DOCSLIB.ORG

Benny Goodman Foundation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Benny Goodman Foundation Benny Goodman Foundation Benny Goodman was a clarinetist, composer, and Selection bandleader driven by his talent and love of music. The The selection committee will review each application from Benny Goodman Foundation scholarship was established eligible candidates. Finalists will be selected based upon to support musical talent by awarding a scholarship to a how well they meet the scholarship criteria. Notification student who is majoring in Jazz or Classical music with an will be mailed to all applicants. emphasis in the Clarinet. Driven by his talent and passion for music, Goodman wished to enlarge the repertoire for the Award clarinet. He commissioned works by Morton Gould, The scholarship will be disbursed over the course of one Leonard Bernstein, Aaron Copeland, Paul Hindemeth and academic year. Continuous, full-time enrollment (no fewer Bela Bartok. Goodman also was noted as the first than 12 units per semester) is a requirement. The Caucasian jazz musician to employ African American Sacramento Region Community Foundation will disburse musicians in his band. The Benny Goodman Foundation the award directly to the school. was designed to identify deserving students who best exemplify his passion, drive and love for music. The How to Apply selection committee will look for students who have a Submit a complete application package by the specified due genuine passion for music, and who use their musical gifts date. Use the following application package checklist to and talents to enrich and inspire the lives of others and who make sure your application package is complete: will succeed in a career in music. A completed application form A list of your extracurricular and/or community Purpose and Amount activities including work experience and past The scholarship amount will vary, but will be at least music performance $1,000 - $3,500 for one year. Awards may be renewed up Official transcript, in a sealed envelope to four years. The purpose of this award is to help pay Two letters of recommendation from individuals university expenses such as tuition, institutional fees, books, who are not related to the applicant educational supplies and a musical instrument if needed. (one of the letters must be from a music director or instructor who can elaborate on your goals and Award Renewal musical talent) Applicants must reapply for renewal awards. The A one page, typed, double-spaced essay of 500 scholarship is renewable based on the following criteria: words or less on the following topic: how has submit a complete application form, letter of music played a role in your life and what are your recommendation from a music instructor and an official future goals are in music transcript with a minimum GPA of 3.0 in music classes by the April 22, 2013 deadline. Please visit www.sacregcf.org to obtain additional information and application materials. For questions, please Eligibility contact our office at (916) 921-7723 or To be eligible, an applicant must: [email protected]. Be a current student attending any University of California school campus Deadline . Have a grade point average of 3.0 in music classes The deadline to apply is April 22, 2013. Please mail the . Be majoring in music with an emphasis in jazz or completed application packet to: classical. Preference will be given to the clarinet musician PLEASE NOTE NEW ADDRESS . Have a genuine passion and talent for music and plan Sacramento Region Community Foundation to pursue a career in music 955 University Avenue, Suite A Sacramento, CA 95825 Evaluation criteria are weighted as follows: Essay (25%), Attn: The Benny Goodman Foundation letters of reference (25%), Career and musical objective (25%), Past music performance (25%) Incomplete applications and those received after the deadline will not be considered. NO EXCEPTIONS .
Load more

Recommended publications
  • CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
    NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus.
