Terell Stafford

Total Page:16

File Type:pdf, Size:1020Kb

Terell Stafford Stanislaus State, School of the Arts, Department of Music presents FRIDAY & SATURDAY MARCH 11 - 12, 2016 STANISLAUS STATE TURLOCK, CALIFORNIA From the Director Featuring Guest Artist: WELCOME TERELL STAFFORD It gives me great pleasure to announce the 2016 Terell Stafford, acclaimed Stan State Jazz Festival featuring acclaimed trumpet player based in New trumpeter Terell Stafford! The Festival, sponsored York, has been hailed as by the Stanislaus State School of the Arts and “one of the great players of the Department of Music, will be held on Friday our time, a fabulous trumpet & Saturday, March 11-12. The purpose of this player” by piano legend festival is to provide an educational and musical McCoy Tyner. Stafford is experience for both students and directors, as renowned in the jazz world well as foster the growth of the community of jazz as an educator, performer educators, musicians, and students within the and leader and has received Central Valley and beyond. countless award nominations and accolades. Throughout both days, you and your students will have Since the mid-1990s, Stafford has performed with the opportunity to participate in master classes and see groups and artists such as Benny Golson, McCoy Tyner, various performances, including two concerts. Friday’s Kenny Barron, Frank Wess, Jimmy Heath, Jon Faddis, concert will feature performances by our festival clinicians Clayton-Hamilton Jazz Orchestra, Jazz Orchestra, and while Saturday’s concert will feature Terell Stafford with the Vanguard Jazz Orchestra. Stafford can be heard on the Stan State Jazz Ensemble at the Gallo Center for the over 130 albums. His latest recording “BrotherLEE Love” Arts in nearby Modesto. featuring the music of trumpeter Lee Morgan. We hope that you and your students will join us for an Stafford is the Director of Jazz Studies and Chair of exciting day of music and be a part of the 2016 Stan State Instrumental Studies at Temple University, founder and Jazz Festival! bandleader of the Terell Stafford Quintet, and Managing and Artistic Director of the Jazz Orchestra of Philadelphia Sincerely, (JOP). Joe Mazzaferro California State University, Stanislaus Coordinator of Jazz Studies ABOUT THE JAZZ FESTIVAL GENERAL INFORMATION Each band will be allowed approximately 25 minutes to perform Dates: Friday, March 11 & Saturday, March 12, 2016 (this includes setup and teardown), followed immediately by a Place: The Stanislaus State Music Building 25-minute clinic. Priority Registration Deadline: Wednesday, January 20, 2016 Fee: $180 per group MASTER CLASSES Throughout the day, Terell Stafford, as well as other area jazz edu- PHILOSOPHY cators, will give master classes that deal with specific improvisa- The goal of the Stan State Jazz Festival is to provide students and tional topics. A schedule of these master classes will be distributed directors with a positive educational and musical experience in a few weeks prior to the festival. Jazz. Maximum interaction between students, directors, and guest clinicians will take place throughout the day, highlighted by vari- PERFORMANCES ous master classes from guest artists and clinicians. The festival Saturday, March 11th, 7:30pm also includes several performances featuring festival clinicians, FESTIVAL CLINICIANS the Stan State Jazz Ensemble, and our guest artist Terell Stafford. Stanislaus State, Snider Music Recital Hall FESTIVAL FORMAT Saturday March 12th, 7:30pm The festival is non-competitive. Clinicians will provide written and Stan State Jazz Ensemble featuring