2021 Creative Engagement Grantees
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Cultural Politics and Old and New Social Movements
P1: FHD/IVO/LCT P2: GCR/LCT QC: Qualitative Sociology [quso] ph132-quas-375999 June 13, 2002 19:33 Style file version June 4th, 2002 Qualitative Sociology, Vol. 25, No. 3, Fall 2002 (C 2002) Music in Movement: Cultural Politics and Old and New Social Movements Ron Eyerman1 After a period of interdisciplinary openness, contemporary sociology has only re- cently rediscovered culture. This is especially true of political sociology, where institutional and network analyses, as well as rational choice models, have dom- inated. This article will offer another approach by focusing on the role of music and the visual arts in relation to the formation of collective identity, collective memory and collective action. Drawing on my own research on the Civil Rights movement in the United States and the memory of slavery in the formation of African-American identity, and its opposite, the place of white power music in contemporary neo-fascist movements, I will outline a model of culture as more than a mobilization resource and of the arts as political mediators. KEY WORDS: social movements; representation; performance. COLLECTIVE BEHAVIOR: CULTURE AND POLITICS The study of collective behavior has traditionally included the study of sub- cultures and social movements as central elements. This was so from the beginning when the research field emerged in the disciplinary borderlands between sociology and psychology in the periods just before and after World War II. Using a scale of rationality, the collective behaviorist placed crowd behavior at the most irra- tional end of a continuum and social movements at the most rational. The middle ground was left for various cults and subcultures, including those identified with youth. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
I the Use of African Music in Jazz from 1926-1964: an Investigation of the Life
The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston by Jason John Squinobal Batchelor of Music, Berklee College of Music, 2003 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master in Ethnomusicology University of Pittsburgh 2007 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Jason John Squinobal It was defended on April 17, 2007 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Thesis Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2007 iii The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston Jason John Squinobal, M.A. University of Pittsburgh, 2007 ABSTRACT There have been many jazz musicians who have utilized traditional African music in their music. Randy Weston was not the first musician to do so, however he was chosen for this thesis because his experiences, influences, and music clearly demonstrate the importance traditional African culture has played in his life. Randy Weston was born during the Harlem Renaissance. His parents, who lived in Brooklyn at that time, were influenced by the political views that predominated African American culture. Weston’s father, in particular, felt a strong connection to his African heritage and instilled the concept of pan-Africanism and the writings of Marcus Garvey firmly into Randy Weston’s consciousness. -
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
Short Takes Jazz News Festival Reviews Jazz Stories Interviews Columns
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC SHORT TAKES JAZZ NEWS FESTIVAL REVIEWS JAZZAMANCA 2020 JAZZ STORIES PATTY WATERS INTERVIEWS PETER BRÖTZMANN BILL CROW CHAD LEFOWITZ-BROWN COLUMNS NEW ISSUES - REISSUES PAPATAMUS - CD REVIEWS OBITURARIES Volume 46 Number 2 April May June Edition 2020 Ed Schuller (bassist, composer) on GM Recordings My name is Eddy I play the bass A kind of music For the human race And with beauty and grace Let's stay on the case As we look ahead To an uncertain space Peace, Music Love and Life" More info, please visit: www.gmrecordings.com Email: [email protected] GM Recordings, Inc. P.O. Box 894 Wingdale, NY 12594 3 | CADENCE MAGAZINE | APRIL MAY JUNE 2016 L with Wolfgang Köhler In the Land of Irene Kral & Alan Broadbent Live at A-Trane Berlin “The result is so close, so real, so beautiful – we are hooked!” (Barbara) “I came across this unique jazz singer in Berlin. His live record transforms the deeply moving old pieces into the present.” (Album tip in Guido) “As a custodian of tradition, Leuthäuser surprises above all with his flawless intonation – and that even in a live recording!” (Frankfurter Allgemeine Zeitung) “Leuthäuser captivates the audience with his adorable, youthful velvet voice.” (JazzThing) distributed by www.monsrecords.de presents Kądziela/Dąbrowski/Kasper Tom Release date: 20th March 2020 For more information please visit our shop: sklep.audiocave.pl or contact us at [email protected] The latest piano trio jazz from Quadrangle Music Jeff Fuller & Friends Round & Round Jeff Fuller, bass • Darren Litzie, piano • Ben Bilello, drums On their 4th CD since 2014, Jeff Fuller & Friends provide engaging original jazz compositions in an intimate trio setting. -
Gay and Transgender Communities - Sexual And
