Appendixes / Selected Bibliography / Preparers / Index
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Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
New Orleans Jazz National Historical Park Junior Ranger Activity Book
U.S. Department of the Interior New Orleans Jazz National Park Service National Historical Park Junior Ranger Activity Book New Orleans Jazz National Historical Park Be a Junior Park Ranger EXPLORE . LEARN . PROTECT Are YOU ready to become a Junior Park Ranger ? Becoming a Junior Ranger is a fun way to learn about Jazz, New Orleans & YOUR National Park. 1.) How do you become a Junior Park Ranger? Choose and complete the number of activities for your age group. Your parents are welcome to help and learn too. 7 years & younger, complete at least four activities. 8-11 years, complete six or more activities. 12 years or older, complete at least eight of the activities 2.) To receive your Junior Ranger Badge, complete the activities for your age group, then re- turn to the visitor’s center, or mail the booklet to the New Orleans Jazz National Historical Park. *If you have any questions about the activities in this book remember that Park Rangers are here to help you. New Orleans Jazz National Historical Park MAIL: Junior Park Ranger VISITOR CENTER: 916 N. Peters St. (in Dutch Alley) PERFORMANCE HALL AT: Old U.S. Mint TO 419 Decatur St. New Orleans, LA. 70116 400 Esplanade Ave. New Orleans, LA. 70130 New Orleans, LA.70116 (504) 589-4841 ● www.nps.gov/jazz WWhat is JJazz? Jazz is a musical style based on improvisation, that is the art of making What is something up on the spot. New Orleans Many different musical Jazz? styles came together to form what we now call jazz, and the place it all began was in New Orleans. -
Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2001 Protecting 'Place' in African -American Neighborhoods: Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans. Michael Eugene Crutcher Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Crutcher, Michael Eugene Jr, "Protecting 'Place' in African -American Neighborhoods: Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans." (2001). LSU Historical Dissertations and Theses. 272. https://digitalcommons.lsu.edu/gradschool_disstheses/272 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 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 face, 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. -
The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1St Edition Pdf, Epub, Ebook
THE NORTON JAZZ RECORDINGS 2 COMPACT DISCS FOR USE WITH JAZZ: ESSENTIAL LISTENING 1ST EDITION PDF, EPUB, EBOOK Scott DeVeaux | 9780393118438 | | | | | The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1st edition PDF Book A Short History of Jazz. Ships fast. Claude Debussy did have some influence on jazz, for example, on Bix Beiderbecke's piano playing. Miles Davis: E. Retrieved 14 January No recordings by him exist. Subgenres Avant-garde jazz bebop big band chamber jazz cool jazz free jazz gypsy jazz hard bop Latin jazz mainstream jazz modal jazz M-Base neo-bop post-bop progressive jazz soul jazz swing third stream traditional jazz. Special Attributes see all. Like New. Archived from the original on In the mids the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. Traditional and Modern Jazz in the s". See also: s in jazz , s in jazz , s in jazz , and s in jazz. Charlie Parker's Re-Boppers. Hoagy Carmichael. Speedy service!. Visions of Jazz: The First Century. Although most often performed in a concert setting rather than church worship setting, this form has many examples. Drumming shifted to a more elusive and explosive style, in which the ride cymbal was used to keep time while the snare and bass drum were used for accents. Season 1. Seller Inventory While for an outside observer, the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from Claude Debussy to Arnold Schoenberg , such a scheme cannot be sustained by the evidence from a cognitive approach. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
Affected Environment
AFFECTED ENVIRONMENT Cultural Resources 55 Background 51 Social Aid and Pleasure Clubs / Benevolent Associations 53 Mardi Gras Indians 53 The Jazz Parade Tradition 53 Historical Jazz Communities 53 Tourism 57 Access 57 Transportation in the Metropolitan Area 57 Maps and Brochures 57 Jazz Information 58 Tours 58 Jazz Walking Tours 58 Jazz Auto Tours 58 Jazz Music 58 Visitor Use 59 Visitor Use of the Park 59 Park Visitor Facilities 59 Louis Armstrong Park 59 Old U.S. Mint, New Orleans Branch 60 Visitor Experiences and Activities 60 Visitation 60 Visitor Profile for New Orleans 62 Socioeconomic Affected Environment 65 Regional Economic Base 65 Population 65 Economy 65 Natural Resources 69 Air Quality 69 Threatened and