DOCSLIB.ORG

Bell Strike Fails to Curtail Service

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bell Strike Fails to Curtail Service Zoners Rej ect Airport Townhouse Proj ect SEE STORY PAGE 13 Sunny and Mild Sunny and mild today. Cloudy and mild with chance of show- Ked Bank, Freehold f FINAL ers tonight and Friday. Long Branch / EDITION Momnoiith County's Outstanding'Home Newspaper VOL 94 NO. 13 RED BANK, N.J., THURSDAY, July 15,1971 TEN CENTS. Bell Strike Fails to Curtail Service ,. -Telephone company ^execu- says its complicated strike-en- the incidents were '"regret- executive, who .was assigned A prime reason for this is tives and supervisory person- ding procedures guarantee table," but warned that union the task of giving directory the fact that more than 95 per- nel found themselves in- the walkout will last at least members were getting tired assistance at the Ked Bank of- cent of all telephone calls are stalling telephones, repairing two weeks. of "talk, talk, talk." fice. handled by automatic equip- switches and answering the Some Long Delays In Monmouth County, vir- Chores Vary ment not requiring any hu- phone today as the nationwide A company spokesman in tually all of the 430 switch- Another executive, he said, man assistance. telephone strike entered its New Jersey said % per cent of board operators were out on was sent to Neptune to give a However, all calls to the second day. all calls were handled without strike, and the task of keeping hand in installing telephones "operator" for assistance,, Bell spokesmen in Washing- problems by supervisory per- service as normal as possible and maintaining equipment/ and special long distance ton reported that generally, sonnel, but long delays were fell to those normally sitting In spite of the nationwide calls, are being handled by su- the public was hardly both- reported in reaching long dis- behind desks. strike, telephone service, ac- pervisory personnel. ered yesterday as up to half of tance and directory service "They've got us working all cording to the company, is In addition, supervisors are the one million employes of operators. over the place s-ud one busy close to normal. performing maintenance to the highly automated Bell sys- In Newark, six members of keep the automatic switching tem struck over a variety of the Telephone Workers Union equipment in operation; are issues. were arrested outside the installing essential tele- However,- in New Jersey state Bell Telephone Co. head- phones, and "other functions there were some service quarters after eggs were Emergency 911 required to provide.basic tele- delays and some picket line thrown against the building phone service," a spokesman incidents yesterday as most of and spattered policemen. > SHREWSBURY - CouncUman'Gerald A. Bruno, chair- said. the New Jersey Bell Tele- The six were charged as man of the f ire committee, suggests that residents reporting a Takes a While phone Co.'s 32,000 workers disorderly persons,and were fire should dial 911-if they experience delay due to the tele- About the only noticeable here joined the nationwide released on bail ranging from phone strike in reaching the operator by dialing 0. effect of the strike to the av- strike. $50 to $250. One man was. re- Mr. Bruno' said other fire companies in this area also de- erage phone user is that it Nationally, both sides said portedly arrested on picket pend on the operator to transmit fire alarm information and takes an unusually long time Register Staff Plato it is only a matter of time be- line duty in Jersey City. that residents in those municipalities should be made aware of to reach the operator and the PICKET DUTY — New Jersey Bell Telephone workers take picket duty fore phone service begins to Michael Price, president of the 911 dialing. Use of 911, he cautioned, should be limited to See Bell, Page 2 casually yesterday on Shrewsbury Avenue, Shrewsbury. The Strike Is now deteriorate, and the union the 11,000 member TWU. said , emergencies. In Its second day. ' ByHALLIESCHRAEGER turned to the county jaij l in the dows at the jail "immediat- the car, he changed his mind isolation cells to get light morning," said Capt. Man ely." and started to bolt,'Sgt. through their windows' before FREEHOLD TOWNSHIP - ning. The youth was in jail await- Kryscnski said. There was a letting himself into the juve- It was back to the Monmouth Second Break ing a Juvenile Court hearing. slight scuffle and the police nile wing. County Correctional In- It was the second jailbreak Capt. Manning said Naturile car, moving slowly, struck a. When he removed the stitution this morning for a at the new jail since it went had previously escaped from parked vehicle, damaging it breakfast cart, he locked the slender, athletic youngster into operation last September. authorities in Hudson County, slightly. corridor door, but not the door from Union Beach who Authorities said Natnrile where he was being