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THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
Study Guide for the High School Percussionist
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1965 Study guide for the high school percussionist Alan Anderson The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Anderson, Alan, "Study guide for the high school percussionist" (1965). Graduate Student Theses, Dissertations, & Professional Papers. 3698. https://scholarworks.umt.edu/etd/3698 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A STUDY GUIDE FOR THE HIGH SCHOOL PERCUSSIONIST by ALAN J. ANDERSON B. M. Montana State University, 1957 Presented in partial fulfillment of the requirements for the degree of M aster of Music UNIVERSITY OF MONTANA 1965 Approved by: Chairman, Board of Exarqi rs D q^, Graduate School SEP 2 2 1965 D ate UMI Number: EP35326 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT UMI EP35326 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. -
DANSES CQNCERTANTES by IGOR STRAVINSKY: an ARRANGEMENT for TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M
DANSES CQNCERTANTES BY IGOR STRAVINSKY: AN ARRANGEMENT FOR TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted August, 1994 t ACKNOWLEDGMENTS I would like to extend my appreciation to Dr. William Westney, not only for the excellent advice he offered during the course of this project, but also for the fine example he set as an artist, scholar and teacher during my years at Texas Tech University. The others on my dissertation committee-Dr. Wayne Hobbs, director of the School of Music, Dr. Kenneth Davis, Dr. Richard Weaver and Dr. Daniel Nathan-were all very helpful in inspiring me to complete this work. Ms. Barbi Dickensheet at the graduate school gave me much positive assistance in the final preparation and layout of the text. My father, Mr. Savino Purrone, as well as my family, were always very supportive. European American Music granted me permission to reprint my arrangement—this was essential, and I am thankful for their help and especially for Ms. Caroline Kane's assistance in this matter. Many other individuals assisted me, sometimes without knowing it. To all I express my heartfelt thanks and appreciation. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii CHAPTER L INTRODUCTION 1 n. GENERAL PRINCIPLES 3 Doubled Notes 3 Articulations 4 Melodic Material 4 Equal Roles 4 Free Redistribution of Parts 5 Practical Considerations 5 Homogeneity of Rhythm 5 Dynamics 6 Tutti GesUires 6 Homogeneity of Texmre 6 Forte-Piano Chords 7 Movement EI: Variation I 7 Conclusion 8 BIBLIOGRAPHY 9 m APPENDIX A. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
The New Dream Theater Dream New The
ISSUE 27 ISSUE FREE CD INSIDE AUDIO PREVIEWS LessoNS praCTICE W/ THE pros TOSS JOHN DONALD BRIAN V PANOS WEATHERS BARRETT DOWNEY MAY / JUNE 2011 MAY MIKE MANGINI MIKE MANGINI THE NEW DREAM THEATER JOE MORELLO REMEMBERED 70000 TONS OF METAL May - June 2011 | NO. 027 $6.99 US | $7.99 CAN MASTER JEREMY COLSON CLASS NEW Z3 CHINAS & ZILDJIAN SWISH KNOCKER 040 JohnOn WeathersReflection On ReflectionInterview - Mover Think progressive rock from the ‘70s and immediately Genesis, Yes, ELP, King Crimson and Jethro Tull come to mind. All of them equally progressive in their own way, and in some ways, share a common thread between them. But, ask any diehard prog-rock fan and I guarantee another name comes up each and every time: Gentle Giant. Although never quite attaining the same level of sales or status of celebrity as the aforementioned, Gentle Giant most certainly made a statement, left a mark and carved their names into the history books of English prog. A mixture of rock, funk, jazz, classical, and even a bit of punk, Gentle Giant was as progressive as they come—and then some. Holding down the fort for the better part of eight years was John Weathers. Although not their original drummer, it was Weathers that helped propel Gentle Giant to international fame with an interesting mix of bombastic backbeat, an ear for tuned percussion and the ability to play any time signature and style thrown his way. On my interview list from the beginning, John wasn’t an easy man to fi nd. A few Internet searches every so often didn’t turn up much until I happened to stumble across ‘Two Weeks In Pain - Under The Knife’ [http:// www.gorgg.org/UnderKnife1.htm], a twenty-fi ve-episode online diary of John’s experience in the hospital and under the care of the N.H.S. -
Up Front LAYOUT DEMO
