Doctoral Recital: 2014-04-16 - Daniel Pardo, flute
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- Gluck: Menuet and Dance of the Blessed Spirits for flute and string quartet 0:05:56
- J.S. Bach: Suite in C minor, BWV 997, I. Preludio 0:03:01
- J.S. Bach: Suite in C minor, BWV 997, II. Fuga 0:04:57
- J.S. Bach: Suite in C minor, BWV 997, III. Sarabande 0:04:34
- J.S. Bach: Suite in C minor, BWV 997, IV. Gigue- Double 0:05:29
- Debussy: Syrinx pour fl�te seule 0:02:45
- Koechlin: �pitaphe de Jean Harlow, Opus 164 0:03:38
- Mozart: Quartett in C Major, K.285b, I. Allegro 0:06:04
- Mozart: Quartett in C Major, K.285b, II. Thema und Variationen, I-IV (Andantino), V (Adagio), VI (Allegro) 0:10:37
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College of Music Program Book 2013-2014: Student Performances, Volume 2 (Book)
Student performances program book from the 2013-2014 school year at the University of North Texas College of Music.
Program: https…
Expansion of Musical Styles, Function of Texture, and Performing Techniques in Brian Lock's Sonic Archaeologies No. 1: A Performance Guide (Thesis or Dissertation)
British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Witold Lutoslawski in his innovative works for instrumental sounds and electronics. His most recent work for flute, Sonic Archaeologies No.1, was premiered at the University of North Texas by Mary Karen Clardy, flute; Brian Lock, piano/electric keyboard; and Daniel Pardo, laptop/live mixing. The purpose of this dissertation is to provide flutists with artistic and technical guidance in preparing this work for flute, prerecorded orchestra, interactive electronics and improvisatory accompaniment. Sonic Archaeologies No. 1, a piece in five movements (Black Rain, Psychomania, Kodo, Susperia, and Deep in the Machine), incorporates contemporary techniques to create sounds other than the Western concert flute, with the use of live reinforcement devices such as microphones and time-based audio effects within a D.A.W. (Digital Audio Workstation.) Reggae, Hip-Hop and cinematic styles are juxtaposed within the work, fusing current genres with traditional rhythmic forms like the ones found in a bourrée. As the solo instrument, flute provides more textural than melodic elements, and the performer is required to interact with an unpredictable sonic soundscape as a result of the improvisatory element of the keyboards and computer. The notation of Sonic Archaeologies No.1 invites interpretation blending and altering traditional sounds through microphones and a processed signal flow. The performance guide will address acoustical considerations when the flute sound is being manipulated by dynamic and time-based processors in live performance; the interaction between the flute, electronics and acoustic spaces; the elements of sound production that provide interpretation of contemporary popular styles; and the opportunities for the performer to find, explore and develop artistry beyond the limitations of music notation.
Expansion of Musical Styles, Function of Texture, and Performing Techniques in Brian Lock's Sonic Archaeologies No. 1: A Performance Guide - ark:/67531/metadc849630
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Doctoral Recital: 2014-04-16 - Daniel Pardo, flute, audio recording, April 16, 2014; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc802219/: accessed May 14, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT Music Library.