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Taiwanese Eyes on the Modern: Cold War Dance Diplomacy And
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tsung-Hsin Lee, M.A. Graduate Program in Dance Studies The Ohio State University 2020 Dissertation Committee Hannah Kosstrin, Advisor Harmony Bench Danielle Fosler-Lussier Morgan Liu Copyrighted by Tsung-Hsin Lee 2020 2 Abstract This dissertation “Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980” examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, José Limón, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change. -
Aint Gonna Study War No More / Down by the Riverside
The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote. -
RIJF FREE Shows
FRIDAY • JUNE 20 • 9PM FRIDAY • JUNE 21 • 9PM 7PM -%$%3+) :8IFCPE THIRDWORLD FRIDAY • JUNE 20 • 9PM FRIDAY • JUNE 21 • 9PM NFE;<IC8E; -!24). 7PM 7PM UIF!LFOUVDLZ! JOE J F L C @ M < IFBEIVOUFST SKATALITES 7//$ BONAMASSA East Ave. & Chestnut St. Stage East Ave. & Alexander St. Stage C I T Y O F R OCH ES T E R F R E E O U T D OO R S T AGES FRIDAY • JUNE 13 SATURDAY • JUNE 14 SUNDAY • JUNE 15 MONDAY • JUNE 16 TUESDAY • JUNE 17 WEDNESDAY • JUNE 18 THURSDAY • JUNE 19 FRIDAY • JUNE 20 SATURDAY • JUNE 21 RIJF ESM JAZZ EASTMANTHEATRE SCHOLARSHIPS CONCERT SERIES DEE DEE FEA T URI N G Ticketed BRIDGEWATER JOE & PAT JAZZ Founding Sponsor All Shows 8PM “A MALIAn Journey” LABARBERA “GillespiANA” ROCHESTER JAZZ + SPECIAL FREE FRANK SINATRA JR. GUEST FILMS A TRIBUTE TO @ THE & ORCHESTRASINATRA DIZZY GILLESPIE FREE AL GREEN Founding Sponsor “SINATRA SINGS SINATRA” RICHARD BONA BAND DIRECTED BY JEFF TYZIK PHILHARMONIC BOZ SCAGGS KILBOURN HALL Club Pass or $25 6PM & 10PM JOHN SCOFIELD LOU DONALDSON SLIDE HAMPTON DAVID MURRAy’s JOE LOCKE THE SLIDING CATHERINE AL FOSTER QUARTET THE BAD PLUS TRIO QUARTET & FRIENDS BLACK SAINT QUARTET “Force oF Four” HAMMERS RUSSELL MAX OF EASTMAN PLACE Club Pass or $20 6:15PM & 10PM AMINA FIGAROVA SEXTET TRIO EAST DHARMA JAZZ SACHAL VASANDANI JACKY TERRASSON ROBI BOTOS TRIO TIERNEY SUTTON BAND BILLy’s BAND BARBARA DENNERLEIN MONTAGE Club Pass or $20 DAVID LIEBMAN JAKE SHIMABI- TAYLOR EIGSTI & CAROLYN 6PM & 10PM RACHEL Z ROBIN MCKELLE HOWARD ALDEN QUARTET KURO JULIAN LAGE BLAKE TARTARE WONDERLAND SUPERGENEROUS HIGH FIDELITY -
Wednesdays with Wynton Episode 12
Wednesdays with Wynton - Episode 12 Wednesdays with Wynton on Instagram Live Episode 12 – June 17, 2020 00:01 Madelyn Gardner: Hi everyone, welcome back to Wednesdays with Wynton. My name is Madelyn Gardner, I am the External Comms manager, at Jazz Lincoln Center and thank you for once again joining us for our weekly Instagram Live with the one and only Wynton Marsalis. So Wynton will be joining us in just a moment. And before he hops on, I wanna remind you that once again, as you know it is Wednesday, that means we're releasing another video from Jazz Lincoln Center's vault. Today we released a video from the JLCO and Wynton Marsalis celebrating all things Dizzy. So, this specific concert is a JLCO with Wynton featuring percussionist, Roman Diaz, vocalist Brandie Sutton, who dig deep into the musical world of Dizzy. So while we wait, Wynton will be joining in just a moment, why don't you comment where you're tuning in from and what your favorite Dizzy's tune is and we'll get Wynton on right now. [pause] 01:04 MG: Hi Wynton! 01:04 Wynton Marsalis: What's going on? What are you talking about, Madelyn? What's happening? 01:07 MG: We're talking about this wonderful concert we released from the vault today. First of all, looking sharp, you're looking great, Wynton. I like the suit. 01:15 WM: Thank you. Alright. 01:16 MG: And we're talking about the vault concert we released today, celebrating the great, great trumpeter, Dizzy. -
Herbie Mann Éÿ³æ¨‚Űˆè¼¯ ĸ²È¡Œ (ĸ“Ⱦ‘ & Æ—¶É—´È¡¨)