held on a He said Patrolman Schaef- to the juvenile section. smashed out a window at the 'smashed out a narrow win- juvenile delinquency charge fer was able to subdue the. Authorities and Naturile $3,1 million facility and es- dow, wriggled his way out, arising from an alleged grand -youth, handcuff him and take went out of one of the isola- caped right after breakfast scaled the eight-foot fence of larceny. He will be charged him to the Keansburg jail. tion cell windows about 7:05 yesterday. an inner courtyard and craw- with another count of juvenile An on-site inspection at the a.m. Salvatore Naturile, 17, of led under an onter fence to delinquency for yesterday's county jail shows that in or- 741 Front St., Union Beach, gain his freedom. escape, Capt. Manning said. der to get to the juvenile sec- " Manning Reports was recaptured at about 10:15 (Sheriff, Paul Kiernan is- Further details of the re- tion, one passes through an Capt. Manning, who in- ; on Carr Ave., Keansburg, af- sued a statement saying the capture came from Sgt. Wil- anteroom with four doors in yestigatea\nad this report: ter a shprt,stwggle.wJtlJPa« .window measured Jfe inches, . Ham Kryscnski of the Keans- it. One door'leads tothe'eorri-" "At approximately 6:45 trplmatt Harry Scfiaeffeh high by 17 inches wide. For burg Police, who said Patrol- dor and one to the juvenile a.m.. Officer Kdward Ks- - ESCAPE-IM>UTE^1n^eswaprng'Vesterday frofn 'TheMoVrftouth' County' wing; the other two doors kridge served breakfast to the fall, Salvatore Naturlle took the same outside escape route as his prede- County Detective Capt. An- comparison, the Daily Regis- man Schaeffer was alone in a drew B. Manning, who com- ter is 15 inches wide and mea- patrol car when he spotted lead to unoccupied isolation juveniles ....At 7:05 a.m. he cessors, convicted murderer Daniel Brewer and Larry Johnson, accused cells. returned to pick up the break- bank robber, who escaped last April. He got out window on left side of mended Patrolman Schaeffer sures about 8 inches'from the 'Naturilfr walking at Center for his alertness, said the offi- "bottom of the masthead to the • andCarrAves. lights Not Working fast dishes, took the cart, out- •courtyard/ (not shown in bicture), scaled the eight-foot fence topped by side '.,. When he returned at . barbed wire, and crawled through a washed-out area under the outer cer recognized Naturile,' who centerfold.) He said the officer pre- Because the lights are out was known to frequent the county Freeholder Axel B. tended he didn't know Natu- of order in the dark anteroom, 7:10 a.m., he discovered that fences Brewer and Johnson escaped from windows third from right, which Salvatore Naturile was miss- • have not yet been repaired. Keansburg area. Carlson Jr., director of build- rile had escaped and offered said Undersheriff P. Paul "He will be lodged-in ings and grounds, said bars him a ride to the beach. Just Campi, a guard taking break- ing. will be placed on similar win- as the youth was stepping into fast opened the doors to the (See Jail, page 2) Court Rules Against Keansburg overnight arid re- Union Bonk Branch Marlboro Mayor Seeking Study By JAMES H.RUBIN ing the outcome of the hear- Brady permitted the Union ing. ' . y..\ County Trust Co. to establish TRENTON (AP) -New Brady granted ,the. Union a branch office in the Mon- Jersey's secondhighest*court • County! bank the^right to es- mouth County community ruled yesterday that the state tablish the-branch-office 'last several days after another Of Regional Water Authority banking commissioner acted Aug. 18, within IB days after bank failed in its bid to ac- arbitrarily and with'undue ; the much publicized closing of quire the facilities of the Ea- , ByJIMMcCOBMICK "But if residents insist on ation long enough to.deter- winter and recharge it with a the defunct Eatontown Na- tontown bank. of the Gordons'Corner, South-, haste in permitting the Union cm Gulf, Village and Central getting full service for their mine if it is a failure. greater supply of treated wa- County Trust Co. of Elizabeth, tional Bank. Brady's action was chal- FREEHOLD - The bleafc money,, which, is all the water Reason Given ter. Bank Closed lenged by the First Merchants Jersey Water Cos. to open a branch bank in Ea- future that a state study proj- The study essentially re- they want, something must be Mr. Ern said that the water Fully Acceptable j .tontown last year. Federal authorities closed National Bank of Asbury ects for residents if the four done," he added. is discolored and contains Mr. Ern said that the water Park. vealed the reed for extensive The Appellate Division of the Eatontown bank and sub- private water companies expansion by the water utili- The engineer said that the acid because it is the first • coming from the storage facil- Superior Court ordered Bank- sequently the bank president, Charge Irregularities serving Marlboro, Manalapan Gordons Corner Water Co.
