AMS Newsletter February 2009
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Vocal Jazz in the Choral Classroom: a Pedagogical Study
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2019 Vocal Jazz in the Choral Classroom: A Pedagogical Study Lara Marie Moline Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Moline, Lara Marie, "Vocal Jazz in the Choral Classroom: A Pedagogical Study" (2019). Dissertations. 576. https://digscholarship.unco.edu/dissertations/576 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 LARA MARIE MOLINE ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School VOCAL JAZZ IN THE CHORAL CLASSROOM: A PEDAGOGICAL STUDY A DIssertatIon SubMItted In PartIal FulfIllment Of the RequIrements for the Degree of Doctor of Arts Lara Marie MolIne College of Visual and Performing Arts School of Music May 2019 ThIs DIssertatIon by: Lara Marie MolIne EntItled: Vocal Jazz in the Choral Classroom: A Pedagogical Study has been approved as meetIng the requIrement for the Degree of Doctor of Arts in College of VIsual and Performing Arts In School of Music, Program of Choral ConductIng Accepted by the Doctoral CoMMIttee _________________________________________________ Galen Darrough D.M.A., ChaIr _________________________________________________ Jill Burgett D.A., CoMMIttee Member _________________________________________________ Michael Oravitz Ph.D., CoMMIttee Member _________________________________________________ Michael Welsh Ph.D., Faculty RepresentatIve Date of DIssertatIon Defense________________________________________ Accepted by the Graduate School ________________________________________________________ LInda L. Black, Ed.D. Associate Provost and Dean Graduate School and InternatIonal AdMIssions Research and Sponsored Projects ABSTRACT MolIne, Lara Marie. -
Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No
Institute for Studies In American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No. 2 Spring 2005 Jungle Jive: Jazz was an integral element in the sound and appearance of animated cartoons produced in Race, Jazz, Hollywood from the late 1920s through the late 1950s.1 Everything from big band to free jazz and Cartoons has been featured in cartoons, either as the by soundtrack to a story or the basis for one. The studio run by the Fleischer brothers took an Daniel Goldmark unusual approach to jazz in the late 1920s and the 1930s, treating it not as background but as a musical genre deserving of recognition. Instead of using jazz idioms merely to color the musical score, their cartoons featured popular songs by prominent recording artists. Fleischer was a well- known studio in the 1920s, perhaps most famous Louis Armstrong in the jazz cartoon I’ll Be Glad When for pioneering the sing-along cartoon with the You’ re Dead, You Rascal You (Fleischer, 1932) bouncing ball in Song Car-Tunes. An added attraction to Fleischer cartoons was that Paramount Pictures, their distributor and parent company, allowed the Fleischers to use its newsreel recording facilities, where they were permitted to film famous performers scheduled to appear in Paramount shorts and films.2 Thus, a wide variety of musicians, including Ethel Merman, Rudy Vallee, the Mills Brothers, Gus Edwards, the Boswell Sisters, Cab Calloway, and Louis Armstrong, began appearing in Fleischer cartoons. This arrangement benefited both the studios and the stars. -
Table of Contents
Table of Contents From the Editors 3 From the President 3 From the Executive Director 5 The Sound Issue “Overtures” Music, the “Jew” of Jewish Studies: Updated Readers’ Digest 6 Edwin Seroussi To Hear the World through Jewish Ears 9 Judah M. Cohen “The Sound of Music” The Birth and Demise of Vocal Communities 12 Ruth HaCohen Brass Bands, Jewish Youth, and the Sonorities of a Global Perspective 14 Maureen Jackson How to Get out of Here: Sounding Silence in the Jewish Cabaretesque 20 Philip V. Bohlman Listening Contrapuntally; or What Happened When I Went Bach to the Archives 22 Amy Lynn Wlodarski The Trouble with Jewish Musical Genres: The Orquesta Kef in the Americas 26 Lillian M. Wohl Singing a New Song 28 Joshua Jacobson “Sounds of a Nation” When Josef (Tal) Laughed; Notes on Musical (Mis)representations 34 Assaf Shelleg From “Ha-tikvah” to KISS; or, The Sounds of a Jewish Nation 36 Miryam Segal An Issue in Hebrew Poetic Rhythm: A Cognitive-Structuralist Approach 38 Reuven Tsur Words, Melodies, Hands, and Feet: Musical Sounds of a Kerala Jewish Women’s Dance 42 Barbara C. Johnson Sound and Imagined Border Transgressions in Israel-Palestine 44 Michael Figueroa The Siren’s Song: Sound, Conflict, and the Politics of Public Space in Tel Aviv 46 Abigail Wood “Surround Sound” Sensory History, Deep Listening, and Field Recording 50 Kim Haines-Eitzen Remembering Sound 52 Alanna E. Cooper Some Things I Heard at the Yeshiva 54 Jonathan Boyarin The Questionnaire What are ways that you find most useful to incorporate sound, images, or other nontextual media into your Jewish Studies classrooms? 