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Vocal Ecosystems Beyond Pedagogy: Working with Challenges
Literacy Information and Computer Education Journal (LICEJ), Special Issue, Volume 4, Issue 1, 2015 Vocal Ecosystems Beyond Pedagogy: Working With Challenges Jeri Brown Concordia University Canada Abstract Knowledge of vocal improvised music, whether demonstrated in the communication of the two demonstrated by high or low obscure pitch sounds, principal artists. The use of tone matching also the beating of the chest while making music sounds, stimulates the harmonic musical language and mood vocal pitch matching or vocal animation with or in this piece. In both pieces, composer, trumpet and without the use of technology, has paved the way for flugelhorn player Kenny Wheeler creates poetic a steady stream of vocal artists through the years, artistry with voice, tenor and arranged orchestra. each dedicated to vocal exploration. While jazz vocal Horn and voice are well suited to the complex improvisation appears on the surface to involve few material fusing personas in the signature over or no rules, it is a form of communication between layering of cadenzas that reoccur in his works with a artist and listener, where the artist adheres to a set focus on emotion and sentiment [4]. of rules or principles. Here the jazz improviser is The use of vocal language and musical treated as part of an ecosystem, a concept in the intelligence in improvisation creates added biological sciences that comprises a set of stimulation in the improvised vocal delivery. interacting organisms and environments in a particular place. Within the jazz vocal 2. Characteristics of jazz vocal improvisational ecosystem there are various roles, improvisation approaches and activities. -
2018 Program Book 2007 Conference Program.Qxd
Alabama A&M University Choir The Alabama A&M University Choir, directed by Dr. Horace Carney, provides students with the opportunity to experience participation in a cooperative activity. Emphasis is placed on fundamental vocal training, posture, breathing, sight-reading, expressive interpretation and tone development. The choir performs for campus convocations, off-campus concerts, religious services, radio and television appearances as well as a Christmas Musicale and spring concert. There is a prerequisite for participation: students must have had some experience in a high school choir or ensemble. Dr. Horace R. Carney, Jr. was born in Nashville, Tennessee but grew up in Tuskegee, Alabama. He graduated with honors from Tuskegee Institute High School fourth in his class. His post-secondary education includes a Bachelor of Arts in Music at Fisk University (magna cum laude), Master of Arts in Music Theory at the Eastman School of Music as a Woodrow Wilson Fellow, and the Doctor of Philosophy in Music Theory from the University of Iowa. He has attended choral workshops at Potsdam Choral Institute, Sarasota, New York, University of South Florida, and Georgia State University. Dr. Carney’s career in music began in elementary school and continued through high school as a member of the choir, pianist, and leader of a dance band. While in high school, he studied at Tuskegee Institute with Lexine Weeks, Charlotte Giles, and Hildred Roach. His studies continued at Fisk University as a music major, a member of the university choir and the renowned Fisk Jubilee Singers for four years. His professional career includes Talladega College where he served for fourteen years as Choral Director and Acting Chairman of the Music Department, Lincoln University, Lincoln, PA; Coordinator of Choral Activities and Chairman of the Humanities Division for three years; and Sixth Avenue Baptist Church, where he served as Minister of Music and Coordinator of Cultural Affairs. -
U P S Frrai L
