DOCSLIB.ORG

U·M·I University Microfilms International a Bell & Howell Information Comoany 300 North Zeeb Road

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
U·M·I University Microfilms International a Bell & Howell Information Comoany 300 North Zeeb Road A historical background of Trinidad and Panorama competitions with an analysis of Ray Holman's 1989 Panorama arrangement of "Life's Too Short". Item Type text; Dissertation-Reproduction (electronic) Authors Remy, Jeannine Irene Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 03:57:36 Link to Item http://hdl.handle.net/10150/185401 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fal.e, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at :he upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I University Microfilms International A Bell & Howell Information Comoany 300 North Zeeb Road. Ann Arbor. MI JS1(l6-1346 USA 313 761-,,\700 SOO 521-0600 Order Number 9123455 A historical background of Trinidad and Panorama competitions with an analysis of Ray Holman's 1989 Panorama arrangement of "Life's Too Short" Remy, Jeannine Irene, A.Mus.D. The University of Arisona, 1991 Copyright @1991 by Remy, Jeannine Irene. All rights reserJed. V·M·I 300 N. Zeeb Rd. Ann Arbor, MI48106 A HISTORICAL BACKGROUND OF TRINIDAD AND PANORAMA COMPETITIONS WITH AN ANALYSIS OF RA Y HOLMAN'S 1989 PANORAMA ARRANGEMENT OF "LIFE'S TOO SHORT" by Jeannine Remy Copyright © Jeannine Remy 1991 A LectlJre Rerital Doc :Jment Submitted to the Facultv of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS With a Major in Percussion In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 9 1 THE UNIVERSITY OF ARIZONA GkADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the docur:Jent prepared by Jeannine------------------------------- Remy entitled A HISTORICAL BACKGROUND OF TRINIDAD AND PANORAMA COMPETITIONS iHTH AN A..I\JALYSIS OF RAY HOLMAN'S 1989 PA.l\lORl-.J.1..i\ A.qRA.l\lGEMENT OF "LIFE'S TOO SHORT" and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts, in Percussion 4 - 10 - 91 Date ~/;p:/tfl PrOf. Richard Peters '/ .. ':: / --...... / r. Timotht Kolosick Datk ' Date Final approval and acceptance of this document is contingent upon the candidate's submission of the fir.al copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. PrOf. Gary Cook, Major Professor Director D.<tte - -------------------------- 3 ST ATEMENT BY AUTHOR This lecture document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library, Brief quotations from this lecture document are allowable without special permission. provided that accurate acknowledgment of source is made, Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. '\.{. /,1 ',', ",' I .1 ',\ r. i S IG N E D-/--'7"'l''F::''-'''';-''::'~'''':'~''''L--~~'-=-'-''->''''-'\;,r----,-1\ ..::.../ ... --,-,il'->~"'L...../~t('-/_·· ___ J 4 ACKNOWLEDGMENTS Thanks are due to many individuals both in the United States and Trinidad who helped make this lecture document possible. A special thanks to Clifford Alexis (Northern Illinois U:aiversity Steel Band Director), Michael Anthony (Trinidadian Author), Dawn Batson (Music Teacher at Trin:~y CoJ1eg~\, S.C. Blair (Pan Handlers supporter), Gerard Darlington (member of the Invaders), KeLh Diaz (External Relations Officer for Pan Trinbago). Dr. William Dietz (University of Arizona Professor of Bassoon), Gary Cook (University of Arizona Professor of Percussion), Kim Gransuall (Librarian at the Un~versity of the West Indies), Errol G. Hill (Dartmouth College Emeritus Willard Professor of Drama and Oratory), Judy Hilgers, Ray Holman (arranger for the Trintoc Invaders 1989-1990), Barbara Jenson (Invaders supporter). Hamil jones (member of Invaders). Dr. Timothy Kolosick (University of Arizona Professor of Music Theory) Librarians (University of West Indies), Vernon "Birdie" Mannette (lnv3der"s Leader and Tuner), Dr. Edward Murphy (University of Arizona Professor of Theory), G. Allan O'Connor (Northern Illinois University Associate Dean of Fine Arts and Steel Band Director), members of the Pan Handlers Steel Bana, David Penco (member of Invaders), Mrs. Kitty Peters (Invaders supporter), Richard Peters (University of Arizona Professor of Trumpet), Richard Pinney, Ann Remy, Gene Remy, Joe Remy, Pat Remy, Jeff Rodenkirch (The Pan Handlers Steel Band), The University of Wisconsin-Oshkosh Faculty Development Committee, Jeffrey Ross Thomas (Ethnomusicologist), and Dave "Wally" Walton (The Pan Handlers Steel Band). 5 TABLE OF CONTENTS LIST OF ILLUSTRATIONS ............................................................ 7 LIST OF TABLES ........................................................................ 8 LIST OF APPENDICES ................................................................. 9 ABSTRACT ............................................................................. 