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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. -
Perry Smt 2019 Handout
Sketching and Imitating: Cage, Satie, Thoreau, and the Song Books Jeff Perry ([email protected]) Society for Music Theory • Columbus, OH • November 10, 2019 Some examples from my talk aren’t reproduced here, since they include images that belong to the John Cage Trust or NYPL Special Collections. Example 1. Socrate is an incredibly beautiful work. There is no expression in the music or in the words, and the result is that it is overpoweringly expressive. The melody is simply an atmosphere which floats. The accompaniment is a continuous juxtaposition of square simplicities. But the combination is of such grace! --JC to Merce Cunningham, 1944 (Kuhn 2016, 66) With clarity of rhythmic structure, grace forms a duality. Together they have a relation like that of body and soul. Clarity is cold, mathematical, inhuman, but basic and earthy. Grace is warm, incalculable, human, opposed to clarity, and like the air. Grace is… the play with and against the clarity of the rhythmic structure. The two are always present together in the best works of the time arts, endlessly, and life-givingly, opposed to each other. --JC, 1944 (Silence, 91-92) Example 2. I am getting more and more involved with thoughts about society—the situation is so depraved. Have been reading Thoreau —Civil Disobedience. Getting his Journals, the new 2-vol. set. I want somehow to examine the situation, the social one, as we did the musical one, to change it or change “my” part of it so that I can “listen” to my “life” without self-consciousness, i.e., moral embarrassment. -
Digital Adaptions of the Scores for Cage Variations I, II and III
Edith Cowan University Research Online ECU Publications 2012 1-1-2012 Digital adaptions of the scores for Cage Variations I, II and III Lindsay Vickery Catherine Hope Edith Cowan University Stuart James Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/ecuworks2012 Part of the Music Commons Vickery, L. R., Hope, C. A., & James, S. G. (2012). Digital adaptions of the scores for Cage Variations I, II and III. Proceedings of International Computer Music Conference. (pp. 426-432). Ljubljana. International Computer Music Association. Available here This Conference Proceeding is posted at Research Online. https://ro.ecu.edu.au/ecuworks2012/165 NON-COCHLEAR SOUND _ I[M[2012 LJUBLJANA _9.-14. SEP'l'EMBER Digital adaptions of the scores for Cage Variations I, II and III Lindsay Vickery, Cat Hope, and Stuart James Western Australian Academy of Performing Arts, Edith Cowan University ABSTRACT Over the ten years from 1958 to 1967, Cage revisited to the Variations series as a means of expanding his Western Australian new music ensemble Decibel have investigation not only of nonlinear interaction with the devised a software-based tool for creating realisations score but also of instrumentation, sonic materials, the of the score for John Cage's Variations I and II. In these performance space and the environment The works works Cage had used multiple transparent plastic sheets chart an evolution from the "personal" sound-world of with various forms of graphical notation, that were the performer and the score, to a vision potentially capable of independent positioning in respect to one embracing the totality of sound on a global scale. -
Mood Music Programs
MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine -
John Cage's Entanglement with the Ideas Of
JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums. -
October 1-3, 2017 Greetings from Delta State President William N
OCTOBER 1-3, 2017 GREETINGS FROM DELTA STATE PRESIDENT WILLIAM N. LAFORGE Welcome to Delta State University, the heart of the Mississippi Delta, and the home of the blues! Delta State provides a wide array of educational, cultural, and athletic activities. Our university plays a key role in the leadership and development of the Mississippi Delta and of the State of Mississippi through a variety of partnerships with businesses, local governments, and community organizations. As a university of champions, we boast talented faculty who focus on student instruction and mentoring; award-winning degree programs in business, arts and sciences, nursing, and education; unique, cutting-edge programs such as aviation, geospatial studies, and the Delta Music Institute; intercollegiate athletics with numerous national and conference championships in many sports; and a full package of extracurricular activities and a college experience that help prepare our students for careers in an ever-changing, global economy. Delta State University’s annual International Conference on the Blues consists of three days of intense academic and scholarly activity, and includes a variety of musical performances to ensure authenticity and a direct connection to the demographics surrounding the “Home of the Delta Blues.” Delta State University’s vision of becoming the academic center for the blues — where scholars, musicians, industry gurus, historians, demographers, and tourists come to the “Blues Mecca” — is becoming a reality, and we are pleased that you have joined us. I hope you will engage in as many of the program events as possible. This is your conference, and it is our hope that you find it meaningful. -