* * * * * * * * UPS-PL U Review and Football Game Pictures of Tomorrow at U P S RRAIF L Judy Collins 1:30—Page 6 Concert - Page 4 NOVEMBER * * * * 1965-1966—NO. 7 5, 1965 * * * * Giovanni Costigaii A&L Schedules To Speak at UPS Dr. Giovanni Costigan, profes- sor of history at the University of Swingle Singers Washington, will speak at UPS Tuesday evening, November 17, The Swingle Singers, jazz volalists, appear at the UPS at 8 p.m. Fieldhouse as part of the college's Artist and Lecture Pro- Sponsored by the Academic Lecture Series of the Artist and gram. They perform at 8:15 j.m., Saturday, Nov. 13. Lecture program, Costigan's sub- The Swingle Singers, a group shown later this year. The singers ject will be "The Importance of of seven French singers, are led have also performed at the White Freud for the Modern World." by Ward Swingle. Their music is House for a dinner given by Pres- Macmillan Co. recently pub- Classical with a swing, adding a ident and Mrs. Johnson for Is- lished Dr. Costigan's book, Life jazz beat of bass and drums to rael's Prime Minister, Levi Esh- of Freud, and his lecture should such artists as Bach, Handel and kol. prove interesting to all students, Mozart. "The main ingredients of Ward Swingle, the Alabama- since the interpretation of Freud the Swingle formula," appraises born director of the Swingle Sing- carries meaning in history, litera- Dom Cerulli, "are respect for the ers, organized the group and has ture, education, social work and original writing and for the com- adapted and arranged all of their other fields beside psychology and posers' intentions. -
Download Booklet
1 A Fifth of Beethoven (feat. Shlomo) 3.09 7 Cielito Lindo (Mexican Traditional) 4.49 the swingle singers Ludwig van Beethoven / Walter Murphy, Quirino Mendoza y Cortes, arr. Tobias Hug arr. Itay Avramovitz human beatbox: Shlomo leads: Kineret, Tom vocal percussion: everyone! 2 Spain (I Can Recall) 6.24 Joaquin Rodrigo / Chick Corea / Al Jarreau / 8 Straighten Up and Fly Right 5.02 Artie Maren, arr. Scott Stroman Nat King Cole / Irving Mills, solos: Tom, Kineret arr. Bertrand Groeger vocal percussion: Jeremy lead: Tobias vocal percussion: Tom 3 Dido’s Lament 4.20 and the Henry Purcell, arr. Tom Bullard 9 Piano Concerto No.21, 2nd mvt 3.38 lead: Johanna Beauty Wolfgang Amadeus Mozart, human beatbox: Tobias arr. Jonathan Rathbone leads: Johanna, Julie 4 It’s Sand, Man! 2.32 vocal percussion: Jeremy Ed Lewis / Jon Hendricks / Dave Lambert, arr. Ward Swingle bl Gotcha (Theme from “Starsky & Hutch”) 4.01 lead: Kineret Tom Scott, arr. Adam Riley vocal percussion: Jeremy solos: Kineret, Johanna vocal percussion: Jeremy 5 Adagio in G Minor 5.48 Tomaso Albinoni / Remo Giazotto, bm Bachbeat 2.36 arr. Tom Bullard ( feat. Shlomo, MC Zani, Bellatrix, BEATBOX leads: Julie, Kineret, Johanna Spitf’ya and jestar*) human beatbox: Jeremy Written by Shlomo and the Vocal Orchestra with the Swingle Singers featuring 6 Bolero 8.28 (based on Badinerie by J.. S. Bach, Maurice Ravel, arr. Tom Bullard arr. Ward Swingle) solos: Julie, Joanna, Richard, Tobias lead vocals: Joanna Shlomo vocal percussion: Jeremy … make it funky now Visit www.swinglesingers.com and the -
SWINGLE SINGERS MIX CLASSICAL with Jall
SWINGLE SINGERS MIX CLASSICAL WITH JAll By Louise Nichols swinging." He continues to appraise their style, The swinging jazz interpretations of the imag- commenting, "Nothing is changed, only the cen- inative Swingle Singers will be featured tomorrow tury." evening at 8:15 p.m. in the Fieldhouse as part of The Baroque Period spans 150 years in which the University of Puget Sound's Artist and Lecture the music created had a great deal of emotional Program. content. The father of the period is Bach. The The performance is free for UPS students with Swingle Singers capture the music replacing in- student body cards, and the general public can buy struments with song and adding the jazz heat with tickets for $2 at the UPS Book Store or at the bass and drums. Their melodic music is presented door. with skill and imagination. Led by Alabama-born Ward Swingle, the group The Swingle Singers have appeared on Holly- is composed of seven other French vocalists who wood Palace" twice and are taping for the Dean sing sounds to the actual notes written by such Martin and Ed Sullivan shows to be shown later composers as Bach, Handel and now, Mozart, over this year. They have performed at the White a rhythmic base of swinging 4/4 rhythm. House for a state dinner given by President and Their recordings range from "Bach's Greatest Mrs. Johnson for Israel's Prime Minister Levi Hits" which won them two Grammies from the Eshkol. National Academy of Recording Arts and Sciences Ward Swingle, who organized the group, ar- to "Going Baroque." Their most recent album is ranges and adapts all their material. -