56 Read AJS Perspectives Online at perspectives.ajsnet.org AJS Perspectives: The Magazine of President Please direct correspondence to: the Association for Jewish Studies Pamela Nadell Association for Jewish Studies From the Editors perspectives.ajsnet.org American University Center for Jewish History 15 West 16th Street Dear Colleagues, Vice President / Program New York, NY 10011 Editors Sounds surround us. -
LEGISLATIVE RESOLUTION Commemorating the 96Th Birthday of Ella Fitzger- Ald and Her Tremendous Contributions to Jazz
LEGISLATIVE RESOLUTION commemorating the 96th birthday of Ella Fitzger- ald and her tremendous contributions to jazz WHEREAS, It is the sense of this Legislative Body to recognize and commend those musical geniuses who brought entertainment and cultural enrichment to the citizens of the great Empire State; and WHEREAS, Also known as the "First Lady of Song", "Queen of Jazz", and "Lady Ella", Ella Fitzgerald was an American jazz vocalist noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly her scat singing; she was a notable interpreter of the Great American Songbook; and WHEREAS, Ella Fitzgerald was born on April 25, 1917, in Newport News, Virginia, the daughter of Temperance "Tempie" and William Fitzgerald; her parents separated soon after her birth, and Ella and her mother went to Yonkers, New York; she and her family were Methodists and were active in the Bethany African Methodist Episcopal Church; and WHEREAS, In her youth, Ella Fitzgerald wanted to be a dancer, although she loved listening to jazz recordings by Louis Armstrong, Bing Crosby and The Boswell Sisters, and idolized lead singer Connee Boswell; after the death of her mother in 1932 and overcoming many hardships and obsta- cles, a young Ella made her singing debut at age 17 on November 21, 1934, at the Apollo Theater in Harlem, New York and the rest was histo- ry; and WHEREAS, Over the course of her 59-year recording career, the First Lady of Song sold 40 million copies of her 70-plus albums, won 13 Grammy Awards and was awarded the National Medal of Arts by former president Ronald Reagan and the Presidential Medal of Freedom by former president George H. -
Association of Jewish Libraries N E W S L E T T E R February/March 2008 Volume XXVII, No
Association of Jewish Libraries N E W S L E T T E R February/March 2008 Volume XXVII, No. 3 JNUL Officially Becomes The National Library of Israel ELHANAN ADL E R On November 26, 2007, The Knesset enacted the “National Li- assistance of the Yad Hanadiv foundation, which previously brary Law,” transforming the Jewish National and University contributed the buildings of two other state bodies: the Knesset, Library (JNUL) at The Hebrew University’s Givat Ram campus and the Supreme Court. The new building will include expanded into the National Library of Israel. reading rooms and state-of-the-art storage facilities, as well as The JNUL was founded in 1892 by the Jerusalem Lodge of a planned Museum of the Book. B’nai B’rith. After the first World War, the library’s ownership The new formal status and the organizational change will was transferred to the World Zionist Organization. With the enable the National Library to expand and to serve as a leader opening of the Hebrew University on the Mount Scopus campus in its scope of activities in Israel, to broaden its links with simi- in 1925, the library was reorganized into the Jewish National and lar bodies in the world, and to increase its resources via the University Library and has been an administrative unit of the government and through contributions from Israel and abroad. Hebrew University ever since. With the founding of the State The law emphasizes the role of the Library in using technology of Israel the JNUL became the de facto national library of Israel. -
View Becomes New." Anton Webern to Arnold Schoenberg, November, 25, 1927
J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 74 The Collection of Jacob Lateiner Part VI ARNOLD SCHOENBERG 1874-1951 ALBAN BERG 1885-1935 ANTON WEBERN 1883-1945 6 Waterford Way, Syosset NY 11791 USA Telephone 561-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). To avoid disappointment, we suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. International customers are asked to kindly remit in U.S. funds (drawn on a U.S. bank), by international money order, by electronic funds transfer (EFT) or automated clearing house (ACH) payment, inclusive of all bank charges. If remitting by EFT, please send payment to: TD Bank, N.A., Wilmington, DE ABA 0311-0126-6, SWIFT NRTHUS33, Account 4282381923 If remitting by ACH, please send payment to: TD Bank, 6340 Northern Boulevard, East Norwich, NY 11732 USA ABA 026013673, Account 4282381923 All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. Fine Items & Collections Purchased Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c. -
