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EXTENSIONS of REMARKS, Vol
October 19, 2012 EXTENSIONS OF REMARKS, Vol. 158, Pt. 11 15025 EXTENSIONS OF REMARKS HONORING MR. WILLIE ‘‘SONNY and cotton picking in Tallahatchie County and the owners. In 1955, he began recording for BOY’’ WILLIAMSON started becoming a familiar voice and blues Chess Records in Chicago, Illinois after Trum- artist on the local circuits. He played on the pet Records went bankrupt. His years at HON. BENNIE G. THOMPSON street corners, at church socials, fish fry’s, and Chess Records were his most successful in OF MISSISSIPPI anywhere he could attract a crowd, sometimes his career as a blues artist. In fact, he re- IN THE HOUSE OF REPRESENTATIVES getting paid. Sonny Boy made friends with corded about 70 songs from 1955 to 1964 for other blues artists like Big Joe Williams, Checker Records, a subsidiary of Chess Friday, October 19, 2012 Elmore James, Joe Willie ‘‘Pinetop’’ Perkins, Records. In 1959 he finally got the opportunity Mr. THOMPSON of Mississippi. Mr. Speak- Robert Lockwood, Jr., and Robert Johnson. to record a compilation of stories about the er, I rise today to honor a blues musician and He was always looking for ways to entertain blues with his first LP record titled Down and legend of the Mississippi Delta, Mr. Willie besides just singing, so he started doing what Out Blues. It featured such hits as Dissatis- ‘‘Sonny Boy’’ Williamson. some might call impossible until they saw him fied, Your Funeral and My Trial, Don’t Start Mr. Speaker, the ‘‘Blues’’ is not just a song, do it—he would put his entire harmonica in his Me to Talkin, and All My Love in Vain. -
UNSUNG: South African Jazz Musicians Under Apartheidunsung
UNSUNG: South African Jazz Musicians under Apartheid outh African jazz under apartheid has in recent years been the subject of numerous studies. The main focus, however, has hitherto been on the musicians who went into exile. Here, for the first time, those who stayed behind are allowed to tell their stories: the stories of musicians from across the colour spectrum who helped to keep their art alive in South Africa during the years of state oppression. CHATRADARI DEVROOP &CHRIS WALTON CHATRADARI Unsung South African Jazz Musicians under Apartheid EDITORS Chatradari Devroop & Chris Walton UNSUNG: South African Jazz Musicians under Apartheid Published by SUN PReSS, an imprint of AFRICAN SUN MeDIA (Pty) Ltd., Stellenbosch 7600 www.africansunmedia.co.za www.sun-e-shop.co.za All rights reserved. Copyright © 2007 Chatradari Devroop & Chris Walton No part of this book may be reproduced or transmitted in any form or by any electronic, photographic or mechanical means, including photocopying and recording on record, tape or laser disk, on microfilm, via the Internet, by e-mail, or by any other information storage and retrieval system, without prior written permission by the publisher. First edition 2007 ISBN: 978-1-920109-66-9 e-ISBN: 978-1-920109-67-7 DOI: 10.18820/9781920109677 Set in 11/13 Sylfaen Cover design by Ilse Roelofse Typesetting by SUN MeDIA Stellenbosch SUN PReSS is an imprint of AFRICAN SUN MeDIA (Pty) Ltd. Academic, professional and reference works are published under this imprint in print and electronic format. This publication may be ordered directly from www.sun-e-shop.co.za Printed and bound by ASM/USD, Ryneveld Street, Stellenbosch, 7600. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Abdullah Ibrahim and the Politics of Jazz in South Africa Nusra Khan Jazz Has Had an Especial Role in the Social and Cultural Politics of South Africa