Références Bibliographiques « Le Jazz En France D'hier Et D'aujourdhui »
Références bibliographiques « Le jazz en France d'hier et d'aujourdhui » Les poilus de Harlem « L'epopee des hellfighters dans la Grande Guerre » De Thomas Saintourens - Éditions Tallandier Une histoire du jazz en France Tome 1 : du milieu du XIXe siecle a 1929 De Laurent Cugny Collection Jazz en France - Éditions Outre Mesure New Orleans sur Seine Histoire du jazz en France De Ludovic Tournes - Éditions Fayard Hugues Panassie « L'oeuvre panassiéenne et sa réception » De Laurent Cugny Collection Jazz en France - Éditions Outre Mesure Josephine Baker De Jacques Pessis Collection Folio biographies - Éditions Folio Références des extraits audios et vidéos « Le jazz en France d'hier et d'aujourdhui » James Reese et les Hell Fighters Menphis blue Louis Mitchell's jazz king Pathé 1921 – 1922 / 3 titres : J'en ai marre / Sheik of Arabia / Dans la vie faut pas s'en faire Darius Mihlaud « La création du monde » 1923 …/.. Josephine Baker Extrait vidéo « La sirene des tropiques » 1927 Gregor Kelekian Gregor et ses Gregoriens Columbia DF 48 1930 « Je chante sous la pluie » Ray Ventura et ses collegiens Extrait vidéo « Le nez de Cléopatre » 1938 Quintette du Hot Club de France Minor swing - 1937 Alix Combelle et le Jazz de Paris - Hier et aujourd'hui (Sent For You Yesterday) – Paris 1941 The Be-bop Minstrels Hubert Fol Swingin' At the Lutétia de Allan Jeffreys Paris 1947 - Premier groupe de be-bop en France Hubert Fol sax alto Emmanuel Soudieux contrebasse André Persiany piano Jack Carmen trombone Benny Bennet batterie Alan Jeffreys trompette Miles Davis « Ascenseur pour l'échafaud » bande Annonce 1957 Pierre Michelot contrebasse Barney Wilen saxophone René Urtreger piano Kenny Clarke Batterie Christian Chevallier et Stephanie Weis : Fiction Andre Hodeir Jazz et jazz Extrait de l'album éponyme Emmanuel Soudieux contrebasse Richie Frost batterie Martial Solal piano Roger Guérin trompette Sons cassettes pré-enregistrées et travaillés. -
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 History of the Vocal Jazz Ensemble Singing Movement in the Public Schools of the Boise Valley from It's Inception through the Academic Year 1989-1990 Richard John Hamilton Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE HISTORY OF THE VOCAL JAZZ ENSEMBLE SINGING MOVEMENT IN THE PUBLIC SCHOOLS OF THE BOISE VALLEY FROM IT’S INCEPTION THROUGH THE ACADEMIC YEAR 1989-1990 By RICHARD JOHN HAMILTON A Dissertation submitted to the ColLege of Music in PartiaL fuLfiLLment of the reQuirements for the degree of Doctor of Philosophy 2017 Richard John HamiLton defended this dissertation on July 6, 2017. The members of the suPervisory committee were: Kevin Fenton Professor Directing Dissertation Christopher Moore University Representative KimberLy Van WeeLden Committee Member Andre J. Thomas Committee Member The Graduate School has verified and aPProved the above-named committee members, and certifies that the dissertation has been approved in accordance with university reQuirements. ii ACKNOWLEDGEMENTS Thank you to my committee members - Dr. Kevin Fenton (major Professor), Dr. Andre Thomas, Dr. KimberLy VanWeeLden, and Dr. Christopher Moore. I aPPreciate the time you committed to serving on my committee and wiLL treasure aLways, aLL that I’ve Learned from each of you during my time at the FLorida State University. To my coLLeagues - HiLLary Krueger RidgLey, Amon Eady, Adam Zrust, Sandy Hinkley Brandon Boyd, and ChristoPher Harris, Thank You for aLL of the encouragement throughout the Process of writing this document. -
R a I R a D I O 5 C L a S S I C a Domenica 26. 02. 2017