Herbie Mann 音樂專輯 串行 (专辑 & 时间表) Just Wailin' https://zh.listvote.com/lists/music/albums/just-wailin%27-20813566/songs Flute Soufflé https://zh.listvote.com/lists/music/albums/flute-souffl%C3%A9-5462950/songs Flute Flight https://zh.listvote.com/lists/music/albums/flute-flight-5462940/songs Nirvana https://zh.listvote.com/lists/music/albums/nirvana-3342128/songs Latin Fever https://zh.listvote.com/lists/music/albums/latin-fever-23665942/songs Latin Mann https://zh.listvote.com/lists/music/albums/latin-mann-24963480/songs Surprises https://zh.listvote.com/lists/music/albums/surprises-7646639/songs Our Mann Flute https://zh.listvote.com/lists/music/albums/our-mann-flute-20979350/songs Push Push https://zh.listvote.com/lists/music/albums/push-push-7261746/songs Memphis Underground https://zh.listvote.com/lists/music/albums/memphis-underground-6815891/songs Glory of Love https://zh.listvote.com/lists/music/albums/glory-of-love-5571624/songs https://zh.listvote.com/lists/music/albums/great-ideas-of-western-mann- Great Ideas of Western Mann 5599353/songs The Beat Goes On https://zh.listvote.com/lists/music/albums/the-beat-goes-on-20979201/songs Today! https://zh.listvote.com/lists/music/albums/today%21-7812137/songs Salute to the Flute https://zh.listvote.com/lists/music/albums/salute-to-the-flute-20814008/songs Mississippi Gambler https://zh.listvote.com/lists/music/albums/mississippi-gambler-6879146/songs Muscle Shoals Nitty Gritty https://zh.listvote.com/lists/music/albums/muscle-shoals-nitty-gritty-6940301/songs My Kinda -
Jazzletter PO Box 240, Ojai CA
Gene Lees Jazzletter PO Box 240, Ojai CA. 93024-0240 April 1999 Vol. 18 No. 4 There is a widespread competence in young players, but they are The Immortal joker ofien as interchangeable as the parts on a GM pickup. They may Part Three be accomplished at the technical level, but too many are no more individual than Rich Little doing impressions. It is impossible in our time to perceive how Beethoven’s music The flatted fiflh chord and the minor-seventh-flat-five chord was perceived in his. This is true of artists generally We can were not new in westem music, but as composer Hale Smith points deduce it from the outrage visited on them by critics — Nicolas out, they were probably, for Monk and other jazz musicians, Slonirnsky’s Lexicon ofMusical Invective is a fascinating compen- discoveries, and thus became personal vocabulary. dium of such writings — but we can never actually feel the _ As" composers explored what we call western music over these original impact. last centuries, they expanded the vocabulary but they did not Even knowing how original Louis Annstrong was, we can invent, or re-invent it. However, this expansion, particularly in the never perceive him the way the thunderstruck young musicians of Romantic music of the nineteenth century, appeared to be.inven- his early days did. By the time many of us became aware of him, tion. Thus too with jazz, when Parker and Gillespie entered with Joe Glaser, his manager had manipulated him into position as an such éclat on the scene. -
Dizzy Gillespie and the Big Band: GILLESPIANA (Verve V6-8394)
JAMU 20150422-2 –Dizzy Gillespie-Lalo Schifrin suites (ukázky) Dizzy Gillespie and His Orchestra: A PORTRAIT OF DUKE ELLINGTON (Verve V6-8386) A1 In A Mellow Tone 3:44 A2 Things Ain't What They Used To Be 4:50 A3 Serenade To Sweden 4:23 A4 Chelsea Bridge 2:34 A5 Upper Manhatten Medical Group 3:05 A6 Do Nothin' Till You Hear From Me 2:38 B1 Caravan 5:18 B2 Sophisticated Lady 3:19 B3 Johnny Come Lately 3:35 B4 Perdido 4:47 B5 Come Sunday 2:56 Trumpet – Dizzy Gillespie Trombone – Bennie Green French Horn – Joe Singer, Ray Alonge, Richard Berg Tuba – Jay McAllister Flute – Robert DiDomenica Woodwind – Ernest Bright, John Murtaugh, Paul Richie, Stan Webb Vibraphone – George Devens Piano, Celeste – Hank Jones Bass – George Duvivier Drums – Charlie Persip Arranged By – Clare Fisher Recorded on 27-28 April, 1960 in NYC. Dizzy Gillespie and the Big Band: GILLESPIANA (Verve V6-8394) A1 Prelude 5:52 A2 Blues 11:16 A3 Panamericana 4:39 B1 Africana 7:31 B2 Toccata 12:01 Trumpet – Clark Terry, Dizzy Gillespie, Ernie Royal, Joe Wilder, John Frosk Trombone – Britt Woodman, Frank Rehak, Paul Faulise, Urbie Green Horns – Al Richman, Gunther Schuller, James Buffington, Julius Watkins, Morris Secon, William Lister Tuba – Don Butterfield Saxophone – Leo Wright Piano, Written-By, Arranged By – Lalo Schifrin Bass – Art Davis Drums – Chuck Lampkin Bongos – Jack Del Rio Congas – Candido Timbales, Timpani – Willie Rodriguez Recorded November 14-15, 1960 in New York Dizzy Gillespie and the Big Band: CARNEGIE HALL CONCERT (Verve V6-8423) A1 Manteca 6:22 A2 This Is -