10 Chapter TRINIDAD, ITS PEOPLE, AND MUSICAL DEVELOPMENTS THROUGH CARNIVAL ............................. 11 Location. .. .. 11 Settlers and Natives ................................................... 11 African Slaves and French Plantation Owners. .. .. .. .. .. 12 Roots of Carnival Celebrations ...................................... 14 Musical Developments and the Lower Classes. .. .. .. .. 16 From Bamboo to Metal.......... ... .. .. .. .. .. .. .. .. 16 From Non-Pitched Metal to Pitched Steel Drums ................. 19 Acceptance of Pan . .. 21 Beginnings of Steel Band Competitions ............................ 22 Carnival Events Today................................................ 23 Chapter 2 FIELD RESEARCH WITH THE TRINTOC INVADERS IN PREPARATION FOR THE 1989 and 1990 PANORAMA COMPETITIONS .............................................................. 25 Choosing a Steel Band........ .. ..................................... 25 The Sponsors .......................................................... 25 The Arranger ........................................................... 26 Teaching the Arrangement ........................................... 27 Conventional Panorama Competitions .............................. 28 The Queen's Park Savannah ......................................... 30 Pushing Pan ............................................................ 31 The Competition ....................................................... 31 New Developments and Concerns in 1990 ........ , ............... 34 ~ --- ._ .. - ....__ ._----- 6 CONTENTS continued Chapter 3 A DETAll..ED ANALYSIS OF RAY HOLMAN'S PANORAMA ARRANGEMENT OF "LIFE'S TOO SHORT" FOR THE TRINTOC INVADERS USING THEME AND V ARIA TIONS AS THE FORMAL STRUCTURE .......................................... 38 Composer and Arrllilger Ray Holman .............................. 38 Panorama Arrangements of Popular Soca Music .................. 39 Orchestrating a Steel Band Arrangement ........................... 41 Objectives of Panorama Arrangments ............................... 42 Theme and Variation .................................................. 43 Melodic Analysis ...................................................... 44 Harmonic Analysis .................................................... 44 Rhythmic Analysis .................................................... 46 Research Objectives and Conclusions .............................. 48 Future Objectives ...................................................... 49 GLOSSARY ............................................................................ 147 SELECTED BIBLIOGRAPHY ...................................................... 156 7 ILLUSTRATIONS figure Page(s) Map of Trinidad and Tobago .......................... 51 2 Early Carnival. .......................................... 52 3 Stick Fighting ........................................... 53 4 Tanlboo Bamboo .......................... , ........ 54-55 5 Metal-beating Bands
Load more

Recommended publications
  • An Investigation of the Perceived Impact of the Inclusion of Steel Pan Ensembles in Collegiate Curricula in the Midwest
    AN INVESTIGATION OF THE PERCEIVED IMPACT OF THE INCLUSION OF STEEL PAN ENSEMBLES IN COLLEGIATE CURRICULA IN THE MIDWEST by BENJAMIN YANCEY B.M., University of Central Florida, 2009 A THESIS Submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC School of Music, Theatre and Dance College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2014 Approved by: Major Professor Dr. Kurt Gartner Abstract The current study is an in depth look of the impact of steel pan ensemble within the college curriculum of the Midwest. The goal of the study is to further understand what perceived impacts steel pan ensemble might have on student learning through the perceptions of both instructors and students. The ensemble's impact on the students’ senses of rhythm, ability to listen and balance in an ensemble, their understanding of voicing and harmony, and appreciation of world music were all investigated through both the perceptions of the students as well as the instructors. Other areas investigated were the role of the instructor to determine how their teaching methods and topics covered impacted the students' opinion of the ensemble. This includes, but is not limited to, time spent teaching improvisation, rote teaching versus Western notation, and adding historical context by teaching the students the history of the ensemble. The Midwest region was chosen both for its high density of collegiate steel pan ensembles as well as its encompassing of some of the oldest pan ensembles in the U.S. The study used an explanatory mixed methodology employing two surveys, a student version and an instructor version, distributed to the collegiate steel pan ensembles of the Midwest via the internet.