Abdullah Ibrahim and the Politics of Jazz in South Africa Nusra Khan Jazz has had an especial role in the social and cultural politics of South Africa. This paper will trace its function in the political struggle waged by Black and Colored musicians against the apartheid regime, from the early 1950s until the 1990s, focusing on the work of one artist particularly. While Abdullah Ibrahim is by no means the only South African musician to use jazz for political goals, the development of his career provides an incredible example of the convergence of race, protest, and memory in the performance as well as study of jazz. Ibrahim’s musical career is entrenched in South Africa’s struggle against apartheid, and it is through this lens that I will examine his life and the role of jazz music in general. As early as the 1940s, jazz had emerged as the favored genre of the elite in South Africa. Professional musicians preferred American ‘international’ performance styles, and only a few African jazz musicians brought anything identifiably South African to their performances of American swing. The negative association between traditional African music and the ‘tribal’ past or rural present was begun by missionaries and had become entrenched in African society, most obviously under the Afrikaner’s government’s policy of “forcing Africans to develop along their own lines1”. Like the leaders of the American Harlem Renaissance, the African elite hoped that achievements in the artistic and intellectual fields would help break down the color bar2. Indeed the similar experience of Black Americans and Africans, of “two peoples under white domination,”3 may have increased the appeal of Black American style in amongst South African performers. -
Sosyoloji Dergisi
SOSYOLOJİ DERGİSİ SOSYOLOJİ DERGİSİ/SOCIOLOGY JOURNAL Cilt/Volume 37 • Sayı/Number 2 • Aralık/December 2017 ISSN 1304-2998 • eISSN 2148-9165 • doi 10.26650/TJS Sosyoloji Dergisi uluslararası ve hakemli bir dergidir. Yayımlanan makalelerin sorumluluğu yazarına/yazarlarına aittir. Sociology Journal is the official peer-reviewed, international journal of the Istanbul University Department of Sociology. Authors bear responsibility for the content of their published articles. Baş Editör/Editor-in-Chief Prof. Dr. İsmail Coşkun (İstanbul Üniversitesi) Sayı Editörü/Guest Editor Yrd. Doç. Dr. Ekin Öyken (İstanbul Üniversitesi) Yönetici Editör/Managing Editor Arş. Gör. M. Fatih Karakaya (İstanbul Üniversitesi) Çeviri Editörleri/English Language Editors ENAGO Kevin A. Collins Yrd. Doç. Dr. Mehmet Ali Akyurt Arş. Gör. Nuseybe Ağırman Arş. Gör. Salih Ünüvar Yayın Kurulu/International Editorial Board* Yrd. Doç. Dr. Ayşen Şatıroğlu (İstanbul Üniversitesi, Türkiye) Doç. Dr. Craig Browne (Sydney University, Avustralya) Prof. Dr. David R. Segal (Maryland University, ABD) Prof. Dr. Douglas Kellner (University of California, ABD) Doç. Dr. Enes Kabakcı (İstanbul Üniversitesi, Türkiye) Prof. Dr. Glenn Muschert (Miami University, ABD) Prof. Dr. İsmail Coşkun (İstanbul Üniversitesi, Türkiye) Doç. Dr. J. Scott Brown (Miami University, ABD) Prof. Dr. Jeffrey C. Alexander (Yale Univerity, ABD) Doç. Dr. Mehmet Samsakçı (İstanbul Üniversitesi, Türkiye) Dr. Michael Illner (Bilimler Akademisi, Çek Cumhuriyeti) Doç. Dr. Orhan Gürbüz (İstanbul Üniversitesi, Türkiye) Doç. Dr. Oya Okan (İstanbul Üniversitesi, Türkiye) Prof. Dr. Philip Smith (Yale Univerity, ABD) Prof. Dr. Ryan Kelty (Washington College, ABD) Prof. Dr. Sujatha Fernandes (City University of New York, ABD) Prof. Dr. Timothy Shortell (City University of New York, ABD) Prof. Dr. William Peter Baehr (Lingnan University, Hong Kong) Prof. -
El Vallenato De “Protesta”: La Obra Musical De Máximo Jiménez
El vallenato de “protesta”: la obra musical de Máximo Jiménez Ivo Zabaleta Bolaños Universidad Nacional de Colombia Facultad de Artes, Conservatorio de Música Bogotá, Colombia 2017 El vallenato de “protesta”: la obra musical de Máximo Jiménez Ivo Zabaleta Bolaños Tesis como requisito parcial para optar al título de: Magíster en Musicología Director: Ph.D. Carlos Miñana Blasco Línea de Investigación: Música y Nacionalismo Grupo de Investigación: Musicología en Colombia Universidad Nacional de Colombia Facultad de Artes, Conservatorio de Música Bogotá, Colombia 2017 A mis padres, a Edith y a Irina, por su apoyo incondicional. Agradecimientos