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Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College -
John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
Download the Contributor's Manual
Oxford University Press Hutchins Center for African &African American Research at Harvard University CONTRIBUTOR’S MANUAL African American National Biography Henry Louis Gates, Jr. Evelyn Brooks Higginbotham Editors in Chief http://hutchinscenter.fas.harvard.edu/aanb CONTENTS 1 INTRODUCTION 2 PLANNING YOUR ARTICLE 2.1 Readership 2.2 Scope Description 2.3 Word Allotment 2.4 Consensus of Interpretation 3 WRITING YOUR ARTICLE 3.1 Opening Paragraph 3.2 Body of Text 3.3 Marriages 3.4 Death and Summation 3.5 Living People 3.6 Identifying People, Places and Things 3.7 Dates 3.8 Quotations and Permissions 3.9 Citations 3.10 Plagiarism 4 SOME NOTES ON STYLE 4.1 Style, Grammar, spelling 4.2 Spelling 4.3 Punctuation 4.4 Capitalization 4.5 Dates 4.6 Racial Terminology 4.7 Explicit Racial Identification 4.8 Gendered Terms 5 COMPILING YOUR “FURTHER READING” BIBLIOGRAPHY 5.1 Purpose 5.2 Number of Items 5.3 Availability of Works 5.4 Format 5.5 Verification of Sources 6 KEYBOARDING AND SUBMITTING YOUR MANUSCRIPT 1 1 INTRODUCTION We very much appreciate your willingness to contribute to the African American National Biography (AANB). More than a decade in the making, the AANB is now in its second edition, bringing the total number of lives profiled to nearly 5,000 entries online and in print. Our approximately 2,000 authors include Darlene Clark Hine on First Lady Barack Obama, John Swed on Miles Davis; Thomas Holt on W.E.B. Du Bois and the late John Hope Franklin on the pioneering black historian George Washington Williams. -
The Snare Drum Roll
ACADEMY OF MUSIC AND DRAMA The Snare Drum Roll Lúcia Viana da Silva Independent Project (Degree Project), 30 HEC, Master of Fine Arts in Symphonic Orchestra Performance Spring Semester, 2017 Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Symphonic Orchestra Performance Academy of Music and Drama, University of Gothenburg Spring semester, 2017 Author: Lúcia Viana da Silva Title: The Snare Drum Roll Supervisor: PhD Maria Bania Examiner: PhD. Tilman Skowroneck ABSTRACT Key words: orchestral percussion, snare drum, technique, roll. Like most other percussion instruments, the snare drum was introduced relatively late in the symphonic orchestra, and major changes and improvements concerning its playing techniques are still taking place. One of the most distinctive aspects of the snare drum is the roll, which consists of a challenge that most percussionists face eventually during their career. This project reflects my research on the snare drum roll during the last two years, gives a short background of snare drum playing and its technical development, and provides observations and reflections of different techniques to play a roll. As a percussionist myself, I analyzed and practiced on the execution of rolls as part of the research. This project includes notes on my interpretation of four orchestral excerpts, showing how technical development and control over the roll open musical possibilities to the orchestral percussionist. 2 ACKNOWLEDGEMTS I would first like to thank my supervisor, PhD Maria Bania, who was always available and responsive to my questions and supportive of my ideas. Her enthusiasm and constant demand gave me the drive and encouragement for writing this thesis. -
Vaskeægte Girlpower I Lille VEGA Med Dum Dum Girls
2012-08-23 09:00 CEST Vaskeægte girlpower i Lille VEGA med Dum Dum Girls Vaskeægte girlpower i Lille VEGA med Dum Dum Girls Rummet kommer til at koge over med retro rock ’n roll og girlpower, når de amerikanske tøserockere i Dum Dum Girls, med frontkvinden Dee Dee i spidsen, går på scenen i Lille VEGA mandag den 3. september. Ny ep indspillet i Sune Rose Wagners studie Pige-rockbandet Dum Dum Girls udgiver den 25. september en ny ep, som kommer til at hedde End of Daze. Og har man svært ved at vente med at lytte til den nye udgivelse, kan man downloade den første single ”Lord Knows” på bandets hjemmeside. På trods af at sangene på End of Daze er skrevet med over et halvt års mellemrum, passer de perfekt sammen, så der sker en naturlig udvikling på ep’en. Dette fortæller sangskriver Dee Dee i et seværdigt festival-interview, hvor hun også taler om, hvordan det er at spille sangene live. Se det HER. I forbindelse med indspilningen af deres nye ep har de amerikanske retrorockere været en tur i danske Sune Rose Wagners studie. Det er da heller ikke første gang, at den kvindelig kvartet er blevet sammenlignet med The Raveonettes, så det skal blive spændende at høre, hvad samarbejdet har resulteret i. Klassiske rocktøser Det seneste fuldlængde-album fra Dum Dum Girls, Only in Dreams, udkom i september sidste år, og på alle albummets 10 sange kører bandet den klassiske rockstil. Se blandt andet musikvideoen til ”Bedroom Eyes”. Alle numre på Only in Dreams er for rockgruppens sangskriver Dee Dee personlige, og selvom Dum Dum Girls spiller rock ’n roll, byder de også på et par ballader. -