User's Manual
USER’S MANUAL PROGRAMMING: Thomas Diligent Robert Bocquier Adrien Courdavault Mathieu Nocenti SOUND DESIGN: Luca Torre (Multis) Michael Hosker (All) Ted James (Jupiter8V) Matthew Sevant (ProphetV) Knowlton Walsh (MiniV) Matt Sterling (Arp 2600V) Ted James (CS80V) MANUAL: Randy Lee Pierce Warnecke Tomoya Fukushi Noritaka Ubukata Antoine Back Thomas Diligent DESIGN: Shaun Ellwood Morgan Perrier © ARTURIA SA – 1999-2014 – All rights reserved. 30, Chemin du Vieux Chene 38240 Meylan FRANCE http://www.arturia.com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be produced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.A. All other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners. October 2014 edition 2 ARTURIA – Analog Lab – USER’S MANUAL Thank you for purchasing Arturia’s Analog Lab! This manual covers the features and operation of Arturia’s Analog Lab, a software synthesizer that allows you to play and modify over 5,000 sounds. After the purchase of this software you will receive its serial number and an unlock code by e-mail. This information enables you to register the software online. Once you have registered your software you will receive an activation code by e-mail that will allow you to authorize the software for use on your computer. -
Schuermer.Pdf —
Auditive Perspektiven 4/2012 - 1 Anna Schürmer „…es wäre ein Akt der Nächstenliebe, sie zu zerschmeißen…“ John Cage und technische Medien: Random zwischen Differenz und Wiederholung You see I don’t have a sound equipment here... zipien – abhängt, unabhängig von den gewählten I didn’t enjoy listening to records. kompositorischen Mitteln, seien sie nun technischer I was always interested in sound. oder instrumentaler Natur. Dem soll durch eine Ge- genüberstellung John Cages sprachlicher und kompo- John Cage ist ein Paradox, auch in Bezug auf seinen sitorischer Äußerungen zur technischen Reproduzier- Umgang mit technischen Medien. Einerseits positio- barkeit von Musik und dem ästhetischen Einsatz von nierte er sich wie kaum ein anderer Künstler zur Me- Medientechniken auf der einen Seite sowie seinem in- dientechnik; er reflektierte die Thematik nicht nur in strumentalen Schaffen auf der anderen Seite nachge- Vorträgen und Schriften1, sondern war treibende Kraft gangen werden. Beispielhaft wird hier das Concert for für die Entwicklung der amerikanischen Tape Music Piano and Orchestra (1958) herausgehoben, in dem und schuf mit Werken für Plattenspieler, Tonband und Cage auf keinerlei technische Medien zurückgreift und Radio zahlreiche Medien-Kompositionen2. Anderer- das dennoch Aufschluss über die hier aufgeworfenen seits können oder müssen gerade diese als kritische Fragen verspricht. Das Klavierkonzert kann als Haupt- Auseinandersetzung mit der Kunstmusik im Zeitalter werk der 1950er Jahre gelten, seit deren Beginn sich ihrer technischen Reproduzierbarkeit betrachtet wer- Cage bedingungslos dem Zufall als kompositorischem den, die Cage immer wieder mit Unbehagen kommen- Prinzip zugewendet hat. Die Aleatorik, das instrumen- tierte. Einerseits setzte Cages kompositorisches tal eingesetzten Prinzip des Random, kann als anar- Schaffen auf einfache Wiederholbarkeit, andererseits chisches Manifest und als künstlerischer Akt gegen betonte er das Ereignis der Aufführung und die Aktion technische Reproduzierung und für die Betonung des des klingenden Augenblicks. -
Nicholas Isherwood Performs John Cage