HOMO-SEXILE: GAY AND TRANSGENDER COMMUNITIES - SEXUAL AND NATIONAL IDENTITIES IN LATIN AMERICAN FICTION AND FILM by Miguel Moss Marrero APPROVED BY SUPERVISORY COMMITTEE: __________________________________________ Michael Wilson, Chair __________________________________________ Adrienne L. McLean __________________________________________ Robert Nelsen __________________________________________ Rainer Schulte __________________________________________ Teresa M. Towner Copyright 2018 Miguel Moss Marrero All Rights Reserved -For my father who inspired me to be compassionate, unbiased, and to aspire towards a life full of greatness. HOMO-SEXILE: GAY AND TRANSGENDER COMMUNITIES - SEXUAL AND NATIONAL IDENTITIES IN LATIN AMERICAN FICTION AND FILM by MIGUEL MOSS MARRERO BA, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES THE UNIVERSITY OF TEXAS AT DALLAS August 2018 ACKNOWLEDGMENTS Latin American transgender women and gay men are part of my family. This dissertation is dedicated to them. It would have not been possible without their stories. I want to give my gratitude to my mother, who set an example by completing her doctoral degree with three exuberant boys and a full-time job in mental health. I also want to dedicate this to my father, who encouraged me to accomplish my goals and taught me that nothing is too great to achieve. I want to thank my siblings who have shown support throughout my doctoral degree. I also want to thank my husband, Michael Saginaw, for his patience while I spent many hours in solitude while writing my dissertation. Without all of their support, this chapter of my life would have been meaningless. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella 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 by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A
Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date. -
Art for People's Sake: Artists and Community in Black Chicago, 1965
Art/African American studies Art for People’s Sake for People’s Art REBECCA ZORACH In the 1960s and early 1970s, Chicago witnessed a remarkable flourishing Art for of visual arts associated with the Black Arts Movement. From the painting of murals as a way to reclaim public space and the establishment of inde- pendent community art centers to the work of the AFRICOBRA collective People’s Sake: and Black filmmakers, artists on Chicago’s South and West Sides built a vision of art as service to the people. In Art for People’s Sake Rebecca Zor- ach traces the little-told story of the visual arts of the Black Arts Movement Artists and in Chicago, showing how artistic innovations responded to decades of rac- ist urban planning that left Black neighborhoods sites of economic depres- sion, infrastructural decay, and violence. Working with community leaders, Community in children, activists, gang members, and everyday people, artists developed a way of using art to help empower and represent themselves. Showcas- REBECCA ZORACH Black Chicago, ing the depth and sophistication of the visual arts in Chicago at this time, Zorach demonstrates the crucial role of aesthetics and artistic practice in the mobilization of Black radical politics during the Black Power era. 1965–1975 “ Rebecca Zorach has written a breathtaking book. The confluence of the cultural and political production generated through the Black Arts Move- ment in Chicago is often overshadowed by the artistic largesse of the Amer- ican coasts. No longer. Zorach brings to life the gorgeous dialectic of the street and the artist forged in the crucible of Black Chicago. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
A Study of Selected Contemporary Compositions for Bassoon by Composers Margi Griebling-Haigh, Ellen Taaffe-Zwilich and Libby
A STUDY OF SELECTED CONTEMPORARY COMPOSITIONS FOR BASSOON BY COMPOSERS MARGI GRIEBLING-HAIGH, ELLEN TAAFFE-ZWILICH AND LIBBY LARSEN by ELIZABETH ROSE PELLEGRINI JENNIFER L. MANN, COMMITTEE CHAIR DON FADER TIMOTHY FEENEY JONATHAN NOFFSINGER THOMAS ROBINSON THEODORE TROST A MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2018 Copyright Elizabeth Rose Pellegrini 2018 ALL RIGHTS RESERVED ABSTRACT In my final DMA recital, I performed Sortilège by Margi Griebling-Haigh (1960), Concerto for Bassoon and Orchestra by Ellen Taaffe-Zwilich (1939), and Concert Piece by Libby Larsen (1950). For each of these works, I give a brief biography of the composer and history of the piece. I contacted each of these composers and asked if they would provide further information on their compositional process that was not already available online. I received responses from Margie Griebling-Haigh and Libby Larsen and had to research information for Ellen Taaffe-Zwilich. I assess the contribution of these works to the body of bassoon literature, summarize the history of the literature, discuss the first compositions for bassoon by women, and discuss perceptions of the instrument today. I provide a brief analysis of these works to demonstrate how they contribute to the literature. I also offer comments from Nicolasa Kuster, one of the founders of the Meg Quigley Vivaldi Competition. Her thoughts as an expert in this field offer insight into why these works require our ardent advocacy. ii DEDICATION This manuscript is dedicated, first and foremost, to all the women over the years who have inspired me.