Load more

Recommended publications
  • Acoustic Sounds Catalog Update
    WINTER 2013 You spoke … We listened For the last year, many of you have asked us numerous times for high-resolution audio downloads using Direct Stream Digital (DSD). Well, after countless hours of research and development, we’re thrilled to announce our new high-resolution service www.superhirez.com. Acoustic Sounds’ new music download service debuts with a selection of mainstream audiophile music using the most advanced audio technology available…DSD. It’s the same digital technology used to produce SACDs and to our ears, it most closely replicates the analog experience. They’re audio files for audiophiles. Of course, we’ll also offer audio downloads in other high-resolution PCM formats. We all like to listen to music. But when Acoustic Sounds’ customers speak, we really listen. Call The Professionals contact our experts for equipment and software guidance RECOMMENDED EQUIPMENT RECOMMENDED SOFTWARE Windows & Mac Mac Only Chord Electronics Limited Mytek Chordette QuteHD Stereo 192-DSD-DAC Preamp Version Ultra-High Res DAC Mac Only Windows Only Teac Playback Designs UD-501 PCM & DSD USB DAC Music Playback System MPS-5 superhirez.com | acousticsounds.com | 800.716.3553 ACOUSTIC SOUNDS FEATURED STORIES 02 Super HiRez: The Story More big news! 04 Supre HiRez: Featured Digital Audio Thanks to such support from so many great customers, we’ve been able to use this space in our cata- 08 RCA Living Stereo from logs to regularly announce exciting developments. We’re growing – in size and scope – all possible Analogue Productions because of your business. I told you not too long ago about our move from 6,000 square feet to 18,000 10 A Tribute To Clark Williams square feet.
    [Show full text]
  • Prestige Label Discography
    Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
    [Show full text]
  • Applied Ethnomusicology and America's Classical Music
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Liberty University Digital Commons SAVING JAZZ: APPLIED ETHNOMUSICOLOGY AND AMERICA’S CLASSICAL MUSIC A MASTER’S THESIS SUBMITTED TO THE GRADUATE FACULTY LIBERTY UNIVERSITY BY CHRIS LONG IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY APRIL 2014 © 2014 Chris Long Acknowledgements Upon graduating from college with a bachelor’s degree in Cultural Anthropology (emphasis in folklore and music), I expected to embark on additional studies in ethnomusicology after only a short break. However, one thing led to another and it was almost thirty years before the opportunity to study at Liberty University presented itself. I would like to thank John Benham and Katherine Morehouse for making the Liberty program a welcoming place for someone so out of practice and out of touch with academia. I have found your sensitivity to students, your expertise in the field, and your encouragement in the spiritual dimensions of music to be life changing. The seeds of ethnomusicological passion were planted early in my college career. I am very grateful to Alan Dundes, my anthropology advisor, for encouraging me to pursue music inside of anthropology and folklore, and specifically for allowing me to get my feet wet by collecting and analyzing dozens of versions of the folk song, Frankie and Johnny. I also appreciate anthropology professor James Deetz who allowed me to explore what I believed were the parallels between American vernacular architecture and musical form. I am indebted to composer Olly Wilson for providing me new ways to understand popular music and identify and distinguish both European and African elements that are jointly present in American popular forms.