aria nicholas isherwood performs john cage nicholas isherwood BIS-2149 BIS-2149_f-b.indd 1 2014-12-03 11:19 CAGE, John (1912–92) 1 Aria (1958) with Fontana Mix (1958) 5'07 Realization of Fontana Mix by Gianluca Verlingieri (2006–09) Aria is here performed together with a new version of Fontana Mix, a multichannel tape by the Italian composer Gianluca Verlingieri, realized between 2006 and 2009 for the 50th anniversary of the original tape (1958–2008), and composed according to Cage’s indications published by Edition Peters in 1960. Verlingieri’s version, already widely performed as tape-alone piece or together with Cage’s Aria or Solo for trombone, has been revised specifically for the purpose of the present recording. 2 A Chant with Claps (?1942–43) 1'07 2 3 Sonnekus (1985) 3'42 4 Eight Whiskus (1984) 3'50 Three songs for voice and closed piano 5 A Flower (1950) 2'58 6 The Wonderful Widow of Eighteen Springs (1942) 3'02 7 Nowth Upon Nacht (1984) 0'59 8 Experiences No. 2 (1945–48) 2'38 9 Ryoanji – version for voice and percussion (1983–85) 19'36 TT: 44'53 Nicholas Isherwood bass baritone All works published by C.F. Peters Corporation, New York; an Edition Peters Group company ere comes Cage – under his left arm, a paper bag full of recycled chance operations – in his right hand, a copy of The Book of Bosons – the new- Hfound perhaps key to matter. On his way home he stops off at his favourite natural food store and buys some dried bulgur to make a refreshing supper of tabouleh. -
Final Nominations List the National Academy of Recording Arts & Sciences, Inc
NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. FINAL NOMINATIONS LIST THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 63rd Annual GRAMMY® Awards For recordings released during the Eligibility Year September 1, 2019 through August 31, 2020 Note: More or less than 5 nominations in a category is the result of ties. General Field Category 1 8. SAVAGE Record Of The Year Megan Thee Stallion Featuring Beyoncé Award to the Artist and to the Producer(s), Recording Engineer(s) Beyoncé & J. White Did It, producers; Eddie “eMIX” and/or Mixer(s) and mastering engineer(s), if other than the artist. Hernández, Shawn "Source" Jarrett, Jaycen Joshua & Stuart White, engineers/mixers; Colin Leonard, mastering 1. BLACK PARADE engineer Beyoncé Beyoncé & Derek Dixie, producers; Stuart White, engineer/mixer; Colin Leonard, mastering engineer 2. COLORS Black Pumas Adrian Quesada, producer; Adrian Quesada, engineer/mixer; JJ Golden, mastering engineer 3. ROCKSTAR DaBaby Featuring Roddy Ricch SethinTheKitchen, producer; Derek "MixedByAli" Ali, Chris Dennis, Liz Robson & Chris West, engineers/mixers; Glenn A Tabor III, mastering engineer 4. SAY SO Doja Cat Tyson Trax, producer; Clint Gibbs & Kalani Thompson, engineers/mixers; Mike Bozzi, mastering engineer 5. EVERYTHING I WANTED Billie Eilish Finneas O'Connell, producer; Rob Kinelski & Finneas O'Connell, engineers/mixers; John Greenham, mastering engineer 6. DON'T START NOW Dua Lipa Caroline Ailin & Ian Kirkpatrick, producers; Josh Gudwin, Drew Jurecka & Ian Kirkpatrick, engineers/mixers; Chris Gehringer, mastering engineer 7. CIRCLES Post Malone Louis Bell, Frank Dukes & Post Malone, producers; Louis Bell & Manny Marroquin, engineers/mixers; Mike Bozzi, mastering engineer © The Recording Academy 2020 - all rights reserved 1 Not for copy or distribution 63rd Finals - Press List General Field Category 2 8. -
Over 95 Additional Artists Announced for Electric Forest 2017 June 22–June 25 and June 29–July 2
FOR IMMEDIATE RELEASE February 16, 2017 Over 95 Additional Artists Announced for Electric Forest 2017 June 22–June 25 and June 29–July 2 Tycho, Nahko and Medicine for the People, Kamasi Washington, The Revivalists, Conspirator, Snakehips, EOTO, Break Science, and over 80 additional artists join previously announced acts including String Cheese Incident, Bassnectar, Flume, ODESZA, Above & Beyond, My Morning Jacket, DJ Snake, Big Gigantic, and Dillon Francis Tickets on sale now at ElectricForestFestival.com Rothbury, Mich. – Today, Electric Forest (EF) announced over 95 additional artists to its lineup for the seventh annual music and camping festival in Rothbury, Michigan. For the first time ever, the beloved forest festival will expand to two distinct weekends in 2017, from June 22–June 25 and June 29–July 2, 2017. Among the list of new artists announced today to perform both weekends of Electric Forest 2017 are The Revivalists, Snakehips, Haywyre, EOTO, DJ EZ, StéLOUSE, Tom Misch (DJ Set), and Bluegrass Generals featuring Chris Pandolfi, Andy Hall, Bill Nershi and Keith Moseley. They join the The String Cheese Incident, Bassnectar, Big Gigantic, Dillon Francis, Claude VonStroke, 12th Planet, Jai Wolf, Lettuce, The Floozies, The Infamous Stringdusters, and more legendary artists who will also performing both the First and Second Weekend of EF2017. Tycho, Breaking Biscuits, Maya Jane Coles, Kamasi Washington and Andy C join the roster of acts performing exclusively on the First Weekend of EF2017 – which also includes ODESZA, Above & Beyond, My Morning Jacket, Nero (Live), Pendulum (DJ Set), TroyBoi, Viceroy, and AC Slater, among others. Conspirator, Nahko and Medicine for the People, Black Tiger Sex Machine, Break Science, Delta Heavy, Dr. -
Bb King Solo Transcription
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