Issues of Identity in Relation to the Kalahari Bushmen of Southern Africa: a Comparative Analysis of Two Different Bushmen Groups During the Late 1990S and Into 2001
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago Adam Zanolini The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1617 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SACRED FREEDOM: SUSTAINING AFROCENTRIC SPIRITUAL JAZZ IN 21ST CENTURY CHICAGO by ADAM ZANOLINI A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 ADAM ZANOLINI All Rights Reserved ii Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _________________ __________________________________________ DATE David Grubbs Chair of Examining Committee _________________ __________________________________________ DATE Norman Carey Executive Officer Supervisory Committee: _________________ __________________________________________ DATE Jeffrey Taylor _________________ __________________________________________ DATE Fred Moten _________________ __________________________________________ DATE Michele Wallace iii ABSTRACT Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini Advisor: Jeffrey Taylor This dissertation explores the historical and ideological headwaters of a certain form of Great Black Music that I call Afrocentric spiritual jazz in Chicago. However, that label is quickly expended as the work begins by examining the resistance of these Black musicians to any label. -
Uptown Conversation : the New Jazz Studies / Edited by Robert G
uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M. -
CLINE-DISSERTATION.Pdf (2.391Mb)
Copyright by John F. Cline 2012 The Dissertation Committee for John F. Cline Certifies that this is the approved version of the following dissertation: Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking Committee: Mark C. Smith, Supervisor Steven Hoelscher Randolph Lewis Karl Hagstrom Miller Shirley Thompson Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking by John F. Cline, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication This dissertation is dedicated to my mother and father, Gary and Linda Cline. Without their generous hearts, tolerant ears, and (occasionally) open pocketbooks, I would have never made it this far, in any endeavor. A second, related dedication goes out to my siblings, Nicholas and Elizabeth. We all get the help we need when we need it most, don’t we? Acknowledgements First and foremost, I would like to thank my dissertation supervisor, Mark Smith. Even though we don’t necessarily work on the same kinds of topics, I’ve always appreciated his patient advice. I’m sure he’d be loath to use the word “wisdom,” but his open mind combined with ample, sometimes non-academic experience provided reassurances when they were needed most. Following closely on Mark’s heels is Karl Miller. Although not technically my supervisor, his generosity with his time and his always valuable (if sometimes painful) feedback during the dissertation writing process was absolutely essential to the development of the project, especially while Mark was abroad on a Fulbright. -
A Power Stronger Than Itself
A POWER STRONGER THAN ITSELF A POWER STRONGER GEORGE E. LEWIS THAN ITSELF The AACM and American Experimental Music The University of Chicago Press : : Chicago and London GEORGE E. LEWIS is the Edwin H. Case Professor of American Music at Columbia University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2008 by George E. Lewis All rights reserved. Published 2008 Printed in the United States of America 16 15 14 13 12 11 10 09 08 1 2 3 4 5 ISBN-13: 978-0-226-47695-7 (cloth) ISBN-10: 0-226-47695-2 (cloth) Library of Congress Cataloging-in-Publication Data Lewis, George, 1952– A power stronger than itself : the AACM and American experimental music / George E. Lewis. p. cm. Includes bibliographical references (p. ), discography (p. ), and index. ISBN-13: 978-0-226-47695-7 (cloth : alk. paper) ISBN-10: 0-226-47695-2 (cloth : alk. paper) 1. Association for the Advancement of Creative Musicians—History. 2. African American jazz musicians—Illinois—Chicago. 3. Avant-garde (Music) —United States— History—20th century. 4. Jazz—History and criticism. I. Title. ML3508.8.C5L48 2007 781.6506Ј077311—dc22 2007044600 o The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. contents Preface: The AACM and American Experimentalism ix Acknowledgments xv Introduction: An AACM Book: Origins, Antecedents, Objectives, Methods xxiii Chapter Summaries xxxv 1 FOUNDATIONS AND PREHISTORY -