Race, Gender, and Region in the Music of the Boswell Sisters
Journal of the Society for American Music (2007) Volume 1, Number 2, pp. 207–255. C 2007 The Society for American Music doi: 10.1017.S1752196307070083 White Face, Black Voice: Race, Gender, and Region in the Music of the Boswell Sisters LAURIE STRAS Abstract TheNewOrleanshotjazzvocaltriotheBoswellSisterswasoneoftheleadingensemblesofthe 1930s. Enormously popular with audiences, the Boswells were also recognized by colleagues and peers to be among the finest singers, instrumentalists, and arrangers of their day. Many jazz historians remember them as the first successful white singers who truly “sounded black,” yet they rarely interrogate what “sounding black” meant for the Boswells, not only in technical or musical terms but also as an expression of the cultural attitudes and ideologies that shape stylistic judgments. The Boswells’ audience understood vocal blackness as a cultural trope, though that understanding was simultaneously filtered through minstrelsy’s legacy and challenged by the new entertainment media. Moreover, the sisters’ southern femininity had the capacity to further contexualize and “color” both their musical output and its reception. This essay examines what it meant for a white voice to sound black in the United States during the early 1930s, and charts how the Boswells permeated the cultural, racial, and gender boundaries implicit in both blackness and southernness as they developed their collective musical voice. In the 1930s, the hot jazz vocal trio the Boswell Sisters—Martha (1905–58), Connie (1907–76), and Helvetia, or “Vet” (1911–88)—enjoyed enormous popularity and critical acclaim in America and Europe during five years of intense performing, recording, and broadcast activity. As musicians, arrangers, and singers they com- manded great respect from their peers, collaborating with many who were stars in their own right—the Dorsey brothers, Bing Crosby, Red Nichols, the Mills Brothers—as well as those who would go on to build their careers in the following decade, such as Glenn Miller, Benny Goodman, and Artie Shaw. -
Fiscal Year 2017 Appropriations Request
National Endowment for the Arts Appropriations Request For Fiscal Year 2017 Submitted to the Congress February 2016 National Endowment for the Arts Appropriations Request for Fiscal Year 2017 Submitted to the Congress February 2016 TABLE OF CONTENTS I. Overview ......................................................................... 1 II. Creation of Art .............................................................. 21 III. Engaging the Public with Art ........................................ 33 IV. Promoting Public Knowledge and Understanding ........ 83 V. Program Support ......................................................... 107 VI. Salaries and Expenses ................................................. 115 www.arts.gov BLANK PAGE National Endowment for the Arts – Appropriations Request for FY 2017 OVERVIEW The National Endowment for the Arts (NEA) is America’s chief funder and supporter of the arts. As an independent Federal agency, the NEA celebrates the arts as a national priority, critical to America’s future. More than anything, the arts provide a space for us to create and express. Through grants given to thousands of non-profits each year, the NEA helps people in communities across America experience the arts and exercise their creativity. From visual arts to digital arts, opera to jazz, film to literature, theater to dance, to folk and traditional arts, healing arts to arts education, the NEA supports a broad range of America’s artistic expression. Throughout the last 50 years, the NEA has made a significant contribution to art and culture in America. The NEA has made over 147,000 grants totaling more than $5 billion dollars, leveraging up to ten times that amount through private philanthropies and local municipalities. The NEA further extends its work through partnerships with state arts agencies, regional arts organizations, local leaders, and other Federal agencies, reaching rural, suburban, and metropolitan areas in all 50 states, the District of Columbia, special jurisdictions, and military installations. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Download Booklet