A los profesores de la Maestría en Musicología y al Coordinador de esta tesis: Egberto Bermúdez Cujar, Jaime Cortés Polanía y Carlos Miñana Blasco, por sus valiosas sugerencias, por su acompañamiento académico y por su trabajo. A los docentes invitados de la Maestría por sus importantes sugerencias: Juan Pablo González, de la Universidad Alberto Hurtado de Chile, a Juan Francisco Sans, de la Universidad Central de Venezuela y a Enrique Cámara Landa, de la Universidad de Valladolid. A Máximo Jiménez, quien en medio de su gran dificultad para hablar dijo que este trabajo era una liberación de la música. A Máximo Segundo Jiménez y a Diego Barrios, por su gran colaboración, y a Miriam Grau, por su diligencia y solidaridad. Resumen y Abstract IX Resumen Este trabajo investigativo se enfoca en las canciones del cantautor Máximo Jiménez y en el contexto socio-histórico donde se desarrollaron, a fin de caracterizar el término “vallenato de protesta” desde una perspectiva musicológica y etnomusicológica. Realizamos análisis musicales y textuales y otro tipo de análisis comparativos con vallenatos “no políticos”; miramos el proceso compositivo de Máximo describiendo de modo general sus grabaciones y asociándolas con el momento político que se vivía en cada año de su lanzamiento. -
Script Listening Program 3
Non-Directed Music Listening Program Series III Non-Directed Music Listening Program Script Series III Week 1 Composer: Ludwig von Beethoven (1770 – 1827) Composition: Minuet in G, No. 2 Performance: Philadelphia Orchestra, Eugene Ormandy Recording: CBS Masterworks Dinner Classics: The Viennese Album CBS MFK 45545 Day 1: This week’s listening selection is “Minuet in G, No. 2” by Ludwig von Beethoven. A minuet is a graceful dance. A man greets his partner with a bow then, hand-in- hand, leads her through a series of smooth and delicate movements. It is the small steps and gestures that give the dance its name – minuet which comes from a word that means small or minute. This is quite a contrast to the popular dances of today – such as Texas Line Dancing. Day 2: This week we are listening to Ludwig von Beethoven’s “Minuet in G, No. 2”. Between the 1600’s and the 1800’s, the minuet was the most popular dance in which ladies and gentlemen of the court gracefully moved through a series of small but intricate steps. You were not allowed membership in the king or queen’s court unless you had memorized the steps and patterns to the many different minuets. Today as you listen, think about all the dance moves you know. Would they fit with the music? Can you imagine how the men and women looked as they glided effortlessly across the polished floors? Day 3: This week’s listening excerpt is “Minuet in G, No. 2” written by the famous German composer, Ludwig von Beethoven. -
Semester at Sea Course Syllabus
SEMESTER AT SEA COURSE SYLLABUS Colorado State University, Academic Partner Voyage: Spring 2019 Discipline: Music Course Number and Title: MU 332 History of Jazz Division: Upper Faculty Name: David Borgo, Ph.D. Semester Credit Hours: 3 Prerequisites: None COURSE DESCRIPTION The official catalog description of this course is: Jazz since the 1880s emphasizing its various influences and developments. Jazz is one of the primary foundations for American and Global music in the twentieth and twenty-first centuries. This course highlights the multi-cultural and international scope of jazz by exploring the music and lives of a diverse array of jazz practitioners from around the United States and around the world. The course begins with an investigation into African and African American musical precursors, including spirituals, work and play songs, minstrel traditions, ragtime and the blues. It continues by exploring the emergence of jazz in New Orleans, Chicago, Kansas City, New York City and Los Angeles, as well as the exportation of jazz to locales around the world. Close attention will be paid to jazz artists and practices in the