    [Show full text]
  • What Do Your Dreams Sound Like?
    Volume 6 › 2017 Orchestral, Concert & Marching Edition What do your Dreams sound like? PROBLEM SOLVED WHY DREAM? D R E A M 2 0 1 7 1 D R E A M 2 0 1 7 Attention Band Directors, Music Teachers, “The Cory Band have been the World's No.1 brass band for the past decade. We feel privileged Orchestra Conductors! to have been associated with We understand how frustrating it can be to try to find the professional Dream Cymbals since 2014. quality, exceptionally musical sounds that you need at a price that fits into From the recording studio to your budget. Everyone at Dream is a working musician so we understand the challenges from our personal experiences. You should not have to Rick Kvistad of the concert halls across the UK and sacrifice your sound quality because of a limited budget. San Francisco Opera says: abroad, we have come to rely From trading in your old broken cymbals through our recycling program, on the Dream sound week in putting together custom tuned gong sets, or creating a specific cymbal set “I love my Dream Cymbals up that we know will work with your ensemble, we love the challenge of week out.” creating custom solutions. for both the orchestra and Visit dreamcymbals.com/problemsolved and get your personal cymbal assistant. By bringing together our network of exceptional dealers and our my drum set. Dr. Brian Grasier, Adjunct Instructor, Percussion, in-house customer service team, we can provide a custom solution tailored They have a unique Sam Houston State University says: to your needs, for free.
    [Show full text]
  • LETTER from the PRESIDENT, SANDY GOLDSTEIN Alive@Five As an Economic Engine for the Downtown
    61080_SD_NL.qxp:0 11/9/11 2:19 PM Page 1 N UMBER 43 • FALL 2011 LETTER FROM THE PRESIDENT, SANDY GOLDSTEIN Alive@Five as an Economic Engine for the Downtown Now that we are several months removed from our summer events, it’s According to Todd Kosakowski whose illuminating to evaluate them through the very important prism of company owns Black Bear Saloon, Downtown economic development; after all, economic development is Hula Hanks Island Bar & Grille and what Downtown event production is all about. 84 Park and Mike Marchetti, the owner The value of the performing arts in spurring the economy has long been of Columbus Park Trattoria, most known. According to the national research organization, Americans for Columbus Park area restaurants do the Arts, movie, theatre and concert-goers spend an average of $23 for an average of seven times the amount every dollar spent on tickets. This is a national average, which is much of business on Alive@Five Thursdays lower than what is spent in Fairfield County. However, using the research than done on other Thursday nights. This amounts to a 600% jump in organization’s conservative formula, the 75,000 patrons who attended the The streets & outdoor patios alike seven Alive@Five concerts this season, spent an estimated $1,725,000 to dine somewhere in the city. business! Let’s look at these numbers another way. If a restaurant does were packed all season at Alive@Five The latter number tells only part of the story. Delving deeper into the facts of producing the $4,000 on a normal Thursday, then on Alive@Five series, a compelling picture of economic development success emerges.