Exemplar Texts for Grades
COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects _____ Appendix B: Text Exemplars and Sample Performance Tasks OREGON COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects Exemplars of Reading Text Complexity, Quality, and Range & Sample Performance Tasks Related to Core Standards Selecting Text Exemplars The following text samples primarily serve to exemplify the level of complexity and quality that the Standards require all students in a given grade band to engage with. Additionally, they are suggestive of the breadth of texts that students should encounter in the text types required by the Standards. The choices should serve as useful guideposts in helping educators select texts of similar complexity, quality, and range for their own classrooms. They expressly do not represent a partial or complete reading list. The process of text selection was guided by the following criteria: Complexity. Appendix A describes in detail a three-part model of measuring text complexity based on qualitative and quantitative indices of inherent text difficulty balanced with educators’ professional judgment in matching readers and texts in light of particular tasks. In selecting texts to serve as exemplars, the work group began by soliciting contributions from teachers, educational leaders, and researchers who have experience working with students in the grades for which the texts have been selected. These contributors were asked to recommend texts that they or their colleagues have used successfully with students in a given grade band. The work group made final selections based in part on whether qualitative and quantitative measures indicated that the recommended texts were of sufficient complexity for the grade band. -
W Ho in the W Orld
0S9S I Vd 35OUIV1 IS inti m:, soa MDrUV(.3 A8klY9 Ue—C) 'Jo!. , No. 1021 December 31, 1966 In the opinion of the editors, this week the following records are the * SINGLE PICKS OF 111E W EEK W HO KING IN THE LAT TRIPPER VA, W ORLD 11/01 novnii TM FAMOUS RA MS Terrific beat gets rolling on the Ramsey Lewis gives "Day Trip- new James Brown release. Guy per," the Lennon McCartney throws himself into his "Bring opus, a breezy once-over. It's It Up" ditty and the kids will dancetime for the guy and sales turn out by the thous7nds (King will accrue in no time flat CUR (Cadet 5553). SLEEPERS OF THE W EE K Bobby Vinton produced this new Sweet and lilting ballad with A big new sound on the scene instrumental, "Bodacious" by contemporary arrangement by is the Charles Randolph Crean the Satellites and the outcome the climbing Stairsteps. The Sounde. The ti.ne is the Proko- was simply bod3cious. It's a group's "Danger She's a fieff "Peter and the Wolf" groovy number teens will like Stranger" should end up chart- theme i-nd a raunchi y attractive (13:-..rrot 313). Ugh (Windy C 6041. cut it is (Dot 16982). .1 t itl'IlS OF THE W EEK Norman Racusin, New Head of RCA (Label Finishing Biggest Year), The Artistics seem to have a Buck Owens and the Buckaroos Nancy Wilson is in absolute top terrific time performing, and put together 12 nifties on this form on this package (and in Gives 1st Interview the enthusiasm spills over into new package. -
Lydia Tang Thesis.Pdf