RAI RADIO5 CLASSICA sito web: www.radio5.rai.it e-mail: [email protected] SMS: 347 0142371 televideo pag. 539 Ideazione e coordinamento della programmazione a cura di Massimo Di Pinto gli orari indicati possono variare nell'ambito di 4 minuti per eccesso o difetto DOMENICA 26. 02. 2017 00:00 EUROCLASSIC NOTTURNO: saint-saëns, camille (1835-1921): saltarello per voci masch op. 74 - [5.33] - lamentabile consort: jan stromberg e gunnar andersson, ten; bertil marcusson, br; olle sköld, bs (reg. stoccolma, 29/10/1984) - wagner, richard (1813-1883): tannhäuser: ouverture - [14.36] - BBC philharmonic orch dir. vassily sinaisky (reg. kendal, 12/02/2000) - schmelzer, johann heinrich (1620ca.-1680): lamento sopra la morte di ferdinando III per due vl vla e b. c. - [6.45] - london baroque (reg. york, 11/07/1998) - pierné, gabriel (1863-1937): étude de concert pour piano op. 13 - [3.52] - paloma kouider, pf (reg. budapest, 07/04/2008) - weber, carl maria von (1786-1826): andante e rondò ungherese in do min per fag e orch op. 35 - [9.54] - juhani tapaninen, fag; finnish radio symphony orch dir. jukka-pekka saraste - rossini, gioachino (1792-1868): il barbiere di siviglia: ecco ridente in cielo (atto I) - [4.59] - mark dubois, ten; kitchener waterloo symphony orch dir. raffi armenian - muffat, georg (1653-1704): suite per orch - [11.37] - armonico tributo austria dir. lorenz duftschmid (reg. herne, 14/11/99) - chopin, frédéric (1810-1849): concerto per pf e orch n. 2 in fa min op. 21 - [29.04] - maurizio pollini, pf; belgrade philharmonic orch dir. zubin mehta (reg. mono, dubrovnik, 23/08/1968) - bach, johann sebastian (1685-1750): suite per vcl n. -
Pour Une Nouvelle Définition Du Terme Vocalese Eric Fardet
Pour une nouvelle définition du terme vocalese Eric Fardet To cite this version: Eric Fardet. Pour une nouvelle définition du terme vocalese. Acta Musicologica, Basel : International Musicological Society, 2015, 87 (1), pp.75-98. hal-01706331 HAL Id: hal-01706331 https://hal.archives-ouvertes.fr/hal-01706331 Submitted on 11 Feb 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sommaire POUR UNE NOUVELLE DÉFINITION DU TERME VOCALESE .................................................................................... 3 I. LE CONTEXTE MUSICAL ............................................................................................................................... 3 A. UNE CULTURE FRANÇAISE REPOSANT SUR LA MUSIQUE SAVANTE, LE MUSIC‐HALL ET LE TRAVAIL EN STUDIO 4 B. DES LIENS ENTRE CHANTEURS AMÉRICAINS ET FRANÇAIS 5 C. LA MODERNISATION DU FRANÇAIS 6 II. REDÉFINIR LE TERME « VOCALESE » ............................................................................................................ 7 A. L’HISTOIRE DU TERME « VOCALESE » : DU CONTRE‐EMPLOI -
Res.2020.1.2.163.Pdf by MPS North America LLC, Ucpress Mpslimited on 01 December 2020 a Genius Song Stylist
JESSICA BOYKIN-SETTLES Two Heads Are Better Than One The Artistry of Shirley Horn ABSTRACT Washington, DC–born vocalist and pianist Shirley Horn was one of the most singular and respected musicians on the jazz scene during a career that spanned more than five decades. Despite minimal accolades, Horn’s contributions to the art form are rarely rivaled. She was a virtuoso pianist and Downloaded from http://online.ucpress.edu/res/article-pdf/1/2/163/407286/res.2020.1.2.163.pdf by MPS North America LLC, ucpress mpslimited on 01 December 2020 a genius song stylist. In a 1992 article in the Washington Post, prolific composer and arranger Johnny Mandel explained that “Horn’s playing wasn’t just self-accompaniment. It was percussive counterpart and harmonic commentary that worked with the singing to create a whole, a work of art that was more than the sum of its parts. ‘It’s almost as if when Shirley plays, she has two brains. I don’t know how she can play what she plays and sing what she sings. ...Playing piano like that is a very complex undertaking, and singing with that amount of sensitivity and concentration—she sounds like Siamese twins.’”1 Through recorded performances that best exhibit vocal phrasing, chord voicings, and comping patterns in the jazz tradition, Horn’s piano and vocal performance will be analyzed in order to demonstrate why her genius should occupy the top echelons of revered American musicians this country has ever produced. Jazz and classical musicians whom Horn cited as her biggest influences will be discussed to demonstrate how she absorbed and expertly integrated chosen elements of those individual styles into her own performance to create a distinctive sound and a unique approach to interpreting standard jazz repertoire. -