    [Show full text]
  • Biu Withers by Rob Bowman He Was the Leading Figure in the Nascent Black Singer-Songwriter Movement of the Early 1970S
    PERFORMERS BiU Withers By Rob Bowman He was the leading figure in the nascent black singer-songwriter movement of the early 1970s. BILL WITHERS WAS SIMPLY NOT BORN TO PLAY THE record industry game. His oft-repeated descriptor for A&R men is “antagonistic and redundant.” Not surprisingly, most A&R men at Columbia Records, the label he recorded for beginning in 1975, considered him “difficult.” Yet when given the freedom to follow his muse, Withers wrote, sang, and in many cases produced some of our most enduring classics, including “Ain’t No Sunshine,” “Lean on Me,” “Use Me,” “Lovely Day,” “Grandma’s Hands,” and “Who Is He (and What Is He to You).” ^ “Not a lot of people got me,” Withers recently mused. “Here I was, this black guy playing an acoustic guitar, and I wasn’t playing the gut-bucket blues. People had a certain slot that they expected you to fit in to.” ^ Withers’ story is about as improb­ able as it could get. His first hit, “Ain’t No Sunshine,” recorded in 1971 when he was 33, broke nearly every pop music rule. Instead of writing words for a bridge, Withers audaciously repeated “I know” twenty-six times in a row. Moreover, the two-minute song had no introduction and was released as a throwaway B-side. Produced by Stax alumni Booker T. Jones for Sussex Records, the single’s struc­ ture, sound, and sentiment were completely unprecedented and pos­ sessed a melody and lyric that tapped into the Zeitgeist of the era. Like much of Withers’ work, it would ultimately prove to be timeless.
    [Show full text]
  • History, Development and Tuning of the Hang
    ISMA 2007 Hang HISTORY, DEVELOPMENT AND TUNING OF THE HANG Felix Rohner and Sabina Schärer PANArt Hangbau AG, Engehaldenstr.131, 3012 Bern, Switzerland Abstract The HANG is a new musical instrument, suitable for playing with the hands, consisting of two hemispherical shells of nitrided steel. It is the product of a collaboration among scientists, engineers and hangmakers, thanks to which we have been able to better understand the tuning process in all its complexity. Seven notes are harmonically tuned around a central deep tone (ding), which excites the Helmholtz (cavity) resonance of the body of the instrument. There are many ways to play the HANG. We show the different stages of its development over the seven years since its birth in 2000. We describe the tuning process and the musical conception of the HANG. INTRODUCTION The HANG was created in January 2000 by the tuners of PANArt Hangbau AG, formerly Steelpan Manufacture AG, Bern, Switzerland. It came out of twenty-five years of manufacturing the steelpan and research on its technology and acoustics. The youngest member of the family of acoustic musical instruments, the HANG is the result of a marriage between art and science. Five thousand HANG players worldwide and an ever-increasing demand show the deep resonance this instrument has with individuals. As we are only two hangmakers, our interest here is to invite scientists to continue working together to better understand this phenomenon. FROM STEELPAN TO HANG PANArt Hangbau AG was founded in 1993 to give cultural and commercial support to the growing steelband movement in Switzerland.
