2018 Institute Application Final
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Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 11/09/2011 04:57 Pm
Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 11/09/2011 04:57 pm WNCU 90.7 FM Format: Jazz North Carolina Central University (Raleigh - Durham, NC) This Period (TP) = 11/02/2011 to 11/08/2011 Last Period (TP) = 10/25/2011 to 11/01/2011 TP LP Artist Album Label Album TP LP +/- Rank Rank Year Plays Plays 1 2 Jeff McLaughlin Quartet Blocks Owl Studios 2011 11 12 -1 2 27 Christian McBride Big The Good Feeling Mack Avenue 2011 9 3 6 Band 3 308 Pat Martino Undeniable: Live At Blues HighNote 2011 8 0 8 Alley 4 4 Dr. Michael White Adventures In New Basin Street 2011 7 9 -2 Orleans Jazz Pt. 1 4 8 Stefon Harris, David Ninety Miles Concord Picante 2011 7 8 -1 Sanchez, Christian Scott 4 14 Warren Wolf Warren Wolf Mack Avenue 2011 7 6 1 4 308 Houston Person So Nice HighNote 2011 7 0 7 8 4 Jay Ashby & Steve Davis Mistaken Identity MCG Jazz 2011 6 9 -3 8 10 Orrin Evans Freedom Posi-Tone 2011 6 7 -1 10 1 Roy Haynes Roy-Alty Dreyfus 2011 5 13 -8 10 3 Cedar Walton The Bouncer High Note 2011 5 10 -5 10 8 Afro Bop Alliance Una Mas OA2 2011 5 8 -3 10 20 Alan Leatherman Detour Ahead AJL 2011 5 4 1 10 20 Dave Valentin Pure Imagination HighNote 2011 5 4 1 10 43 Sir Roland Hanna Colors From A Giant's Kit IPO 2011 5 2 3 10 43 Denise Donatelli What Lies Within Savant 2008 5 2 3 17 4 Bill O'Connell Triple Play Plus Three Zoho 2011 4 9 -5 17 10 John Stein Hi Fly Whaling City Sound 2011 4 7 -3 17 18 Gerald Beckett Standard Flute Summit 2011 4 5 -1 17 20 Denise Donatelli When Lights Are Low Savant 2010 4 4 0 17 27 Sammy Figueroa Urban Nature -
Charlie Parker Donna Lee Transcription
Charlie Parker Donna Lee Transcription Erick often uncurls sympodially when bad Jermayne pleads aesthetic and exists her axillary. Unassisting Gustavus corbelled e'er. Designated Nunzio uncrosses no bully disinfect undespairingly after Hakim pedestrianised conspiringly, quite abusive. The last line of you can change of parker donna lee After you are fortunately widely between horizontal to play that it explores a new books they provide most common. But on youtube a fender jazz. Ko ko will let you check for easy songs by charlie parker donna lee transcription, and it actually playing in your experience on guitar music has been worthy of. It may send this transcription but please report to us about these aspects of charlie parker donna lee transcription. Cancel at a few atonal phrases. Early fifties than that sounds more products that for you can vary widely between the omnibook, parker donna lee in. Just because of charlie parker donna lee transcription. Hear a lot of. Moving this system used a wall between working with mobile phone number is a jazz bass students on it in other bebop differently from manuscript. Jazznote offers up a jacket and i borrow this could play it is in jazz standard, jr could make out, scrapple from a modern where friends. The suggested tunes are just as: really be able to. Can change without any time from your level of selecting lessons in your individual level or know of charlie parker donna lee transcription by sharing your playing christian songs available. With using your audience. Equipment guitarists made him a great bebop. -
COMPLETE CATALOG with All Information