KLOS Aug.5Th
1 PLAYLIST AUG. 5TH 2012 Special Guests WINGS Denny Seiwell – Denny Laine – Laurence Juber 1 2 9AM The Beatles - Rain - Non-LP B-side (Lennon-McCartney) Lead vocal: John Recorded on April 14 and 16, 1966. The track is notable for the backwards vocal from John Lennon at the end of the song. The section is John singing part of the first verse but the tape is superimposed backwards in the mix. The song contains slowed down instruments, guitar distortion, and vocals recorded and played back at variable speed. Aside from Paul McCartney’s dominant bass part, the song features a striking drum performance from Ringo, who has called “Rain” his favorite Beatles song. The B-side of “Paperback Writer.” Issued in America on May 23, 1966 and the UK on June 10, 1966, several months in advance of the “Revolver” album. On U.S. album: Hey Jude - Capitol LP (1970) 2 3 The Beatles - Paperback Writer - A Collection Of Beatles Oldies (Lennon-McCartney) Lead vocal: Paul The Beatles’ twelfth single release for EMI’s Parlophone label. Recorded on April 13 and 14, 1966. The track is notable for Paul McCartney’s furious bass line. The bass is so prominent in the mix that sound engineers at EMI worried it could cause the stylus of a record player tone arm (the needle thing on record players) to jump when fans played the 45 RPM single at home. Thankfully, no such calamity occurred. For this heavy bass sound Paul’s chose to replace his usual Hofner bass with a Rickenbacker 4001S bass. -
Steve-Lukather.Pdf
G G G GGG G GGG G GGG G GGG G GGG G GGG G GGG G GGG G GGG G GGG G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G GGG G G G G G G 20 SONNTAG, 26. MÄRZ 2017 LEUTE MZ AM SONNTAG „Es geht nicht besser als die Beatles!“ INTERVIEW Zum „Sonntagsfrühstück“ Zeitmanagement ist gerade alles. Dazu spiele ich Menschen verloren. Gefühlt einen jede Woche, Nature“ geschrieben. täglich noch mindestens eine Stunde Gitarre. -
MTO 11.4: Spicer, Review of the Beatles As Musicians
Volume 11, Number 4, October 2005 Copyright © 2005 Society for Music Theory Mark Spicer Received October 2005 [1] As I thought about how best to begin this review, an article by David Fricke in the latest issue of Rolling Stone caught my attention.(1) Entitled “Beatles Maniacs,” the article tells the tale of the Fab Faux, a New York-based Beatles tribute group— founded in 1998 by Will Lee (longtime bassist for Paul Schaffer’s CBS Orchestra on the Late Show With David Letterman)—that has quickly risen to become “the most-accomplished band in the Beatles-cover business.” By painstakingly learning their respective parts note-by-note from the original studio recordings, the Fab Faux to date have mastered and performed live “160 of the 211 songs in the official canon.”(2) Lee likens his group’s approach to performing the Beatles to “the way classical musicians start a chamber orchestra to play Mozart . as perfectly as we can.” As the Faux’s drummer Rich Pagano puts it, “[t]his is the greatest music ever written, and we’re such freaks for it.” [2] It’s been over thirty-five years since the real Fab Four called it quits, and the group is now down to two surviving members, yet somehow the Beatles remain as popular as ever. Hardly a month goes by, it seems, without something new and Beatle-related appearing in the mass media to remind us of just how important this group has been, and continues to be, in shaping our postmodern world. For example, as I write this, the current issue of TV Guide (August 14–20, 2005) is a “special tribute” issue commemorating the fortieth anniversary of the Beatles’ sold-out performance at New York’s Shea Stadium on August 15, 1965—a concert which, as the magazine notes, marked the “dawning of a new era for rock music” where “[v]ast outdoor shows would become the superstar standard.”(3) The cover of my copy—one of four covers for this week’s issue, each featuring a different Beatle—boasts a photograph of Paul McCartney onstage at the Shea concert, his famous Höfner “violin” bass gripped in one hand as he waves to the crowd with the other. -
