O N /jot'o accelerando poco ritard p dim. al fine 27 d-e-We. piece est divisee en deux parties. J_a primiere/ \"L eke-en-soi\", est, pout* la majeure partie, tees sp^cifique; la deujdeme, \"i_'etre-pour-soi\"/ consiste en quatce differences sections qui offrent plus de liberte. Dans \"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 \u00C2\u00A3tre jouees a n'importe quel tempo. Dans \"L-'etre-en-soi\", les barres de mesure sont utilisees pour faciliter la lecture; elles n'indiquent auciAy\e. division de la pulsation. 28 j L / e t ^ e - e . K - s o i y I ' e t r e - p o u ^ - s o i pour clarinet+e seule Lent, plaintif \u00C2\u00ABh= 3/osepk Rogers C-larinet+e en la 4 - u J X ^ ' ^ jD fluide, detendu Vs\u00E2\u0080\u0094 ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ T^ P j\u00C2\u00BB erase, poco a poco TWjO \" ^ ^ > /> presser un pen p ^ a \"\"^ 5\" ~ ~ ~ \u00C2\u00BB 5 \u00E2\u0080\u0094 - - -1 $ ^ J ^ ^ ^ 1 J g J ^ J ^ J I ^ J ^ J JE^if p (ralentir) mp p mp crescendo mf dim. poco a poco I I possibili+e d 'a l ler a la reflexion jA ou a la w e t a m o f p l i o s e ^ Lent, plaintif \u00C2\u00ABh= \u00C2\u00AB e (echo) p espressivo \u00E2\u0080\u00A2\u00E2\u0080\u0094^ \u00E2\u0080\u0094 = = m Z Z Z Z I 7WJ0 ere sc. poco a poco , 1 T L J 7] L,_r i r i 11 uj I. 5 ralentir A tempo i Plus lent / H p crescendo diminuendo /*-! \u00E2\u0080\u0094 ~ \u00E2\u0080\u0094 /ms expressif 29 possibility d 'al ler a la reflexion ~Q an a la metamorphose B pp Lent, plaintif \u00C2\u00ABh= ISO 3 3 diminuendo p o s s i b i l i t e d ' a l l e r Modere rnp - - p mp ralentir /\u00C2\u00AB/' mp Modere 5cr//j pressi '/* r alentir ,\u00E2\u0080\u0094^ Oong) ^ I ^ 1 -\u00E2\u0080\u00A2 1 P * *\u00C2\u00BB /> ////> 7/7/\" /A/yO p o s s i b i l i + e d ' a l l e r a ! ' i m p r o v i s a t i o n j A mp doux Lent comme tine recitative 4:3 mp chaque section e/ant tine pensee contemplative 4:3 1 Jp 1 il h , i \u00E2\u0080\u0094 f\u00E2\u0080\u0094ttr i J \u00E2\u0080\u0094 k f \u00E2\u0080\u0094 n l i p \u00E2\u0080\u0094 i t F \" \u00E2\u0080\u0094 ^ \u00E2\u0080\u0094 * 1 \u00E2\u0080\u0094 1 \u00E2\u0080\u0094 : P q * \u00E2\u0080\u0094 ^ J \u00E2\u0080\u0094 \u00E2\u0080\u0094 ^ If f \u00E2\u0080\u0094 \u00C2\u00A3 1 l 1' !-> 'v ^ ^ | 1 p : \u00E2\u0080\u00A2 3 0 * \u00E2\u0080\u0094 b v = > , : i r > T^F v - * \u00E2\u0080\u0094 1 \u00C2\u00AB y ^ o \u00E2\u0080\u0094 ; d 1 r i p - J 1 , , y K \u00E2\u0080\u0094 : Plus lent O N O N O N O N fang) p o s s i b i l i t y d ' a l l e r a I ' i m p r o v i s a t i o n 13 o n Rythmique, mechanique J 100 \u00E2\u0080\u00A2 r \u00E2\u0080\u00A2/ . r h */ * r * ^ 4 = ip 5 1 IJ 7 ^1\u00C2\u00B0 saws accent FN- 3 \u00E2\u0080\u00A2 m- 5 ^ # 1 7 7 \u00E2\u0080\u00A2 it\" 7 jrj 7 ^ _ = j \u00E2\u0080\u00A2 h r 'l 9- *4 \u00C2\u00AB/ M> 5 7 ^-^7 Lie.*? \u00E2\u0080\u0094 2 \u00E2\u0080\u0094 | t H L -5 E ~ \u00E2\u0080\u0094 \u00E2\u0080\u0094 * 5 p o s s i b i l i + e d ' a l l e r a \a r e f l e x i o n C o n I ' i m p r o v i s a t i o n C 31 Rythmique, mechanique J= 100 3 f 3 v 5 -3\u00E2\u0080\u0094 1 ? 