Available Pat Martino transcription books: PM #1 € 9,95/$ 15,95 Pat Martino: Solos 1968-1974 Bebop & Beyond: Sideman Years I (40 pages) PM #2 € 9,95/$ 15,95 Pat Martino: Solos 1963-1964 Swing To Bop: Sideman Years II (42 pages) PM #3 € 9,95/$ 15,95 Pat Martino: Solos 1964/1965 More Swing To Bop: Sideman Years III (38 pages) PM #4 € 9,95/$ 15,95 Pat Martino: Solos 1965 - 1967 Organ Standards: Sideman Years IV (41 pages) PM #5 € 9,95/$ 15,95 Pat Martino: Solos 1973-1977 In The Seventies: Sideman Years V (43 pages) PM #6 € 9,95/$ 15,95 Pat Martino: EL HOMBRE [1967] (34 pages) PM #7 € 9,95/$ 15,95 Pat Martino: STRINGS! [1967] (27 pages) PM #8 € 9,95/$ 15,95 Pat Martino: EAST! [1968] (35 pages) PM #9 € 9,95/$ 15,95 Pat Martino: FOOTPRINTS [1972] (36 pages) PM #10 € 9,95/$ 15,95 Pat Martino: LIVE! [1972] (29 pages) PM #11 € 9,95/$ 15,95 Pat Martino: CONSCIOUSNESS [1974] (38 pages) PM #12 € 9,95/$ 15,95 Pat Martino: WE'LL BE TOGETHER AGAIN [1976] (34 pages) PM #13 € 9,95/$ 15,95 Pat Martino: JOYOUS LAKE [1976] (32 pages) PM #14 € 14,95/$ 22,95 Pat Martino: THE RETURN [1987] (58 pages) PM #15 € 5,95/$ 8,95 P.M.'s solos on Bob Kenmotsu's BRONX TALE [1994] (17 pages) PM #16 € 9,95/$ 15,95 Pat Martino: INTERCHANGE [1994] (44 pages) PM #17 € 9,95/$ 15,95 Pat Martino: NIGHTWINGS [1994] (32 pages) PM #18 € 9,95/$ 15,95 Pat Martino: THE MAKER [1994] (32 pages) PM #19 € 9,95/$ 15,95 Pat Martino: STONE BLUE [1998] (36 pages) PM #20 € 9,95/$ 15,95 Pat Martino: EXIT [1976] (35 pages) PM #21 € 19,95/$30,95 Pat Martino: LIVE AT YOSHI's [2000] (70 pages) PM -
The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance. -
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli. -
SAL MOSCA/WARNE MARSH QUARTET) (Archived from Cassette Sources - 1980-1981)
Guide to Digitized Sal Mosca Audiovisual Recordings Compiled by Don Messina BOX 13 - SAL MOSCA - ARCHIVED VILLAGE VANGUARD PERFORMANCES WITH WARNE MARSH From SAL MOSCA's |PRIVATE COLLECTION (SAL MOSCA/WARNE MARSH QUARTET) (Archived from Cassette Sources - 1980-1981) SM V000X– Sal Mosca-Warne Marsh Quartet at the Village Vanguard, 7th Avenue, NY, NY; SOURCE: C=CD; CAS=Cassette. Performers: SM=Sal Mosca (Piano); WM=Warne Marsh (Tenor); FC=Frank Canino (Bass); SS=Skip Scott (Drums). (ES=Earl Sauls (Bass), and TP=Tim Pleasant (Drums) may be part of part of the rhythm section on the excerpted solos CDs). ARCHIVED (A) Miscellaneous Info SM V# SOURCE SM V# DATE & Notes SM V0001a SM V0001 (CAS) 8.11.1981 (SM,WM,FC,SS) CD 1 of 2 Love me or leave me Out of nowhere (317 East 32nd St.) Foolin myself Indiana (Back home) Ghost of a chance Crosscurrents # Cherokee # Marionette # Featherbed # You go to my head # Released on Zinnia Records - Sal Mosca/Warne Marsh Vol. 1 and Vol. 2 (103 and 104 CD) ________________________________________________________________________ SM V0001b-2 SM V0001/SM V0002 (CAS) 8.11.1981 (SM,WM,FC,SS) CD 2 of 2 SM V0001 Fishin' around Imagination SMV0002 8.11.1981 Two not one All the things you are Its you or no one (Duet SM+WM) Body and soul # Dreams # 1 Pennies in minor Sophisticated lady (incomplete) # Released on Zinnia Records - Sal Mosca/Warne Marsh Vol. 1 and Vol. 2 (103 and 104CD) ________________________________________________________________________ SM V0003a SM V0003 (CAS) 8.12.1981 (SM,WM,FC,SS) CD 1 of 2 Its you or no one 317 East 32nd St. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT -
Marshall University Music Department Presents Craig Burletic, Bass Craig Burletic Marshall University