Pioneers of Faith
Pioneers of Faith 2 Pioneers of Faith by Lester Sumrall 1 Pioneers of Faith by Lester Sumrall South Bend, Indiana www.leseapublishing.com 3 Pioneers of Faith Unless otherwise indicated, all Scripture quotations are taken from the King James Version of the Bible. Photographs in Chapters 1-10 and 12-24 are used by permission of Assemblies of God Archives, 1445 Boonville Avenue, Springfield, Missouri 65802-1894. Pioneers of Faith ISBN 1-58568-207-1 Copyright © 1995 by LeSEA Publishing 4th Printing August 2018 LeSEA Publishing 530 E. Ireland Rd. South Bend, IN 46614 Printed in the United States of America. All rights reserved under International Copyright Law. Contents and/or cover may not be reproduced in whole or in part in any form without the express written consent of the Publisher. 4 Dedication I dedicate this volume to the memory of Stanley Howard Frodsham (1882-1969): a man who loved people, a man who blessed people, a man who helped pioneer the move of the Holy Spirit in this century. He inspired my life from the first day we met. We were together again and again in his home, his office, and in public meetings. He was present in Eureka Springs, Arkansas, when I was twenty years old, and the Lord showed Howard Carter that I was the young man to go with him around the world. Stanley Frodsham wrote for posterity most of the chal- lenging story that the world knows about Smith Wigglesworth. For this the Church of all time will hold him in honor. I will never forget his humility and his prolific producing of spiritual material — much of which does not have his name on it. -
Religion, Ritual and Ritualistic Objects
Religion, Ritual and Ritualistic Objects Edited by Albertina Nugteren Printed Edition of the Special Issue Published in Religions www.mdpi.com/journal/religions Religion, Ritual and Ritualistic Objects Religion, Ritual and Ritualistic Objects Special Issue Editor Albertina Nugteren MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade Special Issue Editor Albertina Nugteren Tilburg University The Netherlands Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Religions (ISSN 2077-1444) from 2018 to 2019 (available at: https://www.mdpi.com/journal/religions/special issues/Ritual) For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03897-752-0 (Pbk) ISBN 978-3-03897-753-7 (PDF) c 2019 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. Contents About the Special Issue Editor ...................................... vii Preface to ”Religion, Ritual and Ritualistic Objects” ......................... ix Albertina Nugteren Introduction to the Special Issue ‘Religion, Ritual, and Ritualistic Objects’ Reprinted from: Religions 2019, 10, 163, doi:10.3390/rel10030163 .................. -
IMPROVISATION and SOCIAL AESTHETICS Improvisation, Community, and Social Practice a New Series Edited by Daniel Fischlin
IMPROVISATION AND SOCIAL AESTHETICS Improvisation, Community, and Social Practice A new series edited by Daniel Fischlin Books in this new series advocate musical improvisation as a crucial model for political, cultural, and ethical dia- logue and action—for imagining and creating alterna- tive ways of knowing and being in the world. The books are collaborations among performers, scholars, and activists from a wide range of disciplines. They study the creative risk- taking imbued with the sense of movement and momentum that makes improvisation an exciting, unpredictable, ubiquitous, and necessary endeavor. IMPROV- ISATION AND SOCIAL AESTHET- GeorGinA born, eric lewis, ICS And will strAw, eds. Duke University Press Durham and London 2017 © 2017 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ♾ Typeset in Charis by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data Names: Born, Georgina, editor. | Lewis, Eric, [date] editor. | Straw, Will, [date] editor. Title: Improvisation and social aesthetics / Georgina Born, Eric Lewis, and William Straw, eds. Other titles: Improvisation, community, and social practice. Description: Durham : Duke University Press, 2017. | Series: Improvisation, community, and social practice | Includes bibliographical references and index. Identifiers: lccn 2016045052 (print) | lccn 2016048372 (ebook) isbn 9780822361787 (hardcover : alk. paper) isbn 9780822361947 (pbk. : alk. paper) isbn 9780822374015 (e-book) Subjects: lcsh: Improvisation (Music)—Social aspects. | Music—Social aspects. | Aesthetics—Social aspects. | Arts and society. Classification: lcc ml3916.i47 2017 (print) | lcc ml3916 (ebook) | ddc 781.3/6—dc23 lc record available at https://lccn.loc.gov/2016045052 Cover art: The Art Ensemble of Chicago and Cecil Taylor, 1984. -