    [Show full text]
  • Jazzletter P-Q Ocrober 1986 P 5Jno;..1O
    Jazzletter P-Q ocrober 1986 P 5jNo;..1o . u-1'!-an J.R. Davis,.Bill Davis, Rusty Dedrick, Buddy DeFranco, Blair The Readers . Deiermann, Rene de Knight,‘ Ron Della Chiesa (WGBH), As of August 25, I986, the JazzIetrer’s readers were: Louise Dennys, Joe Derise, Vince Dellosa, Roger DeShon, Michael Abene, John Abbott, Mariano F. Accardi, Harlan John Dever, Harvey Diamond, Samuel H. Dibert’, Richard Adamcik, Keith Albano, Howard Alden, Eleanore Aldrich, DiCarlo, Gene DiNovi, Victor DiNovi, Chuck Domanico, Jeff Alexander, Steve Allen, Vernon Alley, Alternate and Arthur Domaschenz, Mr. and Mrs. Steve Donahue, William E. Independent Study Program, Bill Angel, Alfred Appel J r, Ted Donoghue, Bob Dorough, Ed Dougherty, Hermie Dressel, Len Arenson, Bruce R. Armstrong, Jim Armstrong, Tex Arnold, Dresslar, Kenny Drew, Ray Drummond, R.H. Duffield, Lloyd Kenny Ascher, George Avakian, Heman B. Averill, L. Dulbecco, Larry Dunlap, Marilyn Dunlap, Brian Duran, Jean Bach, Bob Bain, Charles Baker (Kent State University Eddie Duran, Mike Dutton (KCBX), ' School of Music), Bill Ballentine, Whitney Balliett, Julius Wendell Echols, Harry (Sweets) Edison,Jim_Eigo, Rachel Banas, Jim Barker, Robert H. Barnes, Charlie Barnet, Shira Elkind-Tourre, Jack Elliott, Herb Ellis, Jim Ellison, Jack r Barnett, Jeff Barr, E.M. Barto Jr, Randolph Bean, Jack Ellsworth (WLIM), Matt Elmore (KCBX FM), Gene Elzy Beckerman, Bruce B. Bee, Lori Bell, Malcolm Bell Jr, Carroll J . (WJR), Ralph Enriquez, Dewey Emey, Ricardo Estaban, Ray Bellis MD, Mr and Mrs Mike Benedict, Myron Bennett, Dick Eubanks (Capital University Conservatory of Music), Gil Bentley, Stephen C. Berens MD, Alan Bergman, James L. Evans, Prof Tom Everett (Harvard University), Berkowitz, Sheldon L.
    [Show full text]
  • Benny Goodman : from “King of Swing” to Third Stream Jae Ellis Bull
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 1-1-2006 Benny Goodman : From “King of Swing” to Third Stream Jae Ellis Bull Follow this and additional works at: http://mds.marshall.edu/etd Part of the Music Commons Recommended Citation Bull, Jae Ellis, "Benny Goodman : From “King of Swing” to Third Stream" (2006). Theses, Dissertations and Capstones. Paper 517. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Benny Goodman: From “King of Swing” to Third Stream. Thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music. by Jae Ellis Bull Dr. Vicki Stroeher, Committee Chairperson Dr. Marshall Onofrio, Dr. Donald Williams Marshall University August 2006 ABSTRACT Benny Goodman: From “King of Swing” to Third Stream. By Jae Ellis Bull Clarinetist and band leader Benny Goodman was born in the Chicago slums in 1909. He first played in dance bands and eventually organized his own band, which became so popular that he was known as the "King of Swing." As a clarinetist, he also was attracted to classical music, particularly the clarinet music of Mozart, Debussy and Brahms. Gunther Schuller, describing Goodman's ability to play in both jazz and classical styles said, "In a sense, Benny was the first Third Stream musician, moving easily in and out of jazz and classical music, from the Palomar Ballroom to Carnegie Hall..."1 This paper explores Goodman's musical career in both the classical and jazz worlds, defines the term “Third Stream” and describes how Benny Goodman fits this term.
    [Show full text]
  • Randy Grabowski Is Professor of Trumpet at the University of Northern Iowa School of Music
    In consideration of the performers and other members of the audience, please enter or leave a performance at the end of a composition. Cameras and recording equipment are not permitted. Please turn off all electronic devices, and be sure that all emergency contact cell phones and pagers are set to silent or vibrate. This event is free to all UNI students, courtesy of the Panther Pass Program. Performances like this are made possible through private support from patrons like you! Please consider contributing to School of Music scholarships or guest artist programs. Call 319-273-3915 or visit www.uni.edu/music to make your gift. Tuesday, September 9, 2014 at 7:30 pm Bengtson Auditorium, Russell Hall Morceau de Concert (1904) . .Jules Debefve Randy Grabowski is Professor of Trumpet at the University of Northern Iowa School of Music. He teaches applied trumpet, instructs (1863 – 1932) related classes, directs the UNI Trumpet Ensemble, and collaborates with colleagues in various faculty ensembles. In addition to his teaching responsibilities, Dr. Grabowski continues to Sonata (2001) . James M. Stephenson, III be active as a commercial musician, performing with such recording Maestoso: March Tempo (b. 1969) artists as Ray Charles, the Manhattan Transfer, Aretha Franklin, Moody Lento: Waltz Blues, Mannheim Steamroller, and the Jimmy Dorsey, Nelson Riddle, Vivo Harry James, and Benny Goodman orchestras. Prior to settling in Iowa, Dr. Grabowski also performed with numerous television and recording artists such as Frank Sinatra, Tony Bennett, Dionne Warwick, Shirley MacLaine, and Sammy Davis Jr. In addition, he was Principal Trumpet of the Reno Philharmonic, MGM-Grand and Reno Hilton orchestras, Elegy in memoriam Gustav Mahler (2012) .
