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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
Beach Management Major Agenda Item for New Council Captivans
Every week we mail to every home and business on Sanibel and Captiva, subscribers throughout the United States and this week... Monica Seles Sarasota, FL » EXCLUSIVE "Ding" Darling Cartoon page 3 Courtesy of JN "Ding" Darling Foundation VOL 8, NO, 22 SANIBEL & CAPTIVA ISLANDS, FLORIDA DECEMBER 1,2000 DECEMBER SUNRISE/SUNSET: 1 06:58 17:36 2 06:59 17:36 3 07:00 17:36 4 07:00 17:36 $ 07:01 17:36 6 07:02 17:37 7 07:03 17:37 During the next few weeks the Island Sun agement. The issue has been smolder- will be publishing a series of articles on a ing during the past five years since the major issue facing Sanibel, beach renourish completion of the first beach renourish- ment. As the city contemplates a future policy ment project at Gulf Pines and Gulf that could include increased taxes, residents Shores in 1995 That project was a may be asked to decide their preference on the issue The Island Sun will present both sides of complete departure from City's non the issue so residents can make an Informed intervention policy at the time. The decision renourishment of that beach was pre- dicted to last between six and eight Beach years. The project, which cost approxi- Management mately $2.4 million, was funded through a special taxing district that the next Captiva renourishment as it and retreat, a strategy that was consis- Major Agenda included twenty five beach front home- was for engineering reasons. tent with the Florida Department of owners who, depending on the direct Combining with Captiva results in a Environmental Protections' preference Item For New benefit they received, were assessed saving for the mobilization costs of Retreating simply means moving a anywhere from $20,000 to $140,000. -
24Th Annual Dixieland Jazz Festival June 26, 27, 28, 29, 2014 Saint Martin’S University Macus Pavilion 5300 Pacific Ave
24th Annual Dixieland Jazz Festival June 26, 27, 28, 29, 2014 Saint Martin’s University Macus Pavilion 5300 Pacific Ave. SE • Lacey, Washington www.olyjazz.com FOUR VENUES • ONE SITE Great Bands • Large Dance Floors • Swing Set Jazz Festival Dance Lessons - Hal & Georgia Myers, California Nearby Hotels • Shuttle Service Available • Parasol Parades RV Accommodations • Tickets Available at Door INFORMATION: Charlotte Dickison - 360-943-9123 Email: [email protected] RV PARKING: Pat Herndon - 360-956-7132 Email: [email protected] www.olyjazz.com Great Bands plus special set: Tribute to Ray Smith Parmount Jazz Band buck creek evergreen classic grand dominion high sierra ivory & gold* jerry krahn & katie cavera titan hot seven* tom hook/terriers tom rigney flambeau uptown lowdown west end wolverines yerba buena stompers eddie erickson* brady mckay* Festival Times Special Events Kick-Off Party June 26 - 7pm - 10:30pm June 26 ................. 7pm - Kick off party June 26 .............................Kick off party Saint Martin’s University June 27 ..................11:00am - 10:45pm ($15.00 at the door) Marcus Pavilion June 28 .....................9:30am - 11:00pm June 27 ... Farmers Market - 11am-2pm ($15 at the door) June 29 ........................9:30am - Gospel June 29 ...........Sunday Gospel - 9:30am Bands (subject to change) HIgh Sierra • Tom Hook/Terriers Festival ....................10:45am - 3:45pm After Glow Party - 5pm - Tugboat Annies Grand Dominion Shuttle service - 1 hour before event start Food & beverages available Area Hotels (ask for Jazz Rates) Area Hotels (ask for Jazz Rates) Comfort Inn* ................................................................... $99.99 Double Tree Inn by Hilton............................................ $129.00 Lacey • 360-456-6300 Olympia • 360-570-0555 Comfort Inn Tumwater* ................................................ -
The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 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]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph 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 Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
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. -
Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
Musiclips by Ira Novoselsky
Issue: October-December 2013 Subscription: 6/20/2011 to 6/9/2014 MusiClips by Ira Novoselsky The Chimes of Liberty by Edwin Franko Goldman Album Title: BRASS & PERCUSSION: MORTON GOULD Recording: Morton Gould Symphonic Band Conductor: Morton Gould Publisher: RCA Red Seal BMG Classics 82876.66371.2 OLD COMRADES: A Classic CD Revisited 2013 is the centennial of Morton Gould's birth and I just had to review this incredible recording from over fifty years ago! Brass & Percussion features a smattering of Gould's works for band along with marches of Sousa, Goldman and Edwin Bagley's beloved National Emblem (I will admit some people may grouse about Gould's "second endings" preferences with these marches). The one work you will not find on this recording is American Salute, the perennial Gould/Lang patriotic staple but Gould's 1941 legendary band rhapsody Jericho appears… a work omitted from the earlier recordings of Brass & Percussion. Other Gould compositions featured are Parade (a unique percussion ensemble gem), Dixie, Yankee Doodle, The Fourth of July, American Youth March (sadly with some cuts), American Patrol (scored for three "marching bands") and Battle Hymn (the very first band composition I bought). The Sousa works are very familiar and need little commentary other than Gould provides his personal arranging touch on occasion with these marches. The Goldman marches are On the Mall, The Chimes of Liberty (check out the trumpets & cornets in the Trio), and the less familiar Jubilee & Happy-Go-Lucky. I'm sure there will be more Gould recordings available during his centennial but this unique, legendary CD offers something different and shouldn't be missed. -
To Design and Development of a Cost Effective Electronic Drum Kit
International Journal of Engineering Research and Applications (IJERA) ISSN: 2248-9622 th International Conference on Industrial Automation and Computing (ICIAC- 12-13 April 2014) RESEARCH ARTICLE OPEN ACCESS To Design and Development of a Cost Effective Electronic Drum Kit Vikas Barai*, Prof. T.H.Nagrare** *(Department Of Computer Science, G H Raisoni College Of Engineering Nagpur, India Email: [email protected]) **(Assistant Professor, Department of Information Technology G H Raisoni College Of Engineering Nagpur, India Email: [email protected]) ABSTRACT The goal of the project is to create a Cost Effective electronic drum kit using piezoelectric sensors for various percussion instruments. The inputs to the kit are small drum pads, which house a piezoelectric transducer. The output voltage from this device is detected and its output is interfaced with microcontroller . This information is processed through a Drum sound controller module which controls audio playback. The background work focuses on the concepts of tracking the timing of musical signals, deriving information from them, and creating a musical accompaniment. The system will then generate an expressive drum beat to accompany the audio signal in real time. The system is intended as a practice tool as well as a means to observe the musical interaction that may occur between humans and machine. It would involve implementing on an EEPROM for additional sound storage. It will contain a single module which will carry all sound database and allow the player to make their own patches and it will make it independent from interfacing with a computer. Keywords - Arduino, Cost efficient drum kit, Electronic Drums, Home made percussion, Midi controllers, Piezo sensors. -