Mere Christianity by C.S
Mere Christianity By C.S. Lewis Contents: Book Cover (Front) (Back) Scan / Edit Notes Preface Book I. Right And Wrong As A Clue To The Meaning Of The Universe 1. The Law of Human Nature 2. Some Objections 3. The Reality of the Law 4. What Lies Behind the Law 5. We Have Cause to Be Uneasy Book II What Christians Believe 1. The Rival Conceptions of God 2. The Invasion 3. The Shocking Alternative 4. The Perfect Penitent 5. The Practical Conclusion Book III. Christian Behaviour 1. The Three Parts of Morality 2. The "Cardinal Virtues" 3. Social Morality 4. Morality and Psychoanalysis 5. Sexual Morality 6. Christian Marriage 7. Forgiveness 8. The Great Sin 9. Charity 10. Hope 11. Faith 12. Faith Book IV. Beyond Personality: Or First Steps In The Doctrine Of The Trinity 1. Making and Begetting 2. The Three-Personal God 3. Time and Beyond Time 4. Good Infection 5. The Obstinate Toy Soldiers 6. Two Notes 7. Let's Pretend 8. Is Christianity Hard or Easy? 9. Counting the Cost 10. Nice People or New Men 11. The New Men Scan / Edit Notes Versions available and duly posted: Format: v1.0 (Text) Format: v1.0 (PDB - open format) Format: v1.5 (HTML) Format: v1.5 (PDF - no security) Format: v1.5 (PRC - for MobiPocket Reader - pictures included) Genera: Religion / Christian - Theology Extra's: Pictures Included (for all versions) Copyright: 1952 First Scanned: 2002 Posted to: alt.binaries.e-book Note: 1. The Html, Text and Pdb versions are bundled together in one zip file. -
Margaret Murray's Life in Archaeology A
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE LADY AND THE LOOKING GLASS: MARGARET MURRAY‘S LIFE IN ARCHAEOLOGY A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By KATHLEEN L. SHEPPARD Norman, Oklahoma 2010 THE LADY AND THE LOOKING GLASS: MARGARET MURRAY‘S LIFE IN ARCHAEOLOGY A DISSERTATION APPROVED FOR THE DEPARTMENT OF THE HISTORY OF SCIENCE BY ________________________________ Dr. Katherine Pandora, Chair ________________________________ Dr. Piers Hale ________________________________ Dr. Suzanne Moon ________________________________ Dr. Sandie Holguín ________________________________ Dr. Dan Snell © Copyright by KATHLEEN L. SHEPPARD 2010 All Rights Reserved. To my mom and dad, who always only want me to be happy. ACKNOWLEDGEMENTS Fortunately, I am the only one who is surprised that I have accomplished my goal of writing this dissertation and earning my PhD. While my name is given as the author of these pages, none of this research would have been possible without help and support from all areas of my life. Thanks must go to these people and organizations. I have such appreciation for the generous funding while a student at the University of Oklahoma History of Science Department. Through the generosity of the faculty of this department, I held a position as a Graduate Assistant for five years which provided a monthly stipend on which to live as well as valuable experience as part of a professional academic environment. I also received the DeGolyer Fellowship and the History of Science Department Travel Award, both of which allowed me to present portions of this research at the History of Science Society meeting (2008) and the Histories of Archaeology Research Network annual meeting (2008 and 2009). -
Elenco Codici Lp Completo 29 01 15
1 LADNIER TOMMY Play That Thing L/US.2.LAD 2 WOODS PHIL Great Art Of Jazz L/US.2.WOO 3 PARKER CHARLIE Volume 3 L/US.2.PAR 4 ZEITLIN DENNY Live At The Trident L/US.2.ZET 5 COLTRANE JOHN Tanganyika Strut L/US.2.COL 6 MCPHEE JOE Underground Railroad L/US.2.MCP 7 ELLIS DON Shock Treatment L/US.2.ELL 8 MCPHEE/SNYDER Pieces Of Light L/US.2.MCP 9 ROACH MAX The Many Sides Of... L/US.2.ROA 10 MCPHEE JOE Trinity L/US.2.MCP 11 ELLINGTON DUKE The Intimate Ellington L/US.2.ELL 12 V.S.O.P V.S.O.P. L/US.2.VSO 13 MILLER/COXHILL Coxhill/Miller L/EU.2.MIL 14 PARKER CHARLIE The "Bird" Return L/US.2.PAR 15 LEE JEANNE Conspiracy L/US.2.LEE 16 MANGELSDORFF ALBERT Birds Of Underground L/EU.2.MAN 17 STITT SONNY Stitt's Bits Vol.1 L/US.2.STI 18 ABRAMS MUHAL RICHARD Things To Come From Those Now Gone L/US.2.ABR 19 MAUPIN BENNIE The Jewel In The Lotus L/US.2.MAU 20 BRAXTON ANTHONY Live At Moers Festival L/US.2.BRA 21 THORNTON CLIFFORD Communications Network L/US.2.THO 22 COLE NAT KING The Best Of Nat King Cole L/US.2.COL 23 POWELL BUD Swngin' With Bud Vol. 2 L/US.2.POW 24 LITTLE BOOKER Series 2000 L/US.2.LIT 25 BRAXTON ANTHONY This Time... L/US.2.BRA 26 DAMERON TODD Memorial Album L/US.2.DAM 27 MINGUS CHARLES Live With Eric Dolphy L/US.2.MIN 28 AMBROSETTI FRANCO Dire Vol. -