Endangered Species 69 Floodplains 69 Climate 69 Water Quality 69 Soils 70 49 CULTURAL RESOURCES BACKGROUND upriver and downriver working-class neighbor- hoods and some newer ones being developed in New Orleans’s unique history and culture led to the “back-of-town” areas away from the river, the development of New Orleans jazz. The city interspersed with the existing African-American was founded by the French (1718), ceded to Spain neighborhoods. (1763), returned to France (1803), and almost immediately sold to the United States in the Each ethnic group contributed to the very active Louisiana Purchase. A rich amalgam of cultures musical environment in the city, and before the formed in this city. The Creole culture was 20th century African-Americans masquerading as Catholic and both French- and Spanish-speaking. Indians during the Carnival season, and especially The American culture was Protestant and English- on Mardi Gras Day, began to appear in their speaking. -
Economic Impacts of the Proposed Pullman National Historical Park
FINAL REPORT Economic Impacts of the Proposed Pullman National Historical Park Submitted To: National Parks Conservation Association August 2, 2013 MFA Project Number 548 Executive Summary The National Parks Conservation Association (“NPCA” or “Client”) retained Market Feasibility Advisors, LLC (“MFA”) to assess the economic impacts of the potential designation of the historic Pullman neighborhood as a Pullman National Historical Park (“Park”) by the National Park Service (“NPS”). Pullman is a Chicago neighborhood located approximately 15 miles due south of downtown. It appears that the Pullman Historic District features all the attributes necessary to be designated as a unit of the National Park System, an action that could greatly enhance the revitalization of the area and preserve the architectural and cultural heritage that makes it such a historical treasure. Pullman showcases 19th and 20th Century industrial society with unique stories of architecture, labor history— including formation of the first African-American labor union, landscape design, urban planning, and transportation history. The convergence of multiple stories of undisputed national significance makes Pullman worthy of national park status. As an example of vertical integration, Pullman was only surpassed by Henry Ford’s River Rouge complex, presenting a historical model of corporate structure very much emulated in today’s world. Pullman offers ample opportunities for public use and enjoyment, in an environment rich in history. The economic impacts of the proposed National Historical Park designation would vary greatly depending on the specific actions taken in regards to that designation. It is MFA’s understanding that at this time NPS has not created any plans, let any contracts, or partnered with any concessionaires to operate anything in Pullman. -
The Connectors of Two Worlds: Chano Pozo, Dizzy Gillespie, and the Continuity of Myth Through Afro-Cuban Jazz
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2005 The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz Dwight Paul Sweeney Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Music Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Sweeney, Dwight Paul, "The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz" (2005). Theses Digitization Project. 2823. https://scholarworks.lib.csusb.edu/etd-project/2823 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. THE CONNECTORS OF TWO WORLDS: CHANO POZO, DIZZY GILLESPIE, AND THE CONTINUITY OF MYTH THROUGH AFRO-CUBAN JAZZ A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Interdisciplinary Studies by Dwight Paul Sweeney, Jr. March 2005 ■3 THE CONNECTORS OF TWO WORLDS: CHANO POZO, DIZZY GILLESPIE, ZYND THE CONTINUITY OF MYTH THROUGH AFRO-CUBAN JAZZ A Thesis Presented to the Faculty of California State University, San Bernardino by Dwight Paul Sweeney, Jr. March 2005 Approved by: 3-2- Chair, History Date Russell Barber, Anthropology ABSTRACT The histories of Cuba and the United States ran a parallel course until the late nineteenth century, and musical cultural exchanges are a legacy of this interaction. -
Music of New Orleans a Concert in Honor of Vivian Perlis
