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French Stewardship of Jazz: the Case of France Musique and France Culture
ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs. -
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. -
C-UPPSATS Variationer Av Jazzstandards
2008:059 C-UPPSATS Variationer av jazzstandards Undersökning av hur grundmelodier varieras i jazzinspelningar Daniel Lundström Luleå tekniska universitet C-uppsats Musik Institutionen för Musik och medier Musikhögskolan 2008:059 - ISSN: 1402-1773 - ISRN: LTU-CUPP--08/059--SE Variationer av jazzstandards Undersökning av hur grundmelodier varieras i jazzinspelningar DANIEL LUNDSTRÖM Vetenskaplig handledare: Sverker Jullander Konstnärlig handledare: Claes von Heijne Abstrakt Syftet med den här uppsatsen är att systematiskt inventera olika sätt att förändra en grundmelodi i standardlåtar inom jazzen. Jag har transkriberat inspelningar av jazztrios ledda av pianisterna Bill Evans och McCoy Tyner och analyserat hur de förändrar grundmelodier inom jazzen. Jag har systematiserat melodiska och rytmiska förändringar i kategorier och underubriker. Resultatet av forskningen är tänkt att kunna användas som underlag för konstruktion av undervisningsmaterial. Arbetet innefattar även egna inspelningar. Nyckelord: jazz, standards, piano, jazztrio, Bill Evans, McCoy Tyner. 2 Innehåll 1. Inledning…………………………………………............................................................ 5 Bakgrund…………………………………………...................................................... 5 Syfte………………………………………….............................................................. 5 Material och metod…………………………………………........................................ 5 2. Beskrivning av kompositioner…………………………………………............................. 6 Speak Low…………………………………………................................................... -
Flamenco Sketches”
Fyffe, Jamie Robert (2017) Kind of Blue and the Signifyin(g) Voice of Miles Davis. PhD thesis. http://theses.gla.ac.uk/8066/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Kind of Blue and the Signifyin(g) Voice of Miles Davis Jamie Robert Fyffe Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow October 2016 Abstract Kind of Blue remains one of the most influential and successful jazz albums ever recorded, yet we know surprisingly few details concerning how it was written and the creative roles played by its participants. Previous studies in the literature emphasise modal and blues content within the album, overlooking the creative principle that underpins Kind of Blue – repetition and variation. Davis composed his album by Signifyin(g), transforming and recombining musical items of interest adopted from recent recordings of the period. This thesis employs an interdisciplinary framework that combines note-based observations with intertextual theory. -
JREV3.6FULL.Pdf
KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5. -
Hong Kong Budding Poets (English) Award 2014/15 Anthology
2014/15 Hong Kong Budding Poets (English) Award Poets(English) Budding Award Kong 2014/15 Hong 2014/15 Hong Kong Budding Poets (English) Award Anthology Anthology 2014/2015 Hong Kong Budding Poets (English) Award Anthology Organised by Commissioned to Department of English, City University of Hong Kong Preface “What a strange thing! / to be alive / beneath cherry blossoms.” So wrote the Japanese poet Kobayashi Issa, nearly three hundred years ago. He knew all about life. He lost his mother when he was three; he was sent to the city; he was robbed of his inheritance; his house burnt down; and in the space of a few years he lost three children and his wife. He wrote in another poem that everything he had loved ‘pricked like a bramble.’ The world does this. It confronts. It challenges. It hurts. It is sometimes blesses us, too. But how to respond? Issa came to the same conclusion as many other great artists over the centuries: through art. Art is what defines us as humans. There is no other species that indulges in self-expression in the same way we do. We paint, we act, we write, we sing. Of all these art forms there is none as clean and precise and exacting as poetry. It is distilled language and feeling. It is a painting in works, a snapshot of a moment, or a chronicle covering years. When I write there are two moments when the process is 2014/15 Hong Kong Budding Poets (English) Award at its most joyful: the beginning and the end. -
Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures. -
David Taylor - Poems
Poetry Series David Taylor - poems - Publication Date: 2007 Publisher: Poemhunter.com - The World's Poetry Archive David Taylor(3rd January 1956) Born, Baby, Child, Adolescent, Student, Employee, Husband, Self Employed, Father, Father, Father, Divorcee, Husband, Father...and throughout all that I'm me! www.PoemHunter.com - The World's Poetry Archive 1 *alone* what should be an invigorating freshness a chill inside (shaking heart beats) traffic on the road silent rising clanking passing (silent again) phone rings silence, recorded voice speaks a real person with taped speech (a recorded message would be better?) selling cheap energy i think i will buy some flowers (petals coloured fragrance) arrange them in a wreath celebrate my death reports of (my) death greatly exaggerated until the silence speaks with the voice of great souls (departed) come in they say (here is the place) to be; alone in eternity. David Taylor www.PoemHunter.com - The World's Poetry Archive 2 *dance Ohh bliss what do you say, do you have a voice today? Where may I find your joy, which I remember as a boy? Ahh bliss where are you now, hidden under frown of brow? Where may I find your sound, which surely must be all around? Hmm bliss what is it that I miss, as I go on with that and this? Where may I find your smile, in each and every hour and mile? Yes I can feel it now, the harmony of the sky and clouds, the moon's revolving round, earth's harvest after plough. It is a dance eternal found the sweetest movement in all sound; and never will be missed, as by that bliss this life is kissed. -
1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement. -
“The Wright Touch” Dance Band
Swing, Jump, High Society and Show Songs A Foggy Day ( In Old London Town ) Just In Time (Sinatra) * Ain't Misbehavin' Just One Of Those Things All of Me Kiss To Build a Dream On (Louis Armstrong) All of You (Cole Porter) Lady Be Good All or Nothing At All (Sinatra) * Lady Is a Tramp (Sinatra) * Anything Goes La Vien Rose (Louis Armstrong)) As Time Goes By Let the Good Times Roll Autumn Leaves Let’s Call The Whole Thing Off Begin the Beguine Like Someone In Love Believe It Or Not Lil Darlin’ Best of Times Lili Marlene Beyond The Sea L-O-V-E Birth of the Blues Love And Marriage Call Me Love for Sale Change Partners Luck Be A Lady (Sinatra) * Chattanooga Choo Choo Mack The Knife Cheek to Cheek (Sinatra) * Make Someone Happy Chicago Makin’ Whoopee Choo-Choo Cha Boogie Moonglow Come Fly With Me (Sinatra) * More I See You Dancing in the Dark My Kind of Girl (Siantra) * Dancing on the Ceiling New York, New York (Sinatra) * Deep Purple Nice Work if You Can Get It Don't Blame Me Night and Day Embraceable You Oh, Lady be Good Foggy Day Once in a While Forty Second Street On A Clear Day Girl Talk On The Street Where You Live Glory of Love On The Sunny Side of the Street Got It Bad Once In Love With Amy Heart (Damn Yankees) One (Chorus Line) Hey There (You With The Stars In Your Eyes) Orange Colored Sky (Nat King Cole) I Concentrate on You Our Love is Here to Stay I Could Write a Book Puttin' on the Ritz I Get a Kick Out of You Red Roses For A Blue Lady I Remember You S’Wonderful I’m Beginning To See The Light Second Time Around I’m Putting All My -
Conjunto Instrumental Ii Curso: 2018/2019 Especialidad: Interpretación - Jazz Y Música Moderna Materia: Música De Conjunto