various ports of call we will visit on our voyage, including in-depth coverage of jazz in Japan and China, Indo-Jazz fusions, and the important role that South African jazz music and musicians played in the struggle against apartheid. The course is designed to increase our abilities to hear differences among performances and styles of jazz and to interpret the meanings of such differences. Jazz music has played a provocative role in American and global society, and its reception has always been inflected by issues of race, ethnicity, class, nationality, gender, sexuality, and ability/disability. -
Western Cape Jazz Legends
Western Cape Jazz Legends Foreword The Western Cape Jazz legends which unveiled on 17 March 2011 pays homage to the rich jazz heritage of the Western Cape. The publishing of the Western Cape Jazz Legends Booklet gives a wider audience access to an appreciation of the contribution of these musicians who often plied their trade under the most difficult circumstances and with very little material reward. The short biographies are informed by existing literature and interviews conducted with family members. The list is by no means comprehensive but it does indicate our resolve to give homage, to acknowledge, to preserve and to promote the rich musical heritage of the Western Cape. Documenting our musical history not only ensures that the impact of the role of these legends on the musical landscape of the Western Cape is captured for posterity, but also that their stories serve as a source of inspiration to aspiring musicians. This booklet represents an important step towards the building of a socially inclusive Western Cape. These Jazz Legends united us around our common love for music and the unique sounds of Cape Town Jazz. Let’s celebrate their achievement and resolve that we will continue to build on this initiative to acknowledge our musicians who created musical melodies which filled us with joy, often leaving us in awe of their amazing talent and with a deep sense of self-worth and cultural warmth. Dr IH Meyer Minister of Cultural Affairs and Sport Western cape Government. Western Cape Jazz Legends 1 2 Western Cape Jazz Legends IntroductIon The Department of Cultural Affairs and Sport has embedded in its vision, “… A socially cohesive and creative Western Cape.” The arts and culture component of the department has embraced this vision and the Western Cape Jazz Legends project is reflective thereof. -
King Biscuit Time”--Sonny Boy Williamson II and Others (1965) Added to the National Registry: 2017 Essay by Edward Komara (Guest Post)*
“King Biscuit Time”--Sonny Boy Williamson II and others (1965) Added to the National Registry: 2017 Essay by Edward Komara (guest post)* Sonny Boy Williamson II This King Biscuit show is about flour and the blues, not about flowers and rock music. “King Biscuit Time” was born when the blues harmonica master Sonny Boy Williamson (1899- 1965, born Aleck Miller) visited the newly opened KFFA radio studios in Helena, Arkansas. Seeing radio as a means of promoting his upcoming performances, Williamson pitched the idea of a regular show during the noon hour when his working audiences were taking their lunch breaks. KFFA agreed, securing Max Moore, owner of the Interstate Grocer Company and King Biscuit Flour, as the sponsor. “King Biscuit Time” debuted on November 21, 1941 at 12:15 pm, with Williamson and guitarist Robert Lockwood playing for 15 minutes. The success was immediate, allowing the musicians to maintain their time-slot every weekday. They were so successful that, in 1947, while the company’s flour bag continued to have its crown, the corn meal bag began to feature a likeness of Williamson sitting on an ear of corn. As the show continued through the 1940s, additional musicians were brought in to create a band behind Williamson. Chief among them were guitarists Joe “Willie” Wilkins, Earl Hooker and Houston Stackhouse, pianists Robert “Dudlow” Taylor, Willie Love and Pinetop Perkins, and drummer Peck Curtis. During the early broadcasts, Sam Anderson and Hugh Smith served as announcers. John William “Sonny” Payne filled in once in 1941, but he returned in 1951, staying on as the “King Biscuit Time” host until his death in 2018. -