verbal feedback to the directors and students. Each band will re- TERELL STAFFORD ceive a warm-up room for 25 minutes prior to their performance. Mary Stuart Rogers Theater Gallo Center for the Arts, Modesto, CA BANDS & TICKETS REGISTRATION FORM BANDS - $180 per group PARTICIPANT INFORMATION No. of bands Total $ Big Band X $180 = Director Name No. of bands Total $ Combo X $180 = School CONCERTS Address Festival Clinician Concert, Friday, March 11 Bernell & Flora Snider Recital Hall, Stanislaus State No. of tickets Total $ City State Zip X $8 = Stan State Jazz Ensemble featuring Phone Fax TERELL STAFFORD, Saturday, March 12 Mary Suart Rogers Theater, Gallo Center for the Arts, Modesto Email No. of tickets Total $ X $15 = Middle/Junior High School High School College/University Festival Concert Package Includes tickets to both Friday and Saturday concerts No. of packages Total $ I acknowledge that a release of liability is required for each participant and must be X $20 = submitted prior to the event. Go to www.csustan.edu/music/forms-publications for the liability form. Total $ Signature Date TOTAL COST ENCLOSED: PERFORMANCE DATE & TIME PREFERENCE* Deadline for priority consideration is Wednesday, January 20, 2016. Friday PM (12:00 to 6:00pm) Saturday AM (8:00am-12:00pm) You will receive registration confirmation by email. Information including performance times, Saturday PM (12:00-6:30pm) maps, clinicians, and more will be mailed prior to the festival. Mail the registration form and *subject to availability check payment (payable to Stanislaus State Department of Music) to: FOR OFFICE USE ONLY T851 Cashiers Office, CSU Stanislaus Jazz Festival, One University Circle, Turlock, CA 95382 CASHIER INITIALS AMOUNT ____________________________________________________________________________ FOR MORE INFORMATION: (PLEASE ATTACH RECEIPT) Joe Mazzaferro, Director • 209.667.3533 • [email protected].
Recommended publications
  • 2009 Tour Dates
    Randy Brecker 2009 Tour Dates Website: http://www.randybrecker.com/ Email: [email protected] January 20 Special Guest with Saleno Jazz Orchestra Salerno, Italy January 28-31 w/Marc Copland, Dave Liebman and others Birdland, NYC February 3 Manhattan School of Music Interactive Clinic to be broadcast live to Toronto Schools February 4 Piano Jazz w/Marian McPartland taping February 6 Randy Brecker Quintet 11 AM - 12 NOON - Children's Concert Tribute to Miles Kimmel Center for the Perfoming Arts 260 S. Broad St. Philadelphia, PA February 7 Randy Brecker Quintet 7:30 PM - Randy Brecker Quintet Kimmel Center for the Perfoming Arts 260 S. Broad St. Philadelphia, PA February 8 West Chester State Trumpet Festival w/ Bobby Shew,Chase Sanborn, Criterions Jazz Ensemble and others February 13 Featured guest with Richard Sussman Trio Riverspace Jazz Cafe, Nyack NY February 15 Special guest w/Dave Liebman Group Baltimore, Maryland February 20 - 21 Special guest w/James Moody Quartet Burmuda Jazz Festival March 1-2 Northeastern State Universitry Concert/Clinic Tahlequah, Oklahoma March 6-7 Concert/Clinic for Frank Foster and Break the Glass Foundation Sandler Perf. Arts Center Virginia Beach, VA March 17-25 Dates TBA European Tour w/Lynne Arriale quartet feat: Randy Brecker, Geo. Mraz A. Pinciotti March 27-28 Temple University Concert/Clinic Temple,Texas March 30 Scholarship Concert with James Moody BB King's NYC, NY April 1-2 SUNY Purchase Concert/Clinic with Jazz Ensemble directed by Todd Coolman April 4 Berks Jazz Festival w/Metro Special Edition: Chuck Loeb, Dave Weckl, Mitch Forman and others April 11 w/ Lynne Arriale Jazz Quartet Ft.