    [Show full text]
  • The Steel Times the Steel Times Staff
    FEATURES 4 From the Editor’s Desk - Eugene Novotney 5 President’s Message - Chris Tanner 6 We Kinda Pan - Andy Narell 10 Double Seconds in Practice - Tom Miller 12 Murray Narell: Pioneering Youth Empowerment Through Steelpan in the United States - Ray Funk and Andrew Martin 18 Steelpan in Advertising - Compiled by Ray Funk and Eugene Novotney 22 Tips from Dr. Dave - Dave Gerhart 24 Four Questions with Ray Holman - Eugene Novotney Cover: Bass pans. Photo: Ryan Blake June 2018 2 THE STEEL TIMES THE STEEL TIMES STAFF Eugene Novotney - Senior Editor Dave Gerhart - Assistant Editor David Peñalosa - Layout and Design NATIONAL SOCIETY of STEEL BAND EDUCATORS President Chris Tanner Join NSSBE! NSSBE members are passionate Board of Directors about pan. Become a member today and join people across the Chris Tanner nation who love the steel band art Brandon Haskett form, and who are dedicated to its success and growth. To become a Tom Miller member, please visit the NSSBE website at: www.weteachpan.org Steering Committee Yuko Asada Patty Dee Matt Dudack Michael Greer Emily Lemmerman National Society of Steel Band Educators PO Box 181493 Eugene Novotney Fairfield, Ohio 45018 Richard Rudolph [email protected] Liam Teague Sherwin Thwaites Mike Wendeln The Steel Times is published three times a year: February, June, and October by NSSBE. COPYRIGHT © 2018 by the National Association of Steel Band Educators (NSSBE). Reproduction of any part of this publication without permission from NSSBE is prohibited by law. June 2018 3 THE STEEL TIMES I am very excited to welcome you to the second edition of the NSSBE newsletter, The Steel Times.
    [Show full text]
  • An African-American Contribution to the Percussion Literature in the Western Art Music Tradition
    Illuminating Silent Voices: An African-American Contribution to the Percussion Literature in the Western Art Music Tradition by Darrell Irwin Thompson A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2012 by the Graduate Supervisory Committee: Mark Sunkett, Chair Bliss Little Kay Norton James DeMars Jeffrey Bush ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Illuminating Silent Voices: An African-American Contribution to the Percussion Literature in the Western Art Music Tradition will discuss how Raymond Ridley's original composition, FyrStar (2009), is comparable to other pre-existing percussion works in the literature. Selected compositions for comparison included Darius Milhaud's Concerto for Marimba, Vibraphone and Orchestra, Op. 278 (1949); David Friedman's and Dave Samuels's Carousel (1985); Raymond Helble's Duo Concertante for Vibraphone and Marimba, Op. 54 (2009); Tera de Marez Oyens's Octopus: for Bass Clarinet and one Percussionist (marimba/vibraphone) (1982). In the course of this document, the author will discuss the uniqueness of FyrStar's instrumentation of nine single reed instruments--E-flat clarinet, B-flat clarinet, alto clarinet, bass clarinet, B-flat contrabass clarinet, B-flat soprano saxophone, alto saxophone, tenor saxophone, and B-flat baritone saxophone, juxtaposing this unique instrumentation to the symbolic relationship between the ensemble, marimba, and vibraphone. i ACKNOWLEDGMENTS I first want to thank God, for guiding my thoughts, hands, and feet. I am grateful, for the support, understanding, and guidance I have received from my parents. I also want to thank my grandmother, sister, brother, and to the rest of my family for being one of the best support groups anyone could have.
    [Show full text]
  • The Dougla Poetics of Indianness: Negotiating Race and Gender in Trinidad
    The dougla poetics of Indianness: Negotiating Race and Gender in Trinidad Keerti Kavyta Raghunandan Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Sociology and Social Policy Centre of Ethnicity and Racism Studies June 2014 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © The University of Leeds, 2014, Keerti Kavyta Raghunandan Acknowledgements First and foremost I would like to thank my supervisor Dr Shirley Anne Tate. Her refreshing serenity and indefatigable spirit often helped combat my nerves. I attribute my on-going interest in learning about new approaches to race, sexuality and gender solely to her. All the ideas in this research came to fruition in my supervision meetings during my master’s degree. Not only has she expanded my intellectual horizons in a multitude of ways, her brilliance and graciousness is simply unsurpassed. There are no words to express my thanks to Dr Robert Vanderbeck for his guidance. He not only steered along the project to completion but his meticulous editing made this more readable and deserves a very special recognition for his patience, understanding, intelligence and sensitive way of commenting on my work. I would like to honour and thank all of my family. My father who was my refuge against many personal storms and who despite facing so many of his own battles, never gave up on mine.