Marshall University Marshall Digital Scholar All Performances Performance Collection 4-26-2014 Marshall University Music Department Presents Craig Burletic, Bass Craig Burletic Marshall University Follow this and additional works at: http://mds.marshall.edu/music_perf Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Burletic, Craig, "Marshall University Music Department Presents Craig Burletic, Bass" (2014). All Performances. Book 337. http://mds.marshall.edu/music_perf/337 This Recital is brought to you for free and open access by the Performance Collection at Marshall Digital Scholar. It has been accepted for inclusion in All Performances by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Program School of Music and Theatre Spunky Sprawl Esbjorn Svensson 1964-2008) MUSIC Bye Bye Blackbird Ray Henderson presents (1896-1970) Walking 'Round All Nostalgic Craig Burletic (b. 1989) Craig Burletic Greasin' Easy Hank Mobley (1930-1986) Bass 500 Miles High Chick Corea (b. 1941) Assisted by: Donna Lee Charlie Parker Molly Page, Violin (1920-1955) Jarohn Grandstaff, Soprano Saxophone Bryce Duncan, Alto Saxophone Waltz for Debby Bill Evans (1929-1980) Zach Arbogast, Piano Nick Vassar, Guitar Tenn Town Jaco Pastorius Rod Elkins, Drums (1951-1987) Spunky Sprawl Esbjorn Svensson JomieJazz Center Forum Before his untimely death in 2008, Esbjorn Svennson was one of Friday, Apri126, 2014 Europe's most successful jazz musicians. Starting as a rock musician in his early years, Svennson transitioned to <;:lassical and then jazz, cutting his teeth in the Swedish jazz scene in the 1980's. It's during this time he met 8:00p.m. -
The Object of This Paper Is to Prove That the Importance of Jaco Pastorius
What Does Donna Lee Mean? An Analysis of the Construction of Meaning in Music Uri González Uppsala Universitet Institutionen för musikvetenskap C-uppsats Ht 2004 Handledare: Lars Berglund Abstract This essay examines the construction of the meaning of bassist Jaco Pastorius’ solo on Charlie Parker’s composition Donna Lee (Pastorius 1976) according to musicologist Jean- Jacques Nattiez’ semiological tripartition theory. After the application of Nattiez’ approach, the following conclusions can be established: 1. At the time of its conception, 1976, Donna Lee represented both a big step forward in the developments of the instrumental possibilities of the electric bass. In its refusal to submit to exclusively rhythmic tasks it gradually became an increasingly soloistic voice. This arrived to the point where it actually was conceivable for a bass player to take upon a three chorus long solo on a classic jazz standard. 2. Despite this innovative spirit which drives Pastorius artistic output, his Donna Lee pays hommage to the jazz tradition and to the group of stylistic constraints that today characterize what is known as bebop. 3. The final meaning of Donna Lee and of any other musical text goes beyond its historical vicissitudes and its immanent structures. Meaning is not imposed by the exterior but is constructed by the individual mind in a perception that is creative and over-productive in a circular dialog with the environment. The essay will also make reference to the theories of musical semioticians and cognitive psychologists such as James Gibson, Robert Hatten, Ruben Lopez Cano, José Antonio Marina, among others. Table of contents ABSTRACT ............................................................................................................................ -