UP FRONT - Section 1: Instruments of the Pit UP FRONT - Section 1: Instruments of the Pit Drums, Cymbals, and Gongs Now that weʼve discussed keyboards and timpani, it is time to move on to the non- pitched “essentials” of the pit: drums, cymbals, and gongs. These instruments can enhance melodic passages, supply accompaniment, provide an infi nite amount of color and rhythmic drive, and most of all, serve up powerful impacts. CONCERT BASS DRUM The concert bass drum is an absolutely essential piece of equipment for a pit. Not only will it deliver powerful impacts, but with some creativity, it can provide your pit with a wide array of color. For example, experiment with brush effects, try different keyboard mallets for “brittle” sounds, invest in a nice pair of rolling mallets to achieve thunderous rolls or quiet rumbles. Some groups have samplesamexperimented,p withl greate success, using 3 or 4 bass drums in the pit. This can produce overwhelming sounds! Concert bass drums come in several different sizes. A good general size is 36” in diameter. There are several types of stands on the market as well. Make sure whatever stand you choose has large casters and allows the drum to vibrate freely. “Suspended” style stands often work the best. Replacement bands and bungees can be found in most hardware stores. Here the drum is suspended in a hoop with large rubber bands or bungee cords. To purchase “Up Front” please visit www.tapspace.com 24 25 UP FRONT - Section 1: Instruments of the Pit UP FRONT - Section 1: Instruments of the Pit Technique considerations A well-tuned bass drum will have a long sustained sound. -
Curriculum for Middle School Percussion
Columbus State University CSU ePress Theses and Dissertations Student Publications 2005 Curriculum for Middle School Percussion Amanda Hertel Columbus State University Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Education Commons Recommended Citation Hertel, Amanda, "Curriculum for Middle School Percussion" (2005). Theses and Dissertations. 112. https://csuepress.columbusstate.edu/theses_dissertations/112 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/curriculumformidOOhert Curriculum for Middle School Percussion By Amanda Hertel A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the degree of Bachelors of Music in Music Education, College of Arts & Letters, Columbus State University Thesis Advisor Date 6/ Committee Member Date ^Jfj f/Oi Committee Member tz&^M Of' DateW^S CSU Honors Committee Member Q^Wfez--e j /jsi-i/^' Date VV^ !>" Coordinator, Honors Program /^^t-^V^g V jN_ c t-^y/^ Date 5/"JdS Curriculum for Middle school percussion Amanda Hertel 1 Based on three thirty-six week school years (6-8 grade) -With thirty-five lesson plans for percussion sectionals outside ofdaily hand curriculum -A set ofweekly objectives that are applicable to in class ensemble instruction. -Twenty periodical examinations and testing material -Assignment and Examination grading logs -Guidelines for projects and writing assignments -Questions for Reading checks -Table of Contents- th 1. -
Proclamation-6.Pdf
2 Proclamation, the Occasional Gentle Giant Magazine Proclamation, the Occasional Gentle Giant Magazine 3 Quite a few of you have been asking about bootleg PROCLAMATION audience tapes, so I MEMORIES OF Trondheim, Norway, January 1997 Welcome back, my friends, to a new issue of Proclamation. thought it might be best to give you some idea of what you might find out OLD DAYS: Proclamation 6 was meant to feature text, I still felt that the issue needed there in the mill. My good David Armas' impressive work finding more than David's article and also that as many Gentle Giant concerts that had we needed to clean up everything about friend Bolle Gregmar, a been taped as possible. At the time he the facts. In the end the issue was laid transplanted Swede who began the detective work there was aside because of other commitments of THE AUDIOTAPES little known about any tapes and the various sorts. It was never intended to now makes his home here collector network was very small. No be that way, but it was hard to continue by David Armas and Bolle Gregmar the work. Then David suddenly died, in LA, remembers the companies had as yet shown any mislabeled with the wrong dates and variables of the songs contents thereof. without seeing his work finished. interest in releasing tapes from this half- group's transformation venues, had multiple shows put on the Time is indicated by minutes/seconds forgotten band from the 70s. same tape, repeat shows labeled as other and not all run times are accurate. -
Triangle, Tambourine, & Castagnets
Techniques and Exercises for Playing TRIANGLE, Only TAMBOURINE, & CASTAGNETS by Paul Price Perusal For Only Perusal CopyrightFor © 1955 and 1967 by Music For Percussion, Inc. Copyright © 2001 Transferred Colla Voce Music, Inc. 4600 Sunset Ave., #83, Indianapolis, IN 46208 www.collavoce.com Preface Techniques and Exercises for Playing Triangle, Tambourine, and Castagnets was written to supply a need for exercises whereby percussion students and instrumental music teachers, might have a method text-book for use in acquiring technical and musical faclity, while performing on these much used instruments. These three instruments are, next to the drums, most important to percussion playing. Only There are set, definite techniques employed for correct interpretation of the music written for these instruments. Facility will best be gained only through ardent, and careful practice of each technique. To believe that technical facility can be gained on percussion instruments without diligent study, is a gross misapprehension. The techniques herein represent all known necessary for correct performance upon the triangle, tambourine, and castagnets. PAUL PRICE Part I Triangle Part II Tambourine Part III CastagnetsPerusal (Text written at Aspen, Co., 1953, rev. 1966) For Only Perusal For Only Perusal For Part 1: Triangle Only Perusal For Fig. 1 - Triangles, Beaters, & Holders The Triangle This percussion instrument, a member of the Plates and Bars group, is a steel rod bent into the shape of a triangle. Its characteristic sound is a delicate, extremely high pitched “tinkle.” Types Of Triangles Fig. 1 illustrates three types of triangles, Only beaters, and holders. The 10-inch triangle is best for concert use. -