Music of New Orleans A Concert in Honor of Vivian Perlis Society for American Music 45th Annual Conference New Orleans, Louisiana 22 March 2019 George and Joyce Wein Jazz & Heritage Center 7:00 p.m. Sarah Jane McMahon, soprano Peter Collins, piano The Society for American Music is delighted to welcome you to the fourth Vivian Perlis Concert, a series of performances of music by contemporary American composers at the society’s annual conferences. We are grateful to the Virgil Thomson Foundation, the Aaron Copland Fund, and to members of the Society for their generous support. This concert series honors Vivian Perlis, whose publications, scholarly activities, and direction of the Oral History of American Music (OHAM) project at Yale University have made immeasurable contributions to our understanding of American composers and music cultures. In 2007 the Society for American Music awarded her the Lifetime Achievement Award for her remarkable achievements. The George and Joyce Wein Jazz & Heritage Center is an education and cultural center of the New Orleans Jazz & Heritage Foundation, the nonprofit that owns the New Orleans Jazz & Heritage Festival. It is a 12,000-square foot building that boasts seven music instruction classrooms for the Heritage School of Music, a recording studio, and a 200-seat auditorium. Additionally, a large collection of Louisiana art graces the walls of the center, creating an engaging environment for the educational and cultural activities in the building. The auditorium was designed by Oxford Acoustics. It can be adapted to multiple uses from concerts to theatrical productions to community forums and workshops. The room’s acoustics are diffusive and intimate, and it is equipped with high-definition projection, theatrical lighting and a full complement of backline equipment. -
The Music of New Orleans and How It Shaped Its Culture
The Music of New Orleans and How It Shaped Its Culture Chanelle Harley Penn Treaty High School Overview Rationale Objectives Strategies Classroom Activities/Lesson Plans Resources/ Bibliography Standards Overview This unit is aimed to concentrate and New Orleans’ culture, cuisine, and historical landmarks with significant importance placed on music and African-American influences in order to create a curriculum that provides an urban cultural contrast and comparison for students in the School District of Philadelphia. The first goal of this unit is to give students a perceptive understanding of how music can help shape a culture, especially an urban landscape with similarities as well as differences to their own environment. We will understand the power and effect that music had and still haves on the society in New Orleans. We will pay special attention to the role African Americans play in the musical history and current events of the Crescent City. The relationship between music and society in a specific urban community is what we will delve into. Culture and the fundamentals of society have its roots in musical expression. Many of our traditions in the African-American community are formulated around music and the expression of music (i.e. dance). Music is also utilized as a communication device in the African-American community as well. This is especially true when it comes to the culture and society of New Orleans. Many specific customs are infused in the history and urban landscape of the city. This unit will give students a comparison of an urban environment that is rich in culture and diversity as their own but has a different, yet complex set of issues as well and how music is at the center of that environment. -
10 Program.03.07.18.PRINT.Indd
“Music of the City” is the 12th installment of Musical Louisiana: America’s Cultural Heritage, an annual series presented by The Historic New Orleans Collection The Historic New Orleans Collection and the Louisiana Philharmonic Orchestra. Dedicated to the study of Louisiana’s contributions to the world of classical music, the award-winning series reaches an audience of nearly 30,000 individuals through and live radio broadcasts and online video streaming of the concert. In addition, the accompanying program and educational materials The Louisiana Philharmonic Orchestra are made available online to middle and high school teachers throughout Louisiana and across the country. A recording of the Carlos Miguel Prieto concert and this printed program are also distributed to the 68 library systems of the State Library of Louisiana, university libraries, Adelaide Wisdom Benjamin Music Director and Principal Conductor music history instructors in Louisiana, and centers throughout the United States concentrating on the study of American music. PRESENT Sponsored by MUSIC OF THE CITY Carlos Miguel Prieto, conductor Norman Robinson, narrator Additional support provided by Doreen Ketchens, clarinet Davide Mariano, organ and piano Dara Rahming, soprano Wednesday, March 21, 2018 This year’s concert is once again streaming live on LPOmusic.com. WWNO is broadcasting the program on 89.9 FM and Classical 104.9 FM in the New Orleans area, Cathedral-Basilica of St. Louis, King of France KTLN 90.5 FM in the Thibodaux-Houma area, and on wwno.org. New Orleans, Louisiana Please silence your cell phone during the performance. The use of recording devices and flash photography is strictly prohibited.