4 10 296 Musical Work / Ouvrage musical Instrumentation flute / flûte Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Crepuscule d'une nuit d'ete Description An account of the resource On 19 April 1924, Coleridge-Taylor married Harold Dashwood, in the Croydon parish church. She initially composed and conducted using her first name and maiden surname. After their divorce she dropped her first name, thereafter going as Avril Coleridge-Taylor professionally.[2] In the 1930s she was living at The Studio, 4A Hill Road in St John's Wood.[3] Coleridge-Taylor was invited on a tour of South Africa in 1952, during the period of apartheid,[4] arriving on the inaugural flight of the Comet jet from Croydon to Johannesburg.[5] Originally she was supportive of, or neutral to the South African apartheid system; she was taken as White and was mostly White-European in ancestry.[6] When the South African government learned that her father was not White (being biracial, he would have been considered Coloured under its system), it denied her work as a conductor and composer.[7] Creator An entity primarily responsible for making the resource Avril, Coleridge-Taylor Source A related resource from which the described resource is derived https://www.google.com/url?q=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0002020013&amp;sa=D&amp;source=editors&amp;ust=1704682164956274&amp;usg=AOvVaw2AGJX1wN1ds75aBya2fGam Format The file format, physical medium, or dimensions of the resource 0-10 minutes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1950-1999 Musical Work / Ouvrage musical Instrumentation flute / flûte oboe / hautbois clarinet / clarinette bassoon / basson horn / cor Ensemble Type ensemble Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Tzigane Description An account of the resource Tzigane is a high-charged, passionate journey through Eastern Europe, by way of the Romani. Creator An entity primarily responsible for making the resource Coleman, Valerie Date A point or period of time associated with an event in the lifecycle of the resource 2011 Format The file format, physical medium, or dimensions of the resource 0-10 minutes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2000- Musical Work / Ouvrage musical Instrumentation flute / flûte oboe / hautbois clarinet / clarinette bassoon / basson horn / cor Ensemble Type ensemble Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource speech. and canzone Creator An entity primarily responsible for making the resource Coleman, Valerie Source A related resource from which the described resource is derived <a href="https://www.vcolemanmusic.com/works.html">https://www.vcolemanmusic.com/works.html</a> Date A point or period of time associated with an event in the lifecycle of the resource 2002 Format The file format, physical medium, or dimensions of the resource 10-20 minutes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2000- Musical Work / Ouvrage musical Instrumentation flute / flûte oboe / hautbois clarinet / clarinette bassoon / basson piano Ensemble Type ensemble Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Red Clay and Mississippi Delta Description An account of the resource Program Note from the composer: Red Clay is short work that combines the traditional idea of musical scherzo with living in the South. It references the background of my mother's side of the family that hails from the Mississippi delta region. From the juke joints and casino boats that line the Mississippi river, to the skin tone of kinfolk in the area: a dark skin that looks like it came directly from the red clay. The solo lines are instilled with personality, meant to capture the listener’s attention as they wail with “bluesy” riffs that are accompanied (‘comped’) by the rest of the ensemble. The result is a virtuosic chamber work that merges classical technique and orchestration with the blues dialect and charm of the south. Creator An entity primarily responsible for making the resource Coleman, Valerie Source A related resource from which the described resource is derived <a href="https://www.vcolemanmusic.com/store/p1/Red_Clay_%26_Mississippi_Delta_for_Wind_Quintet_Full_Set_%28Score_and_Parts_-_Digital_Download%29.html">https://www.vcolemanmusic.com/store/p1/Red_Clay_%26_Mississippi_Delta_for_Wind_Quintet_Full_Set_%28Score_and_Parts_-_Digital_Download%29.html</a> Format The file format, physical medium, or dimensions of the resource 0-10 minutes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2000- Musical Work / Ouvrage musical Instrumentation flute / flûte oboe / hautbois clarinet / clarinette bassoon / basson horn / cor Ensemble Type ensemble Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Afro-Cuban Concerto Description An account of the resource I. Afro II. Vocalise III. Danza Afro-Cuban Concerto is a work that focuses on Afro-Cuban rhythms, the feel of Santeria worship, and