    [Show full text]
  • Jon Batiste and Stay Human's
    WIN! A $3,695 BUCKS COUNTY/ZILDJIAN PACKAGE THE WORLD’S #1 DRUM MAGAZINE 6 WAYS TO PLAY SMOOTHER ROLLS BUILD YOUR OWN COCKTAIL KIT Jon Batiste and Stay Human’s Joe Saylor RUMMER M D A RN G E A Late-Night Deep Grooves Z D I O N E M • • T e h n i 40 e z W a YEARS g o a r Of Excellence l d M ’ s # m 1 u r D CLIFF ALMOND CAMILO, KRANTZ, AND BEYOND KEVIN MARCH APRIL 2016 ROBERT POLLARD’S GO-TO GUY HUGH GRUNDY AND HIS ZOMBIES “ODESSEY” 12 Modern Drummer June 2014 .350" .590" .610" .620" .610" .600" .590" “It is balanced, it is powerful. It is the .580" Wicked Piston!” Mike Mangini Dream Theater L. 16 3/4" • 42.55cm | D .580" • 1.47cm VHMMWP Mike Mangini’s new unique design starts out at .580” in the grip and UNIQUE TOP WEIGHTED DESIGN UNIQUE TOP increases slightly towards the middle of the stick until it reaches .620” and then tapers back down to an acorn tip. Mike’s reason for this design is so that the stick has a slightly added front weight for a solid, consistent “throw” and transient sound. With the extra length, you can adjust how much front weight you’re implementing by slightly moving your fulcrum .580" point up or down on the stick. You’ll also get a fat sounding rimshot crack from the added front weighted taper. Hickory. #SWITCHTOVATER See a full video of Mike explaining the Wicked Piston at vater.com remo_tamb-saylor_md-0416.pdf 1 12/18/15 11:43 AM 270 Centre Street | Holbrook, MA 02343 | 1.781.767.1877 | [email protected] VATER.COM C M Y K CM MY CY CMY .350" .590" .610" .620" .610" .600" .590" “It is balanced, it is powerful.
    [Show full text]
  • Mark Lomanno, Jazz Piano Department of Music, University of Richmond
    University of Richmond UR Scholarship Repository Music Department Concert Programs Music 4-13-2002 Student Recital: Mark Lomanno, jazz piano Department of Music, University of Richmond Follow this and additional works at: https://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "Student Recital: Mark Lomanno, jazz piano" (2002). Music Department Concert Programs. 228. https://scholarship.richmond.edu/all-music-programs/228 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. UNIVERSITY OF RICHMOND LIBRARIES lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll\11 3 3082 00873 8576 "They think we choose to play music - that's not how it is. We have to play music. Music is part of us- an essential part. Asking us not to play music is like asking them not to breathe." Livingston Taylor Mark Lomanno, a native of New Hampshire, cur­ rently performs in the greater Richmond area both as leader of the Mark Lomanno Trio and as sideman to many of the area's finest jazz musicians. He is the recipient of numerous awards for jazz piano perfor­ mance on the state and regional level, including a nomination to the All-Eastern Jazz Ensemble in 1997 and a scholarship to study piano at the University of Richmond. Mark's performance credits include concerts with James Gates, Clark Terry, Ingrid Jensen, Joe Kenne­ dy, Jr., Curtis Fuller, Mike Davison, Gene Bertoncini, Rene Marie, and Howard Curtis.
    [Show full text]
  • The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music
    THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT
    [Show full text]
  • How to Incorporate Bebop Into Your Improvisation by Austin Vickrey Discussion Topics
    How to Incorporate Bebop into Your Improvisation By Austin Vickrey Discussion Topics • Bebop Characteristics & Style • Scales & Arpeggios • Exercises & Patterns • Articulations & Accents • Listening Bebop Characteristics & Style • Developed in the early to mid 1940’s • Medium to fast tempos • Rapid chord progressions / changes • Instrumental “virtuosity” • Simple to complex harmony - altered chords / substitutions • Dominant syncopation of rhythms • New melodies over existing chord changes - Contrafacts Scales & Arpeggios • Scales and arpeggios are the building blocks for harmony • Use of the half-step interval and rapid arpeggiation are characteristic of bebop playing • Because bebop is often played at a fast tempo with rapidly changing chords, it’s crucial to practice your scales and arpeggios in ALL KEYS! Scales & Arpeggios • Scales you should be familiar with: • Major Scale - Pentatonic: 1, 2, 3, 5, 6 • Minor Scales - Pentatonic: 1, b3, 4, 5, b7; Natural Minor, Dorian Minor, Harmonic Minor, Melodic Minor • Dominant Scales - Mixolydian Mode, Bebop Scales, 5th Mode of Harmonic Minor (V7b9), Altered Dominant / Diminished Whole Tone (V7alt, b9#9b13), Dominant Diminished / Diminished starting with a half step (V7b9#9 with #11, 13) • Half-diminished scale - min7b5 (7th mode of major scale) • Diminished Scale - Starting with a whole step (WHWHWHWH) Scales & Arpeggios • Chords and Arpeggios to work in all keys: • Major triad, Maj6/9, Maj7, Maj9, Maj9#11 • Minor triad, m6/9, m7, m9, m11, minMaj7 • Dominant 7ths • Natural extensions - 9th, 13th