    [Show full text]
  • In Your Own Sweet Way
    In Your Own Sweet Way A study of tertiary jazz pianists’ individualised approaches to practice and performance Volume 1 Thesis Daniel Anthony Gough B Mus (Hons Class 1), Grad Dip Ed A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music The University of Sydney 2018 ii Declaration This is to certify that to the best of my knowledge the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Name: Daniel A. Gough Date: September 30, 2018 iii Abstract Set out in three volumes (Vol. 1 Thesis, Vol. 2 Transcriptions, Vol. 3 Appendices) and engaging the history of jazz transmission, this study investigates the ways aspiring jazz pianists practise in order to develop their own personal voice or musical identity, the supreme goal of the jazz musician. To date, this process has not been well served by research. It is commonly held that being an improvisational art form, jazz cannot be taught, at least not in a conventional way, and that jazz musicians search out for themselves what they wish to learn and who they wish to learn it from. When around the middle of last century jazz instruction began to move from the street and club to the formal institution, many experts became alarmed that this would have a homogenising effect on the music.
    [Show full text]
  • Categories and Music Transmission
    Action, Criticism & Theory for Music Education The refereed journal of the Volume 8, No. 2 October 2009 Wayne Bowman Editor David Lines Assistant Editor Frank Abrahams & Carlos Rodriguez Associate Editors Electronic Article Categories and Music Transmission Greg Gatien © Greg Gatien 2009 All rights reserved. ISSN 1545-4517 The content of this article is the sole responsibility of the author. The ACT Journal and the Mayday Group are not liable for any legal actions that may arise involving the article's content, including, but not limited to, copyright infringement. For further information, please point your Web Browser to http://act.maydaygroup.org Action, Criticism, and Theory for Music Education Electronic Article 95 ______________________________________________________________________________________ Categories and Music Transmission Greg Gatien Brandon University Lucy Green’s (2008) Music, Informal Learning, and the School: A New Classroom Pedagogy gives rise to an interesting corollary. Does the manner of music’s transmission inform our understanding of a musical category? While categories of music (Western Classical, popular, jazz, etc.) can be difficult to define according to strict musical characteristics, a better understanding of musical transmission—of how a music is passed on and learned—may provide insight into the nature of a musical category itself. Green’s work, which associates informal learning with popular music practice, presents this possibility. Such an understanding offers potential for music educators and students
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Making
    UNIVERSITY OF CALIFORNIA Los Angeles Making Jazz Space: Clubs and Creative Practice in California, Chile, and Siberia A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Ethnomusicology by Alex Warner Rodriguez 2018 © Copyright by Alex Warner Rodriguez 2018 ABSTRACT OF THE DISSERTATION Making Jazz Space: Clubs and Creative Practice in California, Chile, and Siberia by Alex Warner Rodriguez Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Steven J. Loza, Chair Drawing from anthropological fieldwork in three jazz clubs, this dissertation explores the global scale of contemporary jazz practice through an examination of the communities that sustain them in Los Angeles, California; Santiago, Chile; and Novosibirsk, Siberia. These spaces, which bear striking similarities to one another both in terms of architectural aesthetics and community practices despite the vast distance between them, are investigated as instantiations of jazz space informed by logics of jazz listening, and as sites of jazz practice—a process that I call jazz anthropology. It argues that to understand why jazz practices continue to manifest anywhere, we must understand what they mean to people elsewhere—that is, beyond the music’s geographical centers of production on the U.S. East Coast. By attending to these peripheries, we can hear the music as a manifestation of jazz consciousness, as tendrils of black radical modes of thinking transposed to far-flung geographies—even ones that very few black people inhabit. To situate these practices in a longer genealogical timespan, the dissertation also includes brief historical ii sketches of jazz practice in each of the three locations in 1917, 1959, and 1990, demonstrating the long local histories that inform the music in each locale.