    [Show full text]
  • Glenn Miller, Benny Goodman, and Count Basie Led Other Successful
    JAZZ AGE Glenn Miller, Benny Goodman, and Count Basie led other modal jazz (based on musical modes), funk (which re- successful orchestras. While these big bands came to char- prised early jazz), and fusion, which blended jazz and rock acterize the New York jazz scene during the Great De- and included electronic instruments. Miles Davis in his pression, they were contrasted with the small, impover- later career and Chick Corea were two influential fusion ished jazz groups that played at rent parties and the like. artists. During this time the performer was thoroughly identified Hard bop was a continuation ofbebop but in a more by popular culture as an entertainer, the only regular accessible style played by artists such as John Coltrane. venue was the nightclub, and African American music be- Ornette Coleman (1960) developed avant-garde free jazz, came synonymous with American dance music. The big- a style based on the ideas ofThelonius Monk, in which band era was also allied with another popular genre, the free improvisation was central to the style. mainly female jazz vocalists who soloed with the orches- tras. Singers such as Billie Holiday modernized popular- Postmodern Jazz Since 1980 song lyrics, although some believe the idiom was more Hybridity, a greater degree offusion,and traditional jazz akin to white Tin Pan Alley than to jazz. revivals merely touch the surface of the variety of styles Some believe that the big band at its peak represented that make up contemporary jazz. Inclusive ofmany types the golden era ofjazz because it became part ofthe cul- ofworld music, it is accessible, socially conscious, and tural mainstream.
    [Show full text]
  • Chapter Outline
    CHAPTER SIX: “IN THE MOOD”: THE SWING ERA, 1935–1945 Chapter Outline I. Swing Music and American Culture A. The Swing Era: 1935–45 1. Beginning in 1935, a new style of jazz-inspired music called “swing” transformed American popular music. 2. Initially developed in the late 1920s by black dance bands in New York, Chicago, and Kansas City 3. The word “swing” (like “jazz,” “blues,” and “rock ’n’ roll”) derives from African American English. a) First used as a verb for the fluid, rocking rhythmic momentum created by well-played music, the term was used by extension to refer to an emotional state characterized by a sense of freedom, vitality, and enjoyment. b) References to “swing” and “swinging” are common in the titles and lyrics of jazz records made during the 1920s and early 1930s. c) Around 1935, the music industry began to use “swing” as a proper noun—the name of a defined musical genre. 4. Between 1935 and 1945, hundreds of large dance orchestras directed by celebrity bandleaders dominated the national hit parade: 1 CHAPTER SIX: “IN THE MOOD”: THE SWING ERA, 1935–1945 a) Benny Goodman b) Tommy Dorsey c) Duke Ellington d) Count Basie e) Glenn Miller 5. These big bands appeared nightly on radio, their performances transmitted coast to coast from hotels and ballrooms in the big cities. 6. Their music was featured on jukeboxes. 7. Many of the bands crisscrossed the country in buses, playing for dances and concerts at local dance halls, theaters, and colleges. 8. The big bands were essentially a big-city phenomenon, a symbol of sophistication and modernity.
    [Show full text]
  • Eddie Durham Jazz Celebration 2013 the Eddie Durham Tribute Big Band Featuring Doug Lawrence Count Basie Orchestra·Saxophonist and NEA Jazz Master Dan Morgenstern
    Eddie Durham Jazz Celebration 2013 The Eddie Durham Tribute Big Band featuring Doug Lawrence Count Basie Orchestra·saxophonist and NEA Jazz Master Dan Morgenstern Friday, February 8, 2013 7:30 PM-Evans Auditorium Big Band Personnel Saxes Vincent Herring -Alto Kris Kimura-Alto* Russell Haight -Tenor# John Mills - Tenor * James Warth-Baritone Trombones Freddie Mendoza * # Armin Armolejo * Kyle Johnson + Martin McCain # Trumpets Steve Hawk Andy Cheetham Adrian Ruiz * Keith Winking * # Karlos Elizondo + Rhythm Butch Miles -Drums # Russell Scanlon -Guitar * # Morris Nelms -Piano * # Hank Hehmsoth -Piano# Utah Hamrick – Bass * Denotes Texas State Alumni # Denotes Texas State Faculty + Denotes Texas State Student Sponsors include the San Marcos Arts Association, the Texas State School of Music, and Texas State Student Services. Thanks to Deirdre Lannon for her help. Sincere thanks to Marsha Durham for her ongoing support. PROGRAM Opening Comments Dr. Gene Bourgeois Dan Morgenstern “Eddie Durham’s Early Years: Becoming a Jazz Musician in the 1920’s” Eddie Durham Tribute Big Band Featuring Doug Lawrence Program to be selected from the following Body & Soul – Johnny Green Cheesecake – Dexter Gordon Gingerbread Boy – Jimmy Heath Moten Swing – Eddie Durham Salt Peanuts – Dizzy Gillespie Speak Low – Kurt Weill Swinging the Blues – Eddie Durham Topsy – Eddie Durham Saxophonist Doug Lawrence is one of the premier saxophonists in the work jazz world. As a featured soloist with the Grammy winning Count Basie Orchestra, he has toured the world. He has appeared on over 100 recordings including four recordings of his own. Two of which topped the US jazz charts. He has performed/recorded with Benny Goodman, Aretha Franklin, Tony Bennett, Ella Fitzgerald, and Ray Charles.