Swingle Singers – Wikipedia Page 1 of 4
Swingle Singers – Wikipedia Page 1 of 4 Swingle Singers aus Wikipedia, der freien Enzyklopädie Die Swingle Singers sind ein professionelles A-cappella-Oktett, das in den 1960er-Jahren von dem US- Amerikaner Ward Swingle in Paris gegründet wurde. Der Name Swingle leitet sich ursprünglich vom deutschen Familiennamen Schwingel ab. Inhaltsverzeichnis ■ 1 Die Gruppe ■ 2 Geschichte ■ 2.1 Die Anfänge ■ 2.2 Die mittleren Jahre ■ 2.3 Bis heute ■ 3 Diskographie ■ 3.1 LPs ■ 3.2 CDs ■ 4 Literatur ■ 5 Weblinks Die Gruppe Das Ensemble aus sängerisch ausgebildeten Vollprofis gliedert sich in vier Frauen- und vier Männerstimmen, die mit leicht variierender Besetzung meist zwei Oberstimmen und eine Unterstimme bei den Frauen (Sopran I, Sopran II, und Alt) singen, und das analoge bei den Männerstimmen (Tenor I, Tenor II, und Bass). Die Swingle Singers singen praktisch immer mit Verstärkungstechnik, um die leise intonierten, schnellen und hochpräzisen Stimmen für das Publikum gut hörbar zu machen. Die Swingle Singers zeichnen sich aus durch eine enorm leichte, flexible, schnelle und präzise Intonation und Stimmführung. Sie wurden weltberühmt, als sie sich mit klassischer Musik befassten und Stücke von Komponisten wie Wolfgang Amadeus Mozart und Johann Sebastian Bach, unterlegt mit Silben des Scat-Gesanges, ohne begleitende Instrumente darboten. Sie zählen zusammen mit den englischen King’s Singers zu den weltbesten professionellen A-cappella-Ensembles. Bis heute traten die Swingle Singers weltweit in über 3000 Konzerten auf und veröffentlichten über 40 Tonträger. Geschichte http://de.wikipedia.org/wiki/Swingle_Singers 16.09.2009 Swingle Singers – Wikipedia Page 2 of 4 Die Anfänge Vorläufer der Gruppe waren die französischen Vokalensembles Blue Stars unter der Leitung von Blossom Dearie und Les Double Six unter Leitung von Mimi Perrin, die auch mit Quincy Jones zusammengearbeitet hatten. -
Lorraine Hunt Lieberson Fellows
welcome Dear Friends, Welcome to the opening concert of Emmanuel Music’s 45th sea- son! In our three major concerts we return to our beginnings and our core – the music of J.S. Bach. But we are bringing new per- spectives that promise to offer discoveries and revelations to all, whether you have been steeped in Bach’s music for years or are just now discovering its richness. Emmanuel Music began 45 years ago this December with the mission of performing Bach cantatas for Emmanuel Church’s Sunday services. Our weekly collaborative explo- rations of Bach’s music make us uniquely positioned to explore Bach in new ways that are both deeply understood and deeply felt. Bach is the father of classical music, and he created or foreshadowed virtually every development that followed. And so tonight we explore rearrangements – Bach’s own and those of others -- that let us hear some of his compositions newly and freshly. What happens when Bach reimagines a concerto for three harpsichords as a concerto for three violins? Or when Stravinsky puts his own stamp on selections from The Well-Tempered Clavier? Or when Ward Swingle rearranges selected Bach pieces for an a capella octet, with one voice to a part? Our ears open to the richness of his composi- tions and the range of voices and variations. We marvel that there is always more to discover. Two more major concerts will explore unusual aspects of Bach. On March 19 we per- form a reconstruction of Bach’s lostSt. Mark Passion, and on April 9 we collaborate with Urbanity Dance, Betsi Graves, Director, to bring to life J.