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RA MINISTRY OF EDUCATION AND SCIENCE YEREVAN STATE LINGUISTIC UNIVERSITY AFTER V. BRUSOV LANGUAGE EDUCATION POLICY PROFILE COUNTRY REPORT ARMENIA YEREVAN 2008 The report was prepared within the framework of Armenia-Council of Europe cooperation The group was established by the order of the RA Minister of Education and Science (N 210311/1012, 05.11.2007) Members of the working group Souren Zolyan – Doctor of Philological Sciences, Professor Yerevan Brusov State Linguistic University (YSLU), Rector, National overall coordinator, consultant Melanya Astvatsatryan– Doctor of Pedagogical Sciences, Professor YSLU, Head of the Chair of Pedagogy and Foreign Language Methodology Project Director (Chapters 1-3; 5; 10; 12) Aida Topuzyan – Candidate of Pedagogical Sciences, Docent YSLU, Chair of Pedagogy and Foreign Language Methodology (Chapter 8.2 – 8.5, 9.4) Nerses Gevorgyan – Ministry of Education and Science, YSLU, UNESCO Chair on Education Management and Planning (Chapter 11), Head of Chair Gayane Terzyan - YSLU, Chair of Pedagogy and Foreign Language Methodology (Chapters 4; 6; 7; 8.1) Serob Khachatryan – National Institute for Education, Department of Armenology and Socio-cultural Subjects (Chapter 9.1-9.3, 9.5-9.6) Karen Melkonyan, RA MES, Centre for Educational Programmes, Project expert Araik Jraghatspanyan – YSLU, Chair of English Communication, Project translator Bella Ayunts – YSLU, Chair of Pedagogy and Foreign Language Methodology, Project assistant LANGUAGE EDUCATION POLICY PROFILE COUNTRY REPORT - ARMENIA I. GENERAL INFORMATION 1. PROJECT GOALS 2. COUNCIL OF EUROPE LANGUAGE EDUCATION POLICY: GOALS, OBJECTIVES AND PRINCIPLES 3. REPUBLIC OF ARMENIA General information 3.1. Geographical position 3.2. RA administrative division 3.3. Demographic data 4. -
Fondo A135 Funtsa Colección Elías San Millán Bilduma INVENTARIO
Fondo A135 Funtsa Colección Elías San Millán Bilduma INVENTARIO - INBENTARIOA Errenteria 12/9/2016 12/09/2016 Página 1 Signatura Encabezamiento Título Año ed. GA135-0001 Tchaikovsky, Peter Ilich1840-1893 Sinfonía Núm. 4 en sol menor [sic], Op. 36 1963 GA135-0002 Tchaikovsky, Peter Ilich1840-1893 Sinfonía n.º 6 en si menor, Op. 74. Patética 1963 GA135-0003 Tchaikovsky, Peter Ilich1840-1893 Concierto para violín en re mayor, Op. 35 1963 GA135-0004 Tchaikovsky, Peter Ilich1840-1893 Cascanueces: Op. 71 1963 GA135-0005 Stravinsky, Igor1882-1971 Le Sacre du Printemps 197 GA135-0006 Brahms, Johannes1833-1897 Symphony no. 1, in C minor, op. 68 1964 GA135-0007 Shostakovich, Dmitrii Dmitrievich1906-19 Symphony #6, op. 54 1958 GA135-0008 Granados, Enrique1867-1916 Danzas españolas: versión completa 1959 GA135-0009 Guridi, Jesús1886-1961 Diez melodías vascas; Amaya 1958 GA135-0010 Beethoven, Ludwig van1770-1827 Concierto para violín y orquesta, en re mayor, Op. 1964 GA135-0011 Vivaldi, Antonio,1678-1741 Las cuatro estaciones: de "Il cimento dell'armonia 1958 GA135-0012 Khachaturian, Aram Il´ich,1903-1978 Gayne ballet suite 1960 GA135-0013 Stravinsky, Igor1882-1971 Las Bodas; La historia del soldado : suite para or 1965 GA135-0014 Chaikin, N(Nikolai)1915-2000 Concerto for accordion 1965 GA135-0015 Trios by Haydn, Khachaturian, Taneyev 1963 GA135-0016 Lasso, Orlando di1532-1594 Prophetiae Sibyllarum; Missa "Ecce nunc benedicite 1965 GA135-0017 Prokofiev, Sergey1891-1953 Pedro y el lobo 1948 GA135-0018 Turina, Joaquín1882-1949 La procesión del Rocío; Danzas fantásticas ; Sinfo 1958 GA135-0019-0020 Albéniz, Isaac1860-1909 Iberia; Navarra 1958 GA135-0021 Bach, Johann Sebastian1685-1750 Magnificat in D; Cantata no.51 : Jauchzet Gott in 1964 GA135-0022 Grieg, Edvard1843-1907 Concierto en la menor, Op.