    [Show full text]
  • The Relevance of Jazz History in Twenty-First Century British Jazz Practice and Pedagogy
    The Relevance of Jazz History in Twenty-First Century British Jazz Practice and Pedagogy KATHERINE WILLIAMS n this discussion of jazz education, I contrast the development of tradi- tions and practices in Britain with the practices of North America. In both I cases, I categorize methods of jazz education into formal and informal schools of training, with the former focusing on early schemes of oral learning, and the latter on codified systems.1 To my mind, history has a par- ticularly important role in three main areas of jazz education: firstly, trans- generational mentors, by which I mean the practice of learning from the expe- rience and abilities of older musicians; secondly, learning from recordings— and by this I mean existing jazz recordings, not Music-Minus-One™-type practice tools; and finally repertory bands. These three processes took slightly different forms in Britain than they did in the US in both informal and formal training, and they occurred after a delay of twenty years. After the first jazz performances in Britain in 1919, aspiring British jazz musicians met infor- mally to play and study the repertoire. The formalization of jazz education in Britain took place in 1965, with the establishment of a degree program at Leeds College of Music and summer schools offered by the London School Jazz Orchestra (later the National Youth Jazz Orchestra). The division of jazz education into informal and formal practices is high- lighted by Gary Kennedy, in an entry for The New Grove Dictionary of Jazz.2 In the United States, African-American teachers and institutions in the early twentieth century provided a basic musical grounding to such pupils as Louis Armstrong and Benny Goodman (informal), while high school and college degree programs evolved from the 1940s onwards, using systems derived from bebop methodologies (formal).
    [Show full text]
  • A Contextual Study of the Art of Three Pittsburgh Jazz Drummers
    CORE Metadata, citation and similar papers at core.ac.uk Provided by D-Scholarship@Pitt THE INTERPRETATION OF EXPERIENCE: A CONTEXTUAL STUDY OF THE ART OF THREE PITTSBURGH JAZZ DRUMMERS by Kenan A. Foley Bachelor of Music, Southern University and A & M College, 1984 Master of Arts, Binghamton University, 1995 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH Faculty of Arts and Sciences This dissertation was presented by Kenan A. Foley It was defended on April 23, 2007 and approved by Dr. Nathan T. Davis, Professor of Music, Dissertation Advisor J. H. Kwabena Nketia, Andrew W. Mellon Professor Emeritus of Music Dr. Akin Euba, Andrew W. Mellon Professor of Music Dr. Mathew Rosenblum, Professor of Music ii Copyright © by Kenan Foley 2007 iii THE INTERPRETATION OF EXPERIENCE: A CONTEXTUAL STUDY OF THE ART OF THREE PITTSBURGH JAZZ DRUMMERS Kenan A. Foley, PhD University of Pittsburgh, 2007 This dissertation presents an ethnomusicological study of the art of three Pittsburgh jazz drummers, Joe Harris, Ron Tucker, and Roger Humphries with particular reference to the nexus relations between performance practice and the interpretation of experience. Following the work of Davis, Nketia and others this study argues for an approach to the analysis of black music which takes into consideration the viewpoints of the musicians who produce the music as well as those of the community who participate at performance events. Accordingly it examines the art of these drummers not only in terms of sound and structure but also in respect of the cultural factors that govern the operation of style and the meaning systems behind the music.
    [Show full text]
  • Informal Learning Practices in the Teaching and Music Making Of
    Article Research Perspectives in Music Education Informal Learning Practices 18(1), 38-51 © 2016 The Florida Music in the Teaching and Music Education Association Making of Music Teachers: A Preliminary Study Robert Saunders1 Abstract The purpose of this pilot study was to examine two classroom teachers who participate in informal music making and have introduced aspects of the experiences into their teaching. I examined the availability of informal learning environments in the form of musical “sessions” or gatherings in a city in upstate New York. Through purposeful sampling techniques, I observed two teachers in each of their informal session settings. Both teachers were then asked to take part in a semi-structured interview about their use of informal music learning practices in their classroom teaching. The data from both aspects of the study were coded and compared to draw out themes such as their use of repetition, their performance of several styles of music, and their interest in learning many of the instruments found in the style in which they participated. These themes imply the usefulness of participation in informal music experiences for pre- service and in-service teachers. Recommendations of further research include identification of similar individuals to the participants in this study on a national level and using that data to initiate similar studies in other parts of the country. Keywords Informal Music Learning, Vernacular Music, Bluegrass, Gamelan, Case Study Introduction Pre-service teachers are primarily prepared to create formalized learning environments for their students. Formal music learning is characterized by the use of curricular and methodical goals that guide instruction on a predetermined path.
