Music 2026 Northwest Horn Symposium Performance and Presentation ‡ The CWU Horn Club: Ellie Brower, Quentin Chamberlain, Alex Coon, Chone Ewell, Jordyn Gribble, Eamon Hill, Lucy Jacky, Logan Ottak, Joshua Quintana, Tori Seward, Jaeden Tellvik, Remi Vasquez Project Mentor(s): Jeffrey Snedeker, DMA The Central Washington University Horn Club recently performed at the 2026 Northwest Horn Symposium, hosted by the Northwest Horn Society from April 10–12, 2026. The CWU Horn Ensemble featured 13 members led by mentor Dr. Jeffrey Snedeker. The program includes a varied repertoire that stretches both the individuals and the ensemble as a whole. The concert opens with Echo by Hans Leo Hassler, arranged by Verne Reynolds, featuring sounds that seem to answer one another across the group, creating a reflective and spacious opening. This piece is followed by Procession of the Nobles by Nikolai Rimsky-Korsakov, arranged for horn ensemble by James Emerson, which provides a strong, ceremonial contrast. The middle of the program features two modern works. Aileron by James Naigus emphasizes motion and energy, followed by Hornplayers Retreat and Pumping Song by David Stanhope, which begins quietly and mysteriously before ending in a loud celebration. The concert concludes with Tres Sabores de Mexico by Gina Gillie, a three-movement work inspired by Mexican musical styles and traditions, combining rhythmic vitality, lyrical moments, and strong contrasts in character. Throughout the performance, student conductors Lucy Jacky, Eamon Hill, and Tori Seward each lead one piece, giving the audience an opportunity to experience how leadership influences ensemble performance. The ensemble has rehearsed this repertoire throughout the academic year and Expanding the Drummer’s Role in Jazz: An Analysis of Paul Motian’s Drumming on Sunday at the Village Vanguard Gabriel Espitia Project Mentor(s): Keith Karns, DMA The foundations of jazz drumming are often described as (1) steady quarter notes on the ride cymbal, (2) hi-hat on beats two and four, and (3) bass drum and snare drum comping (Riley, 1994), (Erskine, 2004). While this approach is essential for the fundamentals of drumming, it doesn’t adequately describe what drummers do when they break away from conventional approaches. One drummer who is known for doing this is Paul Motian. Motian's work in the Bill Evans Trio helped to redefine how a rhythm section could sound and interact (Pettinger, 2002). There has been a lot of work on the Bill Evans Trio that has provided analysis on the trio’s unique approach. Scholars such as Keith Shadwick, Terry Macdonald, and Peter Pettinger have helped to provide a better understanding of how the group functions as a whole (Shadwick, 2002), (MacDonald, 2020), (Pettinger, 2002). While this is essential literature for understanding the trio, we could shed more light on Motian's role in this music. This paper shows some ways that Motian was able to innovate jazz trio drumming through an analysis of Motian’s drumming in relation to Bill Evans and Scott LaFaro from Sunday at the Village Vanguard (Evans, 1961). Rather than simply “keeping time,” Motian provides essential accompaniment, which lays down the foundation for the group. This can be heard in the (1) hi-hat, (2) ride cymbal, and (3) bass and drum hookup. This research helps to provide an expanded concept of jazz drumming and interaction inside the rhythm section. also performed and attend the full Northwest Horn Symposium. Presentation Type: Performance (May 21, 1:00pm–2:00pm) Keywords : Horn, varied repertoire SOURCE Form ID: 176
Presentation Type: Poster Presentation (May 21, 9:30am–3:00pm) Keywords: Jazz Improvisation, Interaction, Innovation, Musical SOURCE Form ID: 19
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