Presenter Biography

Dr. Mark Dal Porto has had his works performed by many different instrumental and vocal ensembles in the US and abroad. His numerous commissions include those from the Orchestra of Southern Utah, the College Orchestra Directors Association, and the Pemigewasset Choral Society of New Hampshire.

Dal Porto serves on the faculty of Eastern New Mexico University as professor of music and coordinator of Music Theory and Composition and frequently serves as a guest composer and conductor. A former student of Donald Grantham, Dal Porto received degrees from California State University, Sacramento, and the University of Texas at Austin.

In 2015, Dal Porto was awarded certificates of excellence in band, choral, and orchestral composition from The American Prize organization. He was also awarded first prize in the CODA (College Orchestra Director’s Association) 2013 International Composition Contest for his orchestral work Song of Eternity.

Oboist Dr. Tracy Carr, a founding member of Trio Encantada, is active as a soloist, chamber musician, orchestral musician & clinician. Her performance and presentation venues include the IDRS International Conference, the CMS National & International Conferences & the Hawaii International Arts and Humanities Conference. She has also presented recitals at Texas Tech University, West Texas A & M University, Abilene Christian University, Hardin-Simmons University, the UT-Brownsville, the University of Southern California, Chapman University, Chicago State University, Southern Utah University, several SCI conferences, and the Sichuan Conservatory of China. Her articles on performance and pedagogy have been published in the NACWPI Journal, the IDRS Journal, the NM Music Educator’s Magazine, and The Instrumentalist magazine among others. Tracy has also authored three book chapters and is Professor of Double Reeds and Music History at Eastern New Mexico University and Immediate Past President of the College Music Society Rocky Mountain Chapter.

Presenter Photo

https://www.dropbox.com/sh/yn2xr8z3gkwpeox/AAD-FPuKY9unzPG3npVNUxlda?dl=0

Document Type

Lecture Recital

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Start Date

10-11-2018 1:00 PM

Abstract

The breadth of contemporary music includes an expansion of harmonies, genres, instrumentation, and techniques. With all these options available today, many composers still feel it is important to connect with the audience on a personal and expressive level. The submitted piece Romance for Oboe and Piano attempts to do just that.

Romance features post-tonal materials of modern compositional writing. Some of the compositional techniques included in Romance are octatonicism, more complex chord structures, pandiatonicism, modal, pentatonic, and whole tone scales. At the beginning of Romance, the piano and oboe are treated as two separate entities but as the work progresses, they gradually merge together into a warm, fervent, and unbreakable relationship. To take it a step further, and on a more personal note, this piece is a declaration of my love for my wife (and oboist) Tracy.

Many composers of the 19th–century (the “Romantic” period) sought to create strong emotional bonds with their audience. The desired end result of Romance is one in which materials of modern composition coalesce into a unique, cogent musical work exhibiting the same emotive and impassioned feelings frequently found in music of the “Romantic” era.

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Keywords:

Connection

Communication

Emotive

Included in

Composition Commons

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Nov 10th, 1:00 PM

Romance for Oboe and Piano

The breadth of contemporary music includes an expansion of harmonies, genres, instrumentation, and techniques. With all these options available today, many composers still feel it is important to connect with the audience on a personal and expressive level. The submitted piece Romance for Oboe and Piano attempts to do just that.

Romance features post-tonal materials of modern compositional writing. Some of the compositional techniques included in Romance are octatonicism, more complex chord structures, pandiatonicism, modal, pentatonic, and whole tone scales. At the beginning of Romance, the piano and oboe are treated as two separate entities but as the work progresses, they gradually merge together into a warm, fervent, and unbreakable relationship. To take it a step further, and on a more personal note, this piece is a declaration of my love for my wife (and oboist) Tracy.

Many composers of the 19th–century (the “Romantic” period) sought to create strong emotional bonds with their audience. The desired end result of Romance is one in which materials of modern composition coalesce into a unique, cogent musical work exhibiting the same emotive and impassioned feelings frequently found in music of the “Romantic” era.