the virtuosity of wind instruments (Santeria worship has its origins in the Caribbean and is based on the Bantu and Yoruba beliefs of Western Africa combined with elements of Roman Catholicism). Often mistaken for a 'neo-classic' work due to its harmonic structure, the essence within the Concerto is purely African and Cuban. All African-derived music has a basic structure from which all music from every genre (including classical) has benefitted. It is the feel of spirituality, passion, and rhythmic precisions that brings the essence of Afro-Cuban music to life in this piece. As with virtually all of the composer's works, performers are encouraged to improvise when they have solos (within the Afro-Cuban vernacular for this work), and embellish when the mood hits. For the first movement, Afro, the introduction represents the collective voice of worshippers within the Santeria religion. The introduction (played by the oboe and horn) is a call to worship, followed by the traditional 6/8 clave (meaning "key", it is the fundamental set of rhythms in Afro-Cuban music). The clave is the root of this movement and continues throughout the entire piece. At different times, each member within the ensemble takes a short solo that demonstrates a sense of improvisation over the constant clave. The Vocalise beings as a prayer with the bassoon and horn blending a unison melody into a unique and soothing color. The habanera is marked through a little three-note motif that sustains the entire movement. The horn melody at the end of the work is a soaring melody that turns the prayer into a hot summer day in havana. A powerful and brief tutti begins the Danza, with the flute solo promising a percussive and wild feeling throughout the piece. We hear the rhumba in its many variations under improvised sounding solos that give each wind instrument a chance to really cut loose, especially the bassoon. The last movement presents the biggest challenge for wind quintet, due to the quickness of the rhumba, and its demand for stability within layers upon layers of percussive rhythms. When stability is achieved, the repetitive rhythm takes on a life of its own, creating a sassy dance. Creator An entity primarily responsible for making the resource Coleman, Valerie Source A related resource from which the described resource is derived <a href="https://www.trevcomusic.com/products/io-730-coleman-valerie-afro-cuban-concerto-sc-pts-ww5">https://www.trevcomusic.com/products/io-730-coleman-valerie-afro-cuban-concerto-sc-pts-ww5</a> Date A point or period of time associated with an event in the lifecycle of the resource 2019 Format The file format, physical medium, or dimensions of the resource 0-10 minutes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2000- Musical Work / Ouvrage musical Instrumentation flute / flûte clarinet / clarinette bassoon / basson oboe / hautbois horn / cor Ensemble Type ensemble Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Suite: Portraits of Josephine Description An account of the resource A musical memoir dedicated to Ms. Baker for wind quintet. The 4 movements work chronicles significant in Josephine Baker’s life, her humor, and quick rise to fame. The wind quintet version is in four movements, and the entire original suite can be heard on Imani Winds’ album, A Life Le Jazz Hot. Creator An entity primarily responsible for making the resource Coleman, Valerie Date A point or period of time associated with an event in the lifecycle of the resource 2007 Format The file format, physical medium, or dimensions of the resource 0-10 minutes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2000- Musical Work / Ouvrage musical Instrumentation flute / flûte Ensemble Type ensemble Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Elegy Description An account of the resource “I lay down in my grave and watch my children grow” is the first line of Maya Angelou’s poem, Elegy. Elegy for flute solo and ensemble, is a single movement tour de force inspired by this epic poem, written for Alexa Still and Uptown Flutes, and premiered at the 2015 National Flute Association Convention. The beginning is slow and cadenza like, featuring a cacophony of virtuoso individual rips, trills and wails within the flute ensemble, while the solo line soars above it all with a melody reminiscent of traditional spirituals. The soulful revival-like beginning quickly shifts into a spirited call and response, followed by a infectious dance section (representing young generations) amid layers of accompanying African rhythms, ending with a highly charged recapitulation. The result is a captivating, soul stirring journey. Creator An entity primarily responsible for making the resource Coleman, Valerie Source A related resource from which the described resource is derived <a