    [Show full text]
  • NJCU to Inaugurate Dr. Sue Henderson As 12Th President on Friday, September 20; a Celebration of NJCU Planned
    NJCU to Inaugurate Dr. Sue Henderson as 12th President on Friday, September 20; A Celebration of NJCU Planned Dr. Sue Henderson, a mathematician and educator whose career includes extensive experience in public service and the academic world, will be formally inaugurated as the twelfth president of New Jersey City University (NJCU) on Friday, September 20. The inauguration ceremony and celebration will begin at 9:30 a.m. on campus and continue with a community tour that will travel to the Jersey City waterfront for the launch of a series of free jazz concerts, “Six Decades of Jazz at NJCU,” presented in honor of President Henderson at the J. Owen Grundy Pier at Exchange Place, 6:00-8:00 p.m. The inaugural concert will feature acclaimed trumpeter Jon Faddis and the outstanding NJCU Alumni Jazz Big Band under the direction of Professor Dick Lowenthal, who taught many of the professional musicians in the Band in the 1960s and later. The public is welcome. Dr. Henderson, the first woman to lead NJCU, assumed the presidency on August 6, 2012. She was appointed by the Board of Trustees following a national search. Dr. Henderson had previously served Queens College as both chief operating officer and vice president of institutional advancement. During her first year in office, Dr. Henderson has met frequently with all members of the University community and attended countless events, programs, and student activities. She has played a major role in advancing numerous institutional initiatives in the past year, including the honing of NJCU’s Strategic Plan, securing funding for the improvement of facilities on the Main Campus as well as projects on the West Campus, the creation of an Honors Program, expansion of study abroad opportunities, increased number of scholarships, increased fundraising efforts, the hiring of 17 new full-time tenure-track faculty members, and the launch of NJCU’s Ed.D.
    [Show full text]
  • Londonjazz: LP Review: George Benson – Body Talk 01.12.14 09:32
    LondonJazz: LP Review: George Benson – Body Talk 01.12.14 09:32 Diese Website verwendet Cookies, um die Bereitstellung von Diensten zu verbessern. Durch die Nutzung dieser Website erklären Sie sich mit der Verwendung von Cookies einverstanden. Home Venues Can We Help? Team LondonJazz - Facebook THE WEEKLY NEWSLETTER LP Review: George Benson – To subscribe for our weekly newsletter, Just email the Editor (in 'Team' Body Talk above) Tweets Follow LondonJazz 1h News BIMHUIS 40! @LondonJazz NEWS: Three out-of- London gigs for NEON Quartet nblo.gs/11IW3m Expand Sinclair Jazz 15h Photos @SinclairJazz New Twitter for Dec 14 onwards for David Sinclair jazzphotographs.com 25 year archive of high quality jazz photos @ddbprods plz RT Retweeted by LondonJazz News Expand STONEY LANE RECORDS George Benson – Body Talk Mike Collins 15h @jazzyblogman (Speakers Corner/CTI 6033. LP review by Andrew Cartmel) My CD REVIEW for @LondonJazz : Euan Following on the furry heels of White Rabbit and recorded in 1973, Body Talk was Burton - Too Much Love George Benson’s sixth CTI album (counting the A&M issues), and by now the nblo.gs/11IwUP guitarist’s recordings for Creed Taylor had settled into a smooth and relatively Retweeted by lucrative groove — although nothing like the enormous commercial success that LondonJazz News was to come with Benson’s move to Warner Bros, his subsequent album Breezin’ Expand and his vocal rendition of This Masquerade (a top ten hit and a Grammy winner) — Breezin’ was the first jazz album to go platinum. Tweet to @LondonJazz But it’s Benson’s sequence of albums for Creed Taylor Incorporated which arguably (Birmingham) represent the cream of his work, and are indisputably the purest in terms of jazz.