    [Show full text]
  • 5-2-14 Jazz Ensemble
    Williams College Department of Music Williams Jazz Ensemble Kris Allen, Director with jazz legend Benny Golson, saxophone Williams Jazz Ensemble Our Delight - Tadd Dameron (1917-1965) Killer Joe - Benny Golson (b. 1929) Stablemates - Benny Golson I Remember Clifford - Benny Golson Cornell Jazz Collective Yesterdays - Jerome Kern (1885-1945) arranged by Joshua Redman Are You Real - Benny Golson Williams Jazz Ensemble Strawboss - Benny Golson Vas Simeon - Benny Golson Along Came Betty - Benny Golson Blues March - Benny Golson Williams Jazz Ensemble Saxophones Rhythm Nikki Caravelli '16 Taylor Halperin '14 - piano Max Dietrich '16 Nathaniel Vilas '17 - piano Jackson Myers '17 Austin Paul '16 - vibraphone Samantha Polsky '17 Jack Schweighauser '15 - guitar Sammi Jo Stone '17 Andy Wrba '16 - bass Brian Levine '16 - drumset Trombones Hartley Greenwald '16 Cornell Jazz Collective Jeff Sload '17 Spencer Amer '15 - trumpet Allen Davis '14 Robert Araujo '15 - tenor saxophone Nico Ekasumara '14 Stephanie Lozina '16 - bass Andrew Adelson '16 - piano Trumpets Curran Sinha '17 - drums Richard Whitney '16 Jonathan Dely '15 Will Hayes '14 Byron Perpetua '14 Paul Heggeseth Friday, May 2, 2014 8:00 p.m. Chapin Hall Williamstown, Massachusetts Please turn off cell phones. No photography or recording is permitted. Benny Golson Multitalented and internationally famous jazz legend – a composer, arranger, lyricist, producer – and tenor saxophonist of world note, Benny Golson was born in Philadelphia on January 25, 1929. Raised with an impeccable musical pedigree, Mr. Golson has played in the bands of world famous Benny Goodman, Dizzy Gillespie, Lionel Hampton, Earl Bostic and Art Blakey. Few jazz musicians can claim to be true innovators and even fewer can boast of a per- forming and recording career that literally redefines the term "jazz".
    [Show full text]
  • Ella Fitzgerald Collection of Sheet Music, 1897-1991
    http://oac.cdlib.org/findaid/ark:/13030/tf2p300477 No online items Ella Fitzgerald collection of sheet music, 1897-1991 Finding aid prepared by Rebecca Bucher, Melissa Haley, Doug Johnson, 2015; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2002 The Regents of the University of California. All rights reserved. Ella Fitzgerald collection of sheet PASC-M 135 1 music, 1897-1991 Title: Ella Fitzgerald collection of sheet music Collection number: PASC-M 135 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 13.0 linear ft.(32 flat boxes and 1 1/2 document boxes) Date (inclusive): 1897-1991 Abstract: This collection consists of primarily of published sheet music collected by singer Ella Fitzgerald. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. creator: Fitzgerald, Ella Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.