DOC-ENS17-002 ENSEÑANZAS ARTÍSTICAS, TÍTULO SUPERIOR DE MÚSICA PLAN DOCENTE ASIGNATURA: CONJUNTO INSTRUMENTAL II CURSO: 2018/2019 ESPECIALIDAD: INTERPRETACIÓN - JAZZ Y MÚSICA MODERNA MATERIA: MÚSICA DE CONJUNTO DATOS DE LA ASIGNATURA Tipo de asignatura: Obligatoria Periodo: Anual Créditos ECTS de la asignatura: 6.0 créditos Valor total en horas: 180H Horas presenciales: 45H Horas para trabajos dirigidos (no presenciales): 65H Horas para el aprendizaje autónomo: 70H Profesorado: Para ver el equipo docente de la asignatura para Jazz y Música Moderna haz clic aquí PRERREQUISITOS Y ORIENTACIONES PREVIAS PARA CURSAR LA ASIGNATURA Es necesario haber aprobado Conjunto Instrumental I. COMPETENCIAS QUE SE DESARROLLAN EN LA ASIGNATURA - Desarrollar la práctica laboral una ética profesional basada en la apreciación y sensibilidad estética, y la diversidad. - Mostrar aptitudes para la lectura, improvisación, creación y recreación musical. - Producir e interpretar correctamente la notación gráfica de textos musicales. - Reconocer materiales musicales gracias al desarrollo de la capacidad auditiva y aplicar esta capacidad a su práctica profesional. - Conocer los recursos tecnológicos propios del campo de actividad y sus aplicaciones a la música preparando al alumno para asimilar las novedades que se producen en él. - Aplicar los métodos de trabajo más apropiados para superar los retos que se le presenten al alumno en el terreno del estudio personal y la práctica musical colectiva. - Conocer las características propias del instrumento principal en relación a su construcción y acústica, evolución histórica e influencias mutuas con otras disciplinas. - Argumentar y expresar verbalmente los puntos de vista propios sobre conceptos musicales diversos. - Acreditar un conocimiento suficiente del hecho musical y de su relación con la evolución de los valores estéticos, artísticos y culturales. -
1959: the Greatest Year in Jazz Instructor: Jeff Denson OLLI
1959: The Greatest Year in Jazz Instructor: Jeff Denson OLLI Summer 2018 This four week course will examine six of the most significant jazz alBums recorded in the pivotal year of 1959, arguaBly some of the top jazz recordings of all time: Miles Davis’ “Kind of Blue,” Dave BruBeck’s “Time Out,” Charles Mingus’ “Ah Um,” Bill Evans’ “Portrait in Jazz,” John Coltrane’s “Giant Steps” and Ornette Coleman’s “The Shape of Jazz to Come.” These six master recordings display a wide variety in musical styles and esthetic experimentation and forecast the ever-expanding definition of what jazz is to this day. From the modal, melody-focused style of Miles Davis' “Kind of Blue;” to the vast harmonic exploration and dazzling displays of virtuosity found in John Coltrane’s “Giant Steps;” to the gospel and Blues soaked “Ah Um” By one of jazz’s greatest bassists and composers, Charles Mingus; to the odd meters and Eastern European influences of Dave BruBeck’s “Time Out;” to the new heights of trio interaction and improvised counterpoint of Bill Evans’ “Portrait in Jazz;” to the questioning of what “freedom” in music means in the explorations of Ornette Coleman’s “The Shape of Jazz to Come,” the world of music would never Be the same! This course will include a great deal of listening and explanation of musical devices, concepts and approaches by the instructor as well as live performances By the instructor and other expert visiting jazz musicians. Week 1 Miles Davis’ “Kind of Blue," John Coltrane’s “Giant Steps,” and Bill Evans’ “Portrait in Jazz" - Birds of a Feather Yet Worlds Apart Week 2 Miles Davis’ “Kind of Blue," John Coltrane “Giant Steps,” and Bill Evans “Portrait in Jazz” continued - Plus live performance and demonstration/discussion Week 3 Charles Mingus’ “Ah Um,” Dave BruBeck “Time Out," and Ornette Coleman “The Shape of Jazz to Come” - Home, Abroad and Beyond Week 4 Charles Mingus’ “Ah Um,” Dave BruBeck’s “Time Out," and Ornette Coleman’s “The Shape of Jazz to Come” - Plus live performance and demonstration/discussion .