    [Show full text]
  • Readers Poll
    84 READERS POLL DOWNBEAT HALL OF FAME One night in November 1955, a cooperative then known as The Jazz Messengers took the stage of New York’s Cafe Bohemia. Their performance would yield two albums (At The Cafe Bohemia, Volume 1 and Volume 2 on Blue Note) and help spark the rise of hard-bop. By Aaron Cohen t 25 years old, tenor saxophonist Hank Mobley should offer a crucial statement on how jazz was transformed during Aalready have been widely acclaimed for what he that decade. Dissonance, electronic experimentation and more brought to the ensemble: making tricky tempo chang- open-ended collective improvisation were not the only stylis- es sound easy, playing with a big, full sound on ballads and pen- tic advances that marked what became known as “The ’60s.” ning strong compositions. But when his name was introduced Mobley’s warm tone didn’t necessarily coincide with clichés on the first night at Cafe Bohemia, he received just a brief smat- of the tumultuous era, as the saxophonist purposefully placed tering of applause. That contrast between his incredible artistry himself beyond perceived trends. and an audience’s understated reaction encapsulates his career. That individualism came across in one of his rare inter- Critic Leonard Feather described Mobley as “the middle- views, which he gave to writer John Litweiler for “Hank Mobley: weight champion of the tenor saxophone.” Likely not intended The Integrity of the Artist–The Soul of the Man,” which ran in to be disrespectful, the phrase implied that his sound was some- the March 29, 1973, issue of DownBeat.
    [Show full text]
  • American Federation of Musicians: Survey Results
    Changing the Beat A Study of the Worklife of Jazz Musicians VOLUME II: AMERICAN FEDERATION OF MUSICIANS: SURVEY RESULTS A Study by Joan Jeffri NATIONAL ENDOWMENT FOR THE ARTS NEA Research Division Report #43 ADVISORY COMMITTEE SPONSORS AND FUNDERS Dr. Billy Taylor, Chairman The National Endowment for the Arts The David and Lucile Packard Foundation David Baker Alvin Batiste The Grammy Foundation Jessie Bermudez Tom Carter American Federation of Musicians Geraldine DeHass Jon Faddis American Federation of Musicians Local 802 Delfayeo Marsalis Dan Morgenstern New Orleans Jazz & Heritage Foundation Jimmy Owens Patrice Rushen The Nathan Cummings Foundation i Project Director: Joan Jeffri, Director, Research Center for Arts and Culture Teachers College Columbia University Consultants: Dr. Douglas Heckathorn, Cornell University Dr. Robert Greenblatt Project coordinators: Adina Williams Phillip Harvey Project researchers: Judith Hellman Janine Okmin Data consultants: Oscar Torres Judith Rosenstein City Coordinators: Detroit Dr. Bernard Brock Dr. David Magidson Center for the Study of Art and Public Policy Wayne State University New Orleans Philip Dobard, Director Graduate Program in Arts Administration University of New Orleans New York Dr. Martin Mueller, Director Jazz and Contemporary Music Program New School University San Francisco Dr. Dee Spencer, Director of Education SF Jazz Organization San Francisco State University Library of Congress info here from Executive Summary Cover: Copyright of Photo ii Table of Contents Introduction 1 Purpose 1 Findings 2 Survey Background and Method 2 Organization of Report 3 Chapter I. Demographics 4 Chapter II. Employment and Income 6 Chapter III. Other Issues 14 Chapter IV. Summary and Conclusions 32 Appendices A. Metropolitan Areas Used in the Study 34 B.