Intermusicality, Humor, and Cultural Critique in the Art Ensemble of Chicago’S “A Jackson in Your House” Paul Steinbeck
Jazz Perspectives Vol. 5, No. 2, August 2011, pp. 135–154 Intermusicality, Humor, and Cultural Critique in the Art Ensemble of Chicago’s “A Jackson in Your House” Paul Steinbeck Two of the most salient aspects of the Art Ensemble of Chicago’s performances are stylistic diversity and intermedia. Audiences at Art Ensemble concerts and listeners to Art Ensemble recordings encounter an array of musical genres and media forms, from jazz, collective improvisation, and world music to poetry pieces, theatrical sketches, and elaborate visual displays. Many observers have linked the Art Ensemble’s multiplicitous performances to their slogan “Great Black Music, Ancient to the Future,” a phrase that captures the historical scope of Art Ensemble performance prac- tice as well as the heterogeneity of modern African American expressive culture.1 However, fewer music scholars have contended (either theoretically or analytically) with the group’s stylistic diversity and use of intermedia—surely crucial components of the “integrative comprehension of the Art Ensemble of Chicago’s music” that poet and critic Norman Weinstein advocated more than a decade ago.2 In this article, I offer a focused response to the challenge posed by Weinstein. Rather than providing a broad survey of the band’s aesthetics and performance practice, I examine just one Art Ensemble piece, the Roscoe Mitchell composition “A Jackson in Your House,” closely analyzing the 1969 recording and two subsequent 1See Lincoln T. Beauchamp Jr., Great Black Music: Ancient to the Future (Chicago, IL: Art Ensemble of Chicago Publishing Co., 1997); Jason Berry, “Declamations on Great Black Music,” Lenox Avenue 3 (1997): 42–54; Peter Kemper, “Zur Funktion des Mythos im jazz der 70er Jahre: Soziokulturelle Aspekte eines musikalischen Phäno- mens dargestellt an der ästhetischen Konzeption des ‘Art Ensemble of Chicago,’” Jazzforschung 13 (1981): 45–78; and countless journalistic treatments of the Art Ensemble that have appeared in jazz publications and the popular press. -
Experimental Music in Black and White: the AACM in New York, 1970-1985*
Experimental Music in Black and White: The AACM in New York, 1970-1985* By George E. Lewis Introduction Since its founding on the virtually all-black South Side of Chicago in 1965, the Mrican American musicians' collective known as the Association for the Advancement of Creative Musicians (AACM) has played an unusu ally prominent role in the development of American experimental music. The composite output of AACM members explores a wide range of methodologies, processes, and media. AACM musicians have developed new ideas about timbre, sound, collectivity, extended technique and in strumentation, performance practice, intermedia, the relationship of im provisation to composition, form, scores, computer music technologies, invented acoustic instruments, installations, and kinetic sculptures.! In a 1973 article, two early AACM members, trumpeter John Shenoy Jackson and co-founder and pianist/composer Muhal Richard Abrams, as serted that, "The AACM intends to show how the disadvantaged and the disenfranchised can come together and determine their own strategies for political and economic freedom, thereby determining their own destinies" (Abrams and Jackson 1973:72). This optimistic declaration, based on no tions of self-help as fundamental to racial uplift, cultural preservation, and spiritual rebirth, was in accord with many other challenges to traditional notions of order and authority that emerged in the wake of the Black Power Movement. The AACM's goals of individual and collective self-production and pro motion challenged racialized limitations on venues and infrastructure, serving as an example to other artists in rethinking the artist/business re lationship. A number of organizations in which Mrican American musi cians took leadership roles, including the early-twentieth-century Clef Club, the short-lived Jazz Composers Guild, the Collective Black Artists, and the Los Angeles-based Union of God's Musicians and Artists Ascension, or Underground Musicians Association (UGMAA/UGMA), preceded the AACM in attempting to pursue these self-help strategies.