120762bk DorseyBros 14/2/05 8:43 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends and Nostalgia series … 8.120625* 8.120628 8.120632* 8.120681* 8.120697* 8.120746* * Not available in the USA NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120762bk DorseyBros 14/2/05 8:43 PM Page 2 THE DORSEY BROTHERS Personnel Tracks 1, 3 & 4: Bunny Berigan, trumpet; Tracks 8-11: Manny Klein & unknown, trumpet; ‘Stop, Look and Listen’ Original 1932-1935 Recordings Tommy Dorsey, trombone; Jimmy Dorsey, Tommy Dorsey, Glenn Miller, trombones; clarinet, alto sax; Larry Binyon, tenor sax; Jimmy Dorsey, clarinet, alto sax; unknown, alto Whether you call them The Fabulous or The over to the newly formed American Decca label. Fulton McGrath, piano; Dick McDonough, sax; Larry Binyon (?), tenor sax; Fulton Battling Dorsey Brothers, Tommy (1905-1956) In the two knock-down drag-out years that guitar; Artie Bernstein, bass; Stan King, drums McGrath (?), piano; Dick McDonough, guitar; and Jimmy Dorsey (1904-1957) were major followed, the Dorseys produced some Track 2: Bunny Berigan, trumpet; Tommy Artie Bernstein (?), bass; Stan King or Ray influences on the development of jazz in the outstanding and exciting jazz, all the while Dorsey, trombone; Jimmy Dorsey, clarinet; McKinley, drums 1920s and ’30s. -
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL B
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL b. 1938 CYMBELINE: DRAMA AFTER SHAKESPEARE (1984, rev. 1996) CYMBELINE [1] I. Prelude 4:03 [2] II. Duet: Imogen and Posthumus 3:26 [3] III. Interlude 1:39 [4] IV. Aria: Iachimo 1:10 [5] V. Imogen 3:39 [6] VI. Scene with Arias: Iachimo 10:19 [7] VII. Interlude 2:14 [8] VIII. Scene: Cloten 1:21 [9] IX. Song: Cloten 3:22 [10] X. Recitative and Arioso: Imogen and Belarius 3:04 ALIANA DE LA GUARDIA soprano [11] XI. Duet, Dirge: Guiderius and Arviragus 3:58 MATTHEW DiBATTISTA tenor [12] XII. Battle with Victory March 4:05 DAVID SALSBERY FRY narrator [13] XIII. Scene: Ghosts (Mother and Sicilius) and Jupiter 5:17 [14] XIV. Duet: Imogen and Posthumus 3:07 BOSTON MODERN ORCHESTRA PROJECT [15] XV. Finale: Soothsayer and Cymbeline 4:14 Gil Rose, conductor TOTAL 55:02 COMMENT By Charles Fussell The idea of a musical depiction of this work came as a result of seeing the Hartford Stage productions of Shakespeare. Their Cymbeline, directed by Mark Lamos (who later moved to opera), ended with an unforgettable scene between Imogen and her husband: “Why did you throw your wedded lady from you? Think that you are upon a rock and throw me again.” His reply, “Hang there like fruit, my soul, till the tree die.” This exchange touched me deeply and really convinced me to try some music for the songs that appear in the play as well as this beautiful expression of love. I noticed the familiar “Hark, hark the lark” was sung by the frightful Cloten. -
Fifty Years of Electronic Music in Israel
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/231788238 Fifty years of electronic music in Israel Article in Organised Sound · August 2005 DOI: 10.1017/S1355771805000798 CITATIONS READS 3 154 1 author: Robert J. Gluck University at Albany, The State University of New York 16 PUBLICATIONS 28 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: Morton Subotnick and the late 1960s Downtown Scene View project An International perspective on electroacoustic music history View project All content following this page was uploaded by Robert J. Gluck on 20 September 2014. The user has requested enhancement of the downloaded file. Fifty years of electronic music in Israel ROBERT J. GLUCK University at Albany, PAC 312, 1400 Washington Avenue, Albany, New York 12208, USA E-mail: [email protected] The history of electronic music composition, technologies and founding figure of electronic music in Israel. Born in institutions is traced from the founding of the State of Israel present-day Poland, Tal studied during his teen years in 1948. Core developments are followed beginning with at the Staatliche Akademische Hochschule fur Music the founding generation including Joseph Tal, Tzvi Avni and in Berlin. Among his teachers was Paul Hindemith Yizhak Sadai, continuing with the second and third who, he recalls, ‘pointed me in the direction of elec- generations of musicians and researchers, living in Israel and the United States. The institutional and political dynamics of tronic music’ (Tal 2003), specifically to the studio of the field in this country are explored, with a focus on the engineer Friedrich Trautwein, best known as inventor challenges of building an audience and institutional support, of the Trautonium, a synthesizer prototype created in as well as prospects for the future.