NYJC Graded Tunes List for the Newsletter and Website
HOME THE PEOPLE SUMMER SCHOOL EVENTS CURRICULUM HISTORY SUPPORT US PARTNERS CALENDAR CONTACT US EVENTS: WELCOME! NYJC GRADE F"*+(9%@G1.%H%>I1.%J0,7)D TUNES (Divided in to beginner, intermediate and advanced) K)"L.(#M%NLO",+2.7,$ J%*$U%(*+%E7Q,(*1%A(17"*()%B"61.%F6274%N,S(*72(17"*M%O6*+$+%Q9%B"61.%F6274%(*+% (A key stage graded list of 46,,$*1)9%0(,$*1$+%Q9%1.$%V"6*+(17"*%O",%B"6*S%F62747(*2M%+$27S*$+%1"%2600",1%1.$%tunes will be added by June 2016) F"*+(9%>I1.%J0,7)M%P0# 4,$(17E$%(*+%$+64(17"*()%*$$+2%"O%1.$%9"6*S%3(DD%#62747(*%1.,"6S.%,$S7"*()%"61,$(4.% K(,Q74(*%!())M%R"*+"* 0,"3$412%(*+%(*%(**6()%A(17"*()%B"61.%C(DD%56##$,%54."")W J0,7)%>*+%H%F(9%@21 ABC'%56##$,%54."")%(6+717"*2 :E$,9"*$%(1%-.$%A(17"*()%B"61.%'"))$417E$%72%+$)7S.1$+%1"%U$)4"#$%X(E7+%!"))(*+%(2% Accompanying spotify play list"6,%*$U%/,$27+$*1W%Y$Z,$%1.,7))$+%1"%Q$%U",[7*S%6*+$,%1.$%S67+(*4$%"O%264.%(%S,$(1% compiled by NYJC’s Curriculum Manager, Mick Foster J6S621%@T1.%H%>@21 3(DD%)6#7*(,9%(*+%(,$%E$,9%#64.%)""[7*S%O",U(,+%1"%U",[7*S%7*%0(,1*$,2.70%U71.% A(17"*()%B"61.%C(DD%'"))$417E$% http://open.spotify.com/user/fostermick/playlist/1UDSvtUb6ziji1EeUbBKKNX(E$%(2%U$%1([$%"6,%U",[%7*1"%())%,$S7"*2%"O%1.$%<\%(*+%1.$%A(17"*()%B"61.%C(DD% 56##$,%54."") 56##$,%54."")W FIND US ONLINE -.$%'"))$417E$%(,$%0)$(2$+%1"%(**"6*4$%1.(1%1.$%@?%,$S7"*2%2$)$41$+%1"%."21%ABC'2% U",[2."02%(*+%0$,O",#(*4$2%O",%5$01$#Q$,%>??]H%J0,7)%>?@?%(,$^%K7,#7*S.(#M% BEGINNER (The list of beginner tunes will be further developed in Ja'(#Q,7+S$M%'",*U())M%X$E"*M%!6++$,2_$)+M%\$*+()M%R(#Q$1.M%A",O")[M%A",1.%:(21% nuary 2016) 1. -
2O18-2O19 Annual Report
2018-2019 Annual Report contents welcome 2 WELCOME 3 A YEAR BY THE NUMBERS 4 JAZZ IMMERSION PROGRAMS 7 JAZZ IMMERSION PROGRAM FACULTY 8 MENTOR FELLOWSHIP PROGRAM 9 STANFORD JAZZ FESTIVAL 17 SJW 50/50 VISION 18 YEAR-ROUND PROGRAMS 19 FREE EVENTS 20 PEOPLE AND FINANCES 21 DONORS 22 PARTNERS Stanford Jazz Workshop is neither legally nor financially affiliated with Stanford University. This report summarizes activity from September 1, 2018 through August 31, 2019. On behalf of the Board of Directors of Stanford Jazz Workshop, I am PHOTO CREDITS: TERESA TAM: HTTP://WWW.TERESATAMSTUDIO.COM/ privileged to present this look back JEFFREY DEAN: HTTP://JADIENT.COM/ ANNUAL REPORT DESIGN: SAM MIRANDA at our 2018-19 season. Through facts, stories, and images you will explore what we accomplished for jazz perfor- mance and education. It was the work of many hands: students and families, teachers and performers, staff and volunteers, audiences of all kinds — and the donors whose generosity STANFORD JAZZ WORKSHOP IS NEITHER LEGALLY NOR made everything possible. FINANCIALLY AFFILIATED WITH STANFORD UNIVERSITY. THIS REPORT SUMMARIZES ACTIVITY FROM SEPTEMBER 1, 2018 THROUGH AUGUST 31, 2019. PHOTO CREDITS: TERESA TAM: HTTP://WWW.TERESATAMSTUDIO.COM/ JEFFREY DEAN: HTTP://JADIENT.COM/ ANNUAL REPORT DESIGN: SAM MIRANDA Jim Nadel FOUNDER & ARTISTIC DIRECTOR STANFORDJAZZ.ORG | 2018-2019 ANNUAL REPORT 2 PERFORMANCES by the numbers 11,057 2,156 68 12 29 TOTAL CONCERT ATTENDANCE FREE TICKETS FOR STUDENTS FREE EVENTS STUDENT TICKETED SHOWCASES PERFORMANCES EDUCATION PEOPLE 646 4 200 30 8 $108,236 9 47 123 59 56 462 14 SUMMER WEEKS OF E.P.A.