    [Show full text]
  • Celebrating Our Calypso Monarchs 1939- 1980
    Celebrating our Calypso Monarchs 1939-1980 T&T History through the eyes of Calypso Early History Trinidad and Tobago as most other Caribbean islands, was colonized by the Europeans. What makes Trinidad’s colonial past unique is that it was colonized by the Spanish and later by the English, with Tobago being occupied by the Dutch, Britain and France several times. Eventually there was a large influx of French immigrants into Trinidad creating a heavy French influence. As a result, the earliest calypso songs were not sung in English but in French-Creole, sometimes called patois. African slaves were brought to Trinidad to work on the sugar plantations and were forbidden to communicate with one another. As a result, they began to sing songs that originated from West African Griot tradition, kaiso (West African kaito), as well as from drumming and stick-fighting songs. The song lyrics were used to make fun of the upper class and the slave owners, and the rhythms of calypso centered on the African drum, which rival groups used to beat out rhythms. Calypso tunes were sung during competitions each year at Carnival, led by chantwells. These characters led masquerade bands in call and response singing. The chantwells eventually became known as calypsonians, and the first calypso record was produced in 1914 by Lovey’s String Band. Calypso music began to move away from the call and response method to more of a ballad style and the lyrics were used to make sometimes humorous, sometimes stinging, social and political commentaries. During the mid and late 1930’s several standout figures in calypso emerged such as Atilla the Hun, Roaring Lion, and Lord Invader and calypso music moved onto the international scene.
    [Show full text]
  • Steel Times Staff
    Vol. 2, No. 1 March 2019 A Publication of NSSBE Ellie Mannette 1927–2018 THE STEEL TIMES STAFF Vol. 2, No. 1 March 2019 Eugene Novotney—Senior Editor Dave Gerhart—Assistant Editor Casey Vaughn—Layout/Design FEATURES NATIONAL SOCIETY of STEEL BAND EDUCATORS 4 From the Editor’s Desk—Eugene Novotney President Chris Tanner 5 President’s Message—Chris Tanner Board of Directors Join NSSBE! NSSBE members are 6 Ellie Mannette—Shannon Dudley Chris Tanner passionate about pan. Become a member Brandon Haskett today and join people across the nation 10 A Collection of Tributes—Emily Lemmerman & Contributors: Tom Miller who love the steelband art form, and who Chanler Bailey, Alan Coyle, Rob Davis, Carolyn Hendricks, are dedicated to its success and growth. April Moncrief, Keith Moone, and Glenn Rowsey Steering Committee To become a member, please visit the Yuko Asada NSSBE website at www.weteachpan.org 16 The Rhythm of the Steel—Eugene Novotney Patty Dee Matt Dudack 18 Conference Review: 7th International Biennial Michael Greer Steelpan Conference—Andrew R. Martin, Ph.D. Emily Lemmerman National Society of Steel Band Educators Eugene Novotney PO Box 181493 20 Four Questions with Larry Snider—Eugene Novotney Richard Rudolph Fairfield, Ohio 45018 Liam Teague [email protected] Sherwin Thwaites Mike Wendeln March 2019 2 THE STEEL TIMES weteachpan.org 3 THE STEEL TIMES FROM THE EDITOR’S DESK PRESIDENT’S MESSAGE Eugene Novotney Chris Tanner Shannon’s writing puts Ellie’s lifelong contributions in a his- elcome to the first edition of The Steel Times in toric context, and also, pays respect to one of the greatest 2019.