Progressive Rock, “Close to the Edge, // and the Boundaries of Style
1 Progressive Rock, “Close to the Edge, // and the Boundaries of style JOHNCOVACH 1 “Progressive rock,” “classical rock,” “art rock,” “symphonic rock”- these labels have been used over the last twenty-five years by various authors to designate a style of popular music developed in the late 1960s and early 1970s, primarily by British rock musicians.’ During this time groups such as King Crimson, the Moody Blues, Procol Harum, the Nice (and later Emerson, Lake, and Palmer), Gentle Giant, Genesis, Yes, Jethro Tull, Van der Graaf Generator, and Deep Purple attempted to blend late-’60s and early-’70s rock and pop with elements drawn from the Western art-music tradi- tion.2 This attempt to develop a kind of “concert-hall rock‘‘-which was neverthe- less still often performed in stadiums and arenas-was the result of a tendency on the part of some rockers and their fans to view rock as“listening music” (as opposed to dance music), an aesthetic trend that Wilfrid Mellers3 attributes to the influence of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band of 1967.4 The early progressive rockers were not the first to employ musical elements gen- erally associated with the “classical” or art-music tradition in their arrangements. The mid- 1960s British-invasion groups, in an apparent attempt to surpass one another in eclecticism, began to use instruments and stylistic elements drawn from both the British music-hall and European art-music traditions. Music-hall elements are present, for instance, in Peter and Gordon’s “Lady Godiva” (1966) and Herman’s -
A Musical Approach to the Teaching and Performance of Percussion John Frederick Mowad Central Washington University
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarWorks at Central Washington University Central Washington University ScholarWorks@CWU Electronic Theses Student Scholarship and Creative Works 1963 A Musical Approach to the Teaching and Performance of Percussion John Frederick Mowad Central Washington University Follow this and additional works at: http://digitalcommons.cwu.edu/etd Part of the Educational Methods Commons, and the Teacher Education and Professional Development Commons Recommended Citation Mowad, John Frederick, "A Musical Approach to the Teaching and Performance of Percussion" (1963). Electronic Theses. Paper 332. This Thesis is brought to you for free and open access by the Student Scholarship and Creative Works at ScholarWorks@CWU. It has been accepted for inclusion in Electronic Theses by an authorized administrator of ScholarWorks@CWU. A MUSICAL APPROACH TO THE TEACHING AND PERFORMANCE OF PERCUSSION A Thesis Presented to the Graduate Faculty Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Education by John Frederick Moawad August 1963 LP 577/, 3 AA C:, &' 1 ..,~....,., ~·; : ~ • 'r-\. !_ LU~L~ :~J '.U!~ ..... 1. • ... r_~ ... l ... '. '· .. ;, APPROVED FOR THE GRADUATE FACULTY ________________________________ A. Christianson, CHAIRMAN _________________________________ H. J. Eickhoff _________________________________ R. D. Gustafson TABLE OF CONTENTS CHAPTER PA.GE I. THE PROBLEM • • • • • • • • • • • • • • • • • • • 1 Statement of the problem. • • • • • • • • • • • 1 Purpose of the study. • • • • • • • • • • • • • 1 Scope of the study. • • • • • • • • • • • • • • 1 II. TEACHING THE "LIKE-GRIP". • • • • • • • • • • • • 3 Justification of the traditional grip • • • • • 3 Justification for the "like-grip'1 •• • • • • • 3 Applying to the drums • • • • • • • • • • • • • 4 Achieving the grip. • • • • • • • • • • • • • • 5 Summary of the "like-grip". -
Moog One Manual 8/2/19
IMPORTANT SAFETY INSTRUCTIONS WARNING - PLEASE BE ADVISED THAT THIS INSTRUMENT WEIGHS 45 POUNDS, AS SUCH WE RECOMMEND THAT TWO PEOPLE REMOVE THE INSTRUMENT FROM THE BOX AS A SAFETY PRECAUTION. PLEASE DON’T ATTEMPT TO MOVE THE INSTRUMENT BY YOURSELF. WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED. 1. Read all the instructions before using the product. 2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like. 3. This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. 4. The product should be located so that its location does not interfere with its proper ventilation. 5. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat. No naked flame sources (such as candles, lighters, etc.) should be placed near this product. Do not operate in direct sunlight. 6. The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product. 7. The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time or during lightning storms. 8. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.