7 'v HIT jr1 If - J r - ^ -3 3 mp sempre 5am accent v3 7 7 possib i l i ty d 'a l te r a l 'anne? L_es i m p ^ o v i s c r H o r v s Lent, libre* *4 ) 7 ttg ~ X 1 Bp presser graduellement ; _ _ ralentir aV/w. jO crcsc. poco a poco Tempo I 7*2 dt IE jD/? sempre mp i H E cetoumei\" a la section principals p diminuendo *jouer une des notes de I'intervalle ou accord *les notes d'un gfoupe pewvent etre joules dans n'importe quel ovAve. et rythme 3 8 39 Dl r-0 ' ^ ^ \" \" p JL \u00E2\u0080\u0094a br\u00C2\u00BB 1 v , LJ\u00E2\u0080\u0094 - j -n ^ kn y \ J \"\u00E2\u0080\u0094 v v 1\" 'T^ retourner a \a section pnncipale D2 <0 (long) retoumer a l \" I y ' I ? f t * ' I \u00E2\u0080\u0094 < L - * * ~ \u00C2\u00A3 1 1 ' 1 -ii\u00E2\u0080\u0094n\u00E2\u0080\u0094aw\u00E2\u0080\u0094i\u00E2\u0080\u0094 mp i ajout facnitatif-3 n \u00E2\u0080\u0094 L jp Sciitpi'6 PP p-^ZWp P wf diminuendo p sempre ralentir A tempo ON O N O N ir* O N ? i f ? O N 3E f e t o t i m e i 1 a la section principals mp dim. al fine \" projeter dans la caisse de rdsov\v\aY\ce du piano (activer la p^dale de i \" ^ s o n n a n c e avec i m poids avant la performance) ;Arme; p mp mf mp ^> p mf Lent presser _ A tempo 3 r-P crescendo poco a poco Lent presser pp crescendo poco a poco ff diminuendo poco a poco Lent (long) mp diminuendo al fine EE fetoMmec ci la section principale pp 4 2 unexe 3;A J 1 ^ E?3 jij3W\u00C2\u00BBM^i W ^ ^ f r 3 Plus lent Encore plus lent P I P S ralentir jusqu'a la fin diminuendo al fine \u00E2\u0080\u0094 v u r e t o f u f i e c a \a \u00E2\u0080\u0094 *j ^ '. sec+icm pr inc ip le 4 4 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) \u00E2\u0080\u00A2fj 11~ free passages (faster) fill free passages (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 Mir --} Z 4 -tttt f H # 4* If) 1 )0 A -E \"5 PA J ) I -\u00E2\u0080\u00A2I <>=( 'S12 =#= pp / H p J. J? mp mf -x1 -44 -44 -44 p poco a poco crescendo 69 5 T = J> J x -4<: -44 p poco a poco crescendo 5 accelerando g -44 7H/ | 3 U J >^ -44 44 P mp is\u00E2\u0080\u0094* v \u00E2\u0080\u0094 !L-t\u00E2\u0080\u0094 1 ^ L_ = ^ 4 \u00E2\u0080\u0094 83 poco a poco accelerando poco a poco crescendo gradual evolution to ordinary notes | p . l i p p ^ h p y ^ . i l p g ^ y f a . f y ^ ^ N p p ^ y ^ f c l ^ ^ j ^ /^p > k ~ ir^ - ir* \u00E2\u0080\u009E poco a poco ritard ir*-poco a poco diminuendo 4* 2 \u00E2\u0080\u0094 i ^ S M = = \u00E2\u0080\u0094ip- c 1 1 i = If - h = P mf A, - f t t r = b * * \u00E2\u0080\u0094 v # 1 J O - 1 - m *i b m \u00E2\u0080\u00A2 j4rn r\u00E2\u0080\u0094^ &t 1 i ' t P 7 7 'P : /ZZjD espressivo 84 vastly, openly, boundlessly rT\ T^N r-r\ r\ \u00E2\u0080\u0094>\u00E2\u0080\u0094 V ^ * : *~ 'T T r 7 ? * J f O S-jt> o piacere Q > ^ O ^ O N >\u00E2\u0080\u00A2 >\u00E2\u0080\u00A2 fay? f r tf 119 Is J>=74 Tempo I cresc. aiflne -\"^cresc. alfine /\"?> y <;r\u00E2\u0080\u00A2 cresc. JJJ mm jjf p f f f i 121 THE UNIVERSITY OF BRITISH COLUMBIA SCHOOL OF MUSIC Recital Hall Sunday, May 12, 1996 8:00 p.m. G R A D U A T E R E C I T A L * JOSEPH ROGERS, 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. "@en . "Includes sound cassette."@en . "Thesis/Dissertation"@en . "1996-05"@en . "10.14288/1.0087134"@en . "eng"@en . "Music"@en . "Vancouver : University of British Columbia Library"@en . "University of British Columbia"@en . "For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use."@en . "Graduate"@en . "Music composition recital"@en . "Text"@en . "http://hdl.handle.net/2429/4427"@en .