    [Show full text]
  • Steve Smith Steve Smith
    • SPEED • POWER • CONTROL • ENDURANCE • SPECIAL TECHNIQUE ISSUE STEVESTEVE SMITHSMITH VVITALITAL TTECHECH TTALKALK BBUILDUILD SSUPERUPER CCHOPSHOPS!! BBOZZIOOZZIO,, PPHILLIPSHILLIPS,, BBISSONETTEISSONETTE,, BBELLSONELLSON,, WWECKLECKL,, AANDND MMOREORE TTHEHE TTECHNICALECHNICAL EEDGEDGE HHUNDREDSUNDREDS OOFF GGREATREAT EEXERCISESXERCISES FFOROR YYOUROUR HHANDSANDS AANDND FFEETEET WIN JJOHNOHN DDOLMAYANOLMAYAN Exciting Sights OOFFFF TTHEHE RRECORDECORD And Sounds From Sabian & Hudson Music TTHEHE MMANYANY KKITSITS OOFF BBILLILL BBRUFORDRUFORD $4.99US $6.99CAN 05 WIN A Drum Lesson With Tico Torres 0 74808 01203 9 Contents ContentsVolume 27, Number 5 Cover photo by Alex Solca STEVE SMITH You can’t expect to be a future drum star if you haven’t studied the past. As a self-proclaimed “US ethnic drummer,” Steve Smith has made it his life’s work to explore the uniquely American drumset— and the way it has shaped our music. by Bill Milkowski 38 Alex Solca BUILDING SUPER CHOPS 54 UPDATE 24 There’s more than one way to look at technique. Just ask Terry Bozzio, Thomas Lang, Kenny Aronoff, Bill Bruford, Dave Weckl, Paul Doucette Gregg Bissonette, Tommy Aldridge, Mike Mangini, Louie Bellson, of Matchbox Twenty Horacio Hernandez, Simon Phillips, David Garibaldi, Virgil Donati, and Carl Palmer. Gavin Harrison by Mike Haid of Porcupine Tree George Rebelo of Hot Water Music THE TECHNICAL EDGE 73 Duduka Da Fonseca An unprecedented gathering of serious chops-increasing exercises, samba sensation MD’s exclusive Technical Edge feature aims to do no less than make you a significantly better drummer. Work out your hands, feet, and around-the-drums chops like you’ve never worked ’em before. A DIFFERENT VIEW 126 TOM SCOTT You’d need a strongman just to lift his com- plete résumé—that’s how invaluable top musicians have found saxophonist Tom Scott’s playing over the past three decades.
    [Show full text]
  • Development Brief - Terry’S
    Development Brief - Terry’s June 2006 City Development Directorate of City Strategy FULFORD RIVEROUSE SOUTH BANK SOUTH RACECOURSE NUN INGS INGS NUN KNAVESMIRE SOUTH BANK RIVER OUSE Warehouse Mass Plant Head Car Park Office Time Office Central Services Clock Liquor Tower Factory Factory Factory RACE COURSE KNAVESMIRE CONTENTS Section Page 1. Introduction 1 Background 1 Vision 1 Objectives 2 Development Brief 3 Public Participation 4 2. The Site 5 Site Location 5 Site Description 5 3. Planning Policy 8 National Planning Policy 9 Regional Planning Policy 10 Local Planning Policy 12 Policy Background to the Vision, Objectives and Potential Uses 14 Achieving Science City York Uses 14 Local Transport Plan 15 Developing Proposals 16 4. Potential Uses 18 Nun Ings 18 Factory Site 18 The Knowledge Based Economy – Science City York 18 Complementary Employment Uses 19 Headquarters and administrative / office requirements 19 Production / Warehousing 19 Business Tourism / Hotel / Conferencing / Leisure 19 Community Facilities 20 Housing 20 Heritage Link 21 5. Sustainable Development 23 Sustainable Development in York 23 Sustainability Statement 24 6. Landscape and Natural Environment 26 Landscape Character 26 Views 27 Green Belt 28 Landscape Framework 28 Existing Landscape Features 30 Internal Landscape Features 32 Habitats 33 River Ouse 33 Hydrology 33 Development Brief – Terry’s Section Page 7. Built Environment 35 Design Principles 35 Archaeology 37 Services 39 8. Local Community 40 Community Facilities 40 Public Art 40 Education 41 Open Space 42 9. Accessibility, Traffic and Transport 44 Hierarchy of Transport Users 44 Access 44 Cycling / Walking 44 Accessibility 45 Bus Service 46 Transport Assessment 46 Travel Plans 46 Low Car Ownership Development 46 Car Share Club 47 10.
    [Show full text]