    [Show full text]
  • 441 E W Ashington St Syracuse, NY 1320 2
    PROFIT ORG ORG PROFIT - SYRACUSE NY SYRACUSE PERMIT NO 1638 NO PERMIT NON US POSTAGE PAID US POSTAGE New York City-based musician Ron Wilkins has been performing on tenor and bass trombones, euphonium, tuba, bass trumpet and vocals for over forty years. He has performed at the highest level, touring the world with his own groups as well as premiere artists. He leads his own big band with trombonist Rebecca Patterson, which features their writing and includes some of New York's premiere musicians. He has performed with artists including Ray Charles, Aretha Franklin, Rosemary Clooney, Lena Horne, Bob Hope, Jerry Lewis, Dizzy Gillespie, The Temptations, Johnny Mathis, Jimmy Heath, Jon Faddis, Eddie Daniels, Randy Brecker, and Wycliffe Gordon, and with groups including The Vanguard Jazz Orchestra, Jimmy Heath Big Band, Arturo O' Farrill and his Afro-Latin Jazz Orchestra, The Dizzy Gillespie All-Star Big Band, and the Count Basie Orchestra, as well as the San Antonio Symphony, Austin Symphony, Victoria Symphony, Temple Symphony, and others. A Broadway veteran, Ron has performed with many theatrical productions including West Side Story, Wicked, The Lion King, Showboat, The Producers, Kinky Boots, Book of Mormon, and Wicked. He has an extensive background as an educator, acting as guest artist and clinician at uncountable educational festivals, from elementary to university levels. He has taught at University of Texas at San Antonio, Texas State, Texas Lutheran, Northwest Vista College, and St. Mary’s University, teaching low brass, jazz studies, and vocals. Ron currently maintains his own private teaching studio and works with the New York Jazz Academy.
    [Show full text]
  • Terell Stafford 2020 Nafme All-National Jazz Ensemble Soloist
    Terell Stafford 2020 NAfME All-National Jazz Ensemble Soloist Terell Stafford, acclaimed trumpet player based in New York, has been hailed as “one of the great players of our time, a fabulous trumpet player” by piano legend McCoy Tyner. Stafford is recognized as an incredibly gifted and versatile player, he combines a deep love of melody with his own brand of spirited and adventurous lyricism. Stafford’s exceptionally expressive and well defined musical talent allows him to dance in and around the rich trumpet tradition of his predecessors while making his own inroads. Since the mid-1990’s, Stafford has performed with groups such as Benny Golson’s Sextet, McCoy Tyner’s Sextet, Kenny Barron Quintet, Frank Wess Quintet, Jimmy Heath Quintet and Big Band, Jon Faddis Jazz Orchestra, Carnegie Hall Jazz Band and Dizzy Gillespie All-Star Alumni Band. Stafford, with the Hamilton-Clayton Jazz Orchestra, performed on Diana Krall’s GRAMMY nominated From this Moment On (2006). John Clayton invited Stafford to perform with the Clayton Brothers Quintet and Clayton-Hamilton Jazz Orchestra. Stafford is a member of the Vanguard Jazz Orchestra and they were awarded a GRAMMY in 2009 for Best Large Ensemble, Live at the Village Vanguard. Stafford can be heard on over 130 albums including his own, BrotherLee Love, Celebrating Lee Morgan, which received a 47th Annual NAACP Image Award nomination. His most recent album, Family Feeling, is a BCM&D release. Stafford is the Director of Jazz Studies and Chair of Instrumental Studies at Temple University, founder and band leader of the Terell Stafford Quintet, and Managing and Artistic Director of the Jazz Orchestra of Philadelphia (JOP).
    [Show full text]
  • Digital Sampling and Appropriation As Approaches to Electronic Music Composition and Production Gene Shill
    Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production Author Shill, Gene Published 2016-12 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/3631 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/370569 Griffith Research Online https://research-repository.griffith.edu.au Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production Gene Shill BA, MA (Distinction) Queensland Conservatorium Arts, Education & Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy December 2016 “The most beautiful experience we can have is the mysterious - the fundamental emotion which stands at the cradle of true art and true science.” Albert Einstein Abstract Through analysis, observation, critical listening, interviews and creative practice, this study explores how techniques of appropriation via digital music sampling are used for electronic musical composition and production. Included is an examination of literature and creative work focused on the Golden Age of Hip-Hop that explores early sampling processes and techniques. Through original compositions and an exegesis, the study provides unique and significant contributions to the field including the identification of four approaches to the design and construction of sample-based composition and associated techniques for achieving them using contemporary music technologies. The Golden Age of Hip-Hop is presented as a historical period of musical significance, not only for defining new genres and sub genres of music, but because of the influencing factors that emerging technologies had on new compositional processes and outcomes.
    [Show full text]