href="https://www.vcolemanmusic.com/store/p43/ELEGY_for_Flute_Ensemble_and_Soloist_(digital_pdf_download).html">https://www.vcolemanmusic.com/store/p43/ELEGY_for_Flute_Ensemble_and_Soloist_(digital_pdf_download).html</a> Format The file format, physical medium, or dimensions of the resource 0-10 minutes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2000- Musical Work / Ouvrage musical Instrumentation flute / flûte piano Ensemble Type duo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Wish Sonatine Description An account of the resource Dedication: To my friends Elizabeth Crone and Richard Masters Commissioned by Virginia Polytechnic Institute and State University, with support from Elizabeth Crone and Dr. Richard Masters with The College of Liberal Arts and Human Sciences Diversity Grant. Valerie Coleman’s first work for flute and piano, Wish, was inspired by a poem of the same name. Wish is a dramatic tone poem for flutist and pianist alike, depicting the “Middle Passage” in which Africans were trafficked across the Atlantic by tall ship to be sold into slavery. Coleman’s 12-minute Sonatine serves as a powerful recital work, expressive and with thrilling impact. For advanced performers. Creator An entity primarily responsible for making the resource Coleman, Valerie Source A related resource from which the described resource is derived <a href="https://www.fluteworld.com/product/wish-sonatine-for-flute-and-piano/">https://www.fluteworld.com/product/wish-sonatine-for-flute-and-piano/</a> Publisher An entity responsible for making the resource available Theodore Presser Company Format The file format, physical medium, or dimensions of the resource 10-20 minutes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2000- Musical Work / Ouvrage musical Instrumentation flute / flûte Ensemble Type ensemble Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Umoja Description An account of the resource In its original form, Umoja, the Swahili word for Unity and the first principle of the African Dispora holiday Kwanzaa, was compose a simple song for women's choir. It embodied a sense of 'tribal unity', through the feel of a drum circle, the sharing of history through traditional “call and response” form and the repetition of a memorable sing-song melody. It was rearranged into woodwind quintet form during the genesis of Coleman’s chamber music ensemble, Imani Winds, with the intent of providing an anthem that celebrated the diverse heritages of the ensemble itself. Almost two decades later from the original, the orchestral version brings an expansion and sophistication to the short and sweet melody, beginning with sustained ethereal passages that float and shift from a bowed vibraphone, supporting the introduction of the melody by solo violin. Here the melody is a sweetly singing in its simplest form with an earnest reminiscent of Appalachian style music. From there, the melody dances and weaves throughout the instrument families, interrupted by dissonant viewpoints led by the brass and percussion sections, which represent the clash of injustices, racism and hate that threatens to gain a foothold in the world today. Spiky textures turn into an aggressive exchange between upper woodwinds and percussion, before a return to the melody as a gentle reminder of kindness and humanity. Through the brass led ensemble tutti, the journey ends with a bold call of unity that harkens back to the original anthem. Umoja has seen the seen the creation of many versions, that are like siblings to one another, similar in many ways, but each with a unique voice that is informed by Coleman’s ever evolving creativity and perspective. ​ “This version honors the simple melody that ever was, but is now a full exploration into the meaning of freedom and unity. Now more than ever, Umoja has to ring as a strong and beautiful anthem for the world we live in today.” Creator An entity primarily responsible for making the resource Coleman, Valerie Source A related resource from which the described resource is derived <a href="https://www.vcolemanmusic.com/umoja-anthem-of-unity.html">https://www.vcolemanmusic.com/umoja-anthem-of-unity.html</a> Format The file format, physical medium, or dimensions of the resource 10-20 minutes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2000- Musical Work / Ouvrage musical Instrumentation flute / flûte piano Ensemble Type duo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Requiem Milonga Description An account of the resource A song of longing and remembrance for those who have loved and lost. Creator An entity primarily responsible for making the resource Coleman, Valerie Source A related resource from which the described resource is derived <a href="https://omeka.uottawa.ca/music-enlivened/admin/items/add">https://omeka.uottawa.ca/music-enlivened/admin/items/add</a> Format The file format, physical medium, or dimensions of the resource 0-10 minutes Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2000-