THE MULTI-FACETED ARTISTRY OF VIOLIST EMANUEL VARDI BY LYDIA M. TANG THESIS Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Rudolf Haken, Chair Associate Professor Katherine Syer, Director of Research Associate Professor Scott Schwartz Professor Stephen Taylor Clinical Assistant Professor Elizabeth Freivogel Abstract As a pioneer viola virtuoso of the 20th century, Emanuel “Manny” Vardi (c. 1915-2011) is most widely recognized as the first violist to record all of Paganini’s Caprices. As a passionate advocate for the viola as a solo instrument, Vardi premiered and championed now-standard repertoire, elevated the technique of violists by his virtuosic example, and inspired composers to write more demanding new repertoire for the instrument. However, the details of his long and diverse career have never to date been explored in depth or in a comprehensive manner. This thesis presents the first full biographical narrative of Vardi’s life: highlighting his work with the NBC Symphony under Arturo Toscanini, his activities as a soloist for the United States Navy Band during World War II, his compositional output, visual artwork, an analysis of his playing and teaching techniques, as well as his performing and recording legacies in classical, jazz, and popular music. Appendices include a chronology of his life, discography, lists of compositions written by and for Vardi, registered copyrights, and a list of interviews conducted by the author with family members, former students, and colleagues. -
The Real Ambassadors: Jazz Greats, Jazz Diplomacy and The
Jazz from A to Z “The Real Ambassadors: Jazz Greats, Jazz Diplomacy and the Globalization of Jazz” NCHE National Conference 2014 Break-out Session Created By Professor Rodney Whitaker, Michigan State University Marcie Hutchinson, Arizona State University Goals of Jazz from A to Z Enrich the historical and cultural knowledge of students and teachers through an integrated study of both jazz music and American/World history. Develop and maintain historical thinking in history classes and activities. Empower students and teachers with skills and knowledge of jazz in its historical context so as to have a meaningful experience with works of music. Enhance student musical performances. Objectives of Jazz from A to Z History students will create projects for Arizona History Day based on Jazz from A to Z’s season theme of “Breaking Boundaries.” The historical topics of the projects must also directly relate to the NHD theme of “Rights and Responsibilities in History.” Students will be evaluated using the National History Day rubric. Student jazz bands will perform at the Essentially Ellington Regional Festival March 5-6, 2014 at Mesa Arts Center and be evaluated using Jazz at Lincoln Center’s Essentially Ellington competition rubric. Teachers will compose a lesson plan that integrates jazz, the Cold War and historical thinking in their curriculum. Objectives of the Educator Workshops After actively listening to musical excerpts, participants will be able to identify and differentiate characteristics of big band swing, bebop and cool jazz using the essential elements of jazz. Participants will assess the significance of important jazz innovators. Participants will explain the paradoxical nature of jazz artists as cultural ambassadors after analyzing The Real Ambassadors as a primary source in its historical context. -
Alvin Ailey's Embodiment of African American Culture
DeFrantz.00 FM 10/20/03 2:50 PM Page ii Alvin Ailey’s Embodiment of African American Culture 1 2004 DeFrantz.00 FM 10/20/03 2:50 PM Page iii DANCING REVELATIONS THOMAS F. DEFRANTZ DeFrantz.00 FM 10/20/03 2:50 PM Page iv 1 Oxford New York Auckland Bangkok Bogotá Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data DeFrantz, Thomas Dancing revelations : Alvin Ailey’s embodiment of African American culture / Thomas F. DeFrantz. p. cm. Includes bibliographical references and index. ISBN 0-19-515419-3 1.Ailey, Alivn. 2. Dancers—United States—Biography. 3.Choreographers— United States—Biography. 4.Alvin Ailey American Dance Theater. 5.African American dance. I. Title. GV1785.A38 D44 2003 792.8'028'092—dc21 2002156670 Credits: Photographs: frontispiece and pages 5, 8, 19, 47, 63, 95, 101 courtesy and copyright by Jack Mitchell; cover illustration and pages 11, 12,courtesy and copyright by J.