    [Show full text]
  • Teaching and Learning Jazz Trombone Dissertation
    TEACHING AND LEARNING JAZZ TROMBONE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Julia M. Gendrich, B.S., M.S. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Dr. William T. McDaniel, Co-Adviser _______________________________ Co-Adviser Dr. Timothy A. Gerber, Co-Adviser School of Music Dr. Jon R. Woods _______________________________ Co-Adviser School of Music ABSTRACT The purpose of the study was to identify and assess methods of teaching and learning jazz trombone improvisation that have been implemented by jazz trombone professors. Its intent was to describe learning procedures and areas of trombone study. A survey instrument was designed after interviewing 20 professional jazz trombonists. The survey was pilot-tested (n = 9) and adjustments were made. Jazz trombone professors (n = 377) were sent questionnaires, with a response rate of 28 percent after an additional reminder to all and follow-up phone calls to one-third of the sample. Of the 106 total respondents, 58 were deemed to be eligible participants as both trombonists and as teachers of jazz improvisation. Three areas were explored: 1) early stages of development, 2) teaching, and 3) trombone technique. Data showed that most of the professors (77%) had learned to improvise between 7th-12th grades. They identified the most important method of learning for themselves as listening and playing-along with recordings. Learning occurred on their own for many, though college also had an impact. Schools (K-12) were not strongly rated as being helpful in the trombonists learning to improvise (2.49 on a scale of one to five), though schools did provide many jazz performance experiences.
    [Show full text]
  • Peter Bradley
    Oral History Center University of California The Bancroft Library Berkeley, California Peter Bradley Peter Bradley: A Life in Paint Getty Trust Oral History Project African American Art History Initiative, Getty Research Institute Interviews conducted by Andrianna Campbell and Shanna Farrell In 2019 Interviews sponsored by the J. Paul Getty Trust Copyright © 2020 by J. Paul Getty Trust Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan,
    [Show full text]
  • Score One for Jazz: Working Memory in Jazz and Classical Musicians
    Psychomusicology: Music, Mind, and Brain © 2018 American Psychological Association 2018, Vol. 28, No. 2, 101–107 0275-3987/18/$12.00 http://dx.doi.org/10.1037/pmu0000211 Score One for Jazz: Working Memory in Jazz and Classical Musicians Bryan E. Nichols Clemens Wöllner University of Akron Universität Hamburg Andrea R. Halpern Bucknell University Jazz musicians rely on different skills than do classical musicians for successful performances. We investigated the working memory span of classical and jazz student musicians on musical and nonmusical working memory tasks. College-aged musicians completed the Bucknell Auditory Imagery Scale, followed by verbal working memory tests and musical working memory tests that included visual and auditory presentation modes and written or played recall. Participants were asked to recall the last word (or pitch) from each task after a distraction task, by writing, speaking, or playing the pitch on the piano. Jazz musicians recalled more pitches that were presented in auditory versions and recalled on the piano compared with classical musicians. Scores were positively correlated to years of jazz-playing experience. We conclude that type of training should be considered in studies of musical expertise, and that tests of musicians’ cognitive skills should include domain-specific components. Keywords: working memory, auditory imagery, jazz improvisation, multimodal Auditory information processing of all kinds requires consider- church, or joining in on a chorus of Happy Birthday, no matter able executive resources, given that the incoming information is what the starting pitch. only available for a short time and is constantly replaced by new Our focus in this article is working memory (WM), the ability to information.
    [Show full text]