    [Show full text]
  • Celebrating Benny Goodman Special Concert Presentation for Students
    SWING IS THE THING Celebrating Benny Goodman Special Concert Presentation for Students Friday Capital Public Radio and the Harris Center Capital Public Radio and the Harris Center celebrate the legacy of Benny Goodman will commemorate that famous concert on January 19 with world class jazz clarinetist Ken Pep- Friday, January 19th at 7:30 p.m. when Ken 10:00 am lowski and his group in a concert/chat for Peplowski performs with the Sacramento (approx. 1 hour) area students. Jazz Orchestra. The event is already sold- out, but we have plenty of seats available Recommended This January marks the 80th anniversary of for a special concert happening that Grades: 4–12 the Benny Goodman Orchestra’s ground- morning. breaking appearance at Carnegie Hall, an Price: $5 per student (Financial assistance for tickets event signaling the fact that jazz was not In a presentation just for students, head- or transportation may be just popular music, it was an art form be- liner Ken Peplowski will share insights available for your class.) fitting America’s premiere classical concert about Benny Goodman’s impact on music Reserve seats: stage. And it swung! and society, while performing selections from the Goodman repertoire with a top- harriscenter.net In fact, Benny Goodman was known as the notch small group. Ken and company King of Swing. But what exactly is swing? Click on the menu heading will demonstrate elements of swing and It’s a noun. It’s also a verb. It describes an “Arts Ed” and look for improvisation and explain how Goodman’s era, and yet it’s timeless.
    [Show full text]
  • Rick L. Pope Phonograph Record Collection 10 Soundtrack/WB/Record
    1 Rick L. Pope Phonograph Record Collection 10 soundtrack/WB/record/archives 12 Songs of Christmas, Crosby, Sinatra, Waring/ Reprise/record/archives 15 Hits of Jimmie Rodgers/Dot / record/archives 15 Hits of Pat Boone/ Dot/ record/archives 24 Karat Gold From the Sound Stage , A Double Dozen of All Time Hits from the Movies/ MGM/ record/archives 42nd Street soundtrack/ RCA/ record/archives 50 Years of Film (1923-1973)/WB/ record set (3 records and 1 book)/archives 50 Years of Music (1923-1973)/WB/ record set (3 records and 1 book)/archives 60 years of Music America Likes Best vols 1-3/RCA Victor / record set (5 pieces collectively)/archives 60 Years of Music America Likes Best Vol.3 red seal/ RCA Victor/ record/archives 1776 soundtrack / Columbia/ record/archives 2001 A Space Oddyssey sound track/ MGM/ record/archives 2001 A Space Oddyssey sound track vol. 2 / MCA/ record/archives A Bing Crosby Christmas for Today’s Army/NA/ record set (2 pieces)/archives A Bing Crosby Collection vol. 1/ Columbia/record/archives A Bing Crosby Collection vol. 2/ Columbia/record/archives A Bing Crosby Collection vol. 3/ Columbia/record/archives A Bridge Too Far soundtrack/ United Artists/record/archives A Collector’s Porgy and Bess/ RCA/ record/archives A Collector’s Showboat/ RCA/ record/archives A Christmas Sing with Bing, Around the World/Decca/record/archives A Christmas Sing with Bing, Around the World/MCA/record/archives A Chorus Line soundtrack/ Columbia/ record/ archives 2 A Golden Encore/ Columbia/ record/archives A Legendary Performer Series (
    [Show full text]
  • About Benny Goodman 1909 – 1986
    About Benny Goodman 1909 – 1986 Benny Goodman grew from the humblest of beginnings to earn the well-deserved title “King of Swing” for his contribution to bringing jazz into the commercial mainstream. He was one of 12 children of Jewish immigrants, raising their children in a three story tenement building in a Chicago ghetto. Mr. Goodman took his boys to the free band concerts in Douglas Park and built into them an appreciation for band music. When the local synagogue began lending out instruments and giving lessons for 25 cents a week, Benny was on his way to leaning to play the clarinet. Benny showed exceptional talent and went on to private lessons. By age 14 he was supplementing the family income by playing in the dance halls of Chicago’s south side. By age 15 he had dropped out of school and was playing professionally, and at age 16, he traveled with the Ben Pollack band to Los Angeles and settled in California. In 1934, at age 25, he moved to New York and put together his own band, and the “Swing Era” was born. He headlined on a new radio program called “Let’s Dance” which broadcast from New York all night long. The Big Band sound gained national exposure and Benny Goodman played to sold-out houses in Los Angeles, Chicago, New York and cities in between. In 1938 he achieved his dream of playing Carnegie Hall, and the live recording of that concert became one of the best selling jazz albums of all time. Benny Goodman never looked back.
    [Show full text]