A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-7-2017 A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Gworek, Nathaniel, "A Study of Percussion Pedagogical Texts and a Percussion Primer" (2017). Doctoral Dissertations. 1388. https://opencommons.uconn.edu/dissertations/1388 A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Richard Gworek, DMA University of Connecticut, 2017 My dissertation project is in two parts; the first part examines and evaluates percussion pedagogical literature from the past century, while the second is a percussion primer of my own authorship. The primer, which assumes a basic knowledge of standard musical notation, provide a structured system of teaching and learning percussion technique; it is supplemented with videos to utilize current technology as an educational resource. Many percussion method books have a narrow focus on only one instrument. There are few comprehensive resources that address the entire family of instruments, but they generally cater to a college level audience. My research focuses on the layout of the comprehensive resources while utilizing the narrow sources to inform my exercises. This research helped me find a middle ground, providing the technical development of the narrow focus resources while covering the breadth of topics in the comprehensive resources. This, in turn, help me develop an informationally inclusive yet concise resource for instructors and for students of all ages. My primer contain lessons on snare drum, timpani, and mallet percussion, and complementary instruments, such as bass drum, triangle, and cymbals. -
Edge8-Web.Pdf
stevie nicks’ jimmy pAXSON, UP CLOSE WITH DANNY SERAPHINE & STUDIO MASTER JR ROBINSON MAGAZINE The Official PublicaTiOn Of Drum WOrkshOP • 8.0 ABE LABORIEL JR. INTHROUGH THE OUTDOOR HOW HE LANDED ALL THE INSIDE GIGS PLUS DW ARTISTS HIT EUROPE, Q&A WITH THE DRUMMERS OF NASHVILLE, DW’s laTEST GEAR AND MORE! NOWHEARTHIS EDGE 8.0 16 Introducing the DW Collector’s Series Super Solid, a completely new look at solid shell drums. Why is Super Solid so dramatically different? The answer is a groundbreaking Molecular Compression Process that produces the most dense solid maple shell ever created. And this is truly a one-piece shell, no glued reinforcement hoops or plies. We endured years of research and development and expense to do only one thing, bring you our best sounding solid shell drum ever. 12 24 06 22 IN EVERY ISSUE 06 Time Machine: JR Robinson 10 Up Close: Danny Seraphine ARTIST FEATURES 11 Road Tips with Drum Tech - Robbo 22 Road Stories: DW Artists hit Europe 12 Drummers of Nashville 24 Artist Feature: Jimmy Paxson Featuring Billy Mason, Travis McNabb and Cactus Moser 26 DW Drum Clinic with Denny Seiwell 16 Abe Laboriel Jr 28 New Artists A Legacy Endured. Family, Schooling & the beginning of a legend. PRODUCT NEWS 02 Exo-X Project 04 PDP Update ©2009 Drum Workshop, Inc. All Rights Reserved. ©2009 Drum Workshop, 08 8000 Series Pedals & Hardware 14 SSC Technology 20 3Drumsticks EDGE Magazine is a publication of Drum Workshop, Inc. ©2009 Drum Workshop, Inc. All Rights Reserved. #PRCAEDGE-V8.0 For promotional use only. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
Masculinity in Emo Music a Thesis Submitted to the Faculty of Arts and Social Science in Candi
CARLETON UNIVERSITY FLUID BODIES: MASCULINITY IN EMO MUSIC A THESIS SUBMITTED TO THE FACULTY OF ARTS AND SOCIAL SCIENCE IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF MUSIC BY RYAN MACK OTTAWA, ONTARIO MAY 2014 ABSTRACT Emo is a genre of music that typically involves male performers, which evolved out of the punk and hardcore movements in Washington DC during the mid-80s. Scholarly literature on emo has explored its cultural and social contexts in relation to the “crisis” of masculinity—the challenging of the legitimacy of patriarchy through “alternative” forms of masculinity. This thesis builds upon this pioneering work but departs from its perpetuation of strict masculine binaries by conflating hegemonic and subordinate/alternative masculinities into a single subject position, which I call synergistic masculinity. In doing so, I use emo to explicate this vis-à-vis an intertextual analysis that explores the dominant themes in 1) lyrics; 2) the sites of vocal production (head, throat, chest) in conjunction with pitch and timbre; 3) the extensional and intensional intervallic relationships between notes and chords, and the use of dynamics in the musical syntax; 4) the use of public and private spaces, as well as the performative masculine body in music video. I posit that masculine emo performers dissolve these hierarchically organized masculinities, which allows for a deeper musical meaning and the extramusical signification of masculinity. Keywords: emo, synergistic masculinity, performativity, music video, masculinities, lyrics, vocal production, musical syntax, dynamics. ABSTRAIT Emo est un genre musical qui implique typiquement des musiciens de sexe masculine et qui est issu de movement punk et hardcore originaire de Washington DC durant les années 80.