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Black US Army Bands and Their Bandmasters in World War I
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent. -
Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
CARNEGIE HALL - - NEW YORK Twenty-second Season in New York DR. KARL MUCK, Conductor fnigrammra of % FIRST CONCERT THURSDAY EVENING, NOVEMBER 7 AT 8.15 PRECISELY AND THK FIRST MATINEE SATURDAY AFTERNOON, NOVEMBER 9 AT 2.30 PRECISELY WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY . 37 West 32d Street, New York Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. < Second Violins. • Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. t Violoncellos. Warnke, H. Nagel, R. Barth, C. Loefner, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. -
Until the Late Twentieth Century, the Historiography and Analysis of Jazz Were Centered
2 Diasporic Jazz Abstract: Until the late twentieth century, the historiography and analysis of jazz were centered on the US to the almost complete exclusion of any other region. This was largely driven by the assumption that only the “authentic” version of the music, as represented in its country of origin, was of aesthetic and historical interest in the jazz narrative; that the forms that emerged in other countries were simply rather pallid and enervated echoes of the “real thing.” With the growth of the New Jazz Studies, it has been increasingly understood that diasporic jazz has its own integrity, as well as holding valuable lessons in the processes of cultural globalization and diffusion and syncretism between musics of the supposed center and peripheries. This has been accompanied by challenges to the criterion of place- and race-based authenticity as a way of assessing the value of popular music forms in general. As the prototype for the globalization of popular music, diasporic jazz provides a richly instructive template for the study of the history of modernity as played out musically. The vigor and international impact of Australian jazz provide an instructive case study in the articulation and exemplification of these dynamics. Section 1 Page 1 of 19 2 Diasporic Jazz Running Head Right-hand: Diasporic Jazz Running Head Left-hand: Bruce Johnson 2 Diasporic Jazz Bruce Johnson New Jazz Studies and Diaspora The driving premise of this chapter is that “jazz was not ‘invented’ and then exported. It was invented in the process of being disseminated” (Johnson 2002a, 39). With the added impetus of the New Jazz Studies (NJS), it is now unnecessary to argue that point at length. -
Black US Army Bands and Their Bandmasters in World War I
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 3-2-2018 Black US Army Bands and Their aB ndmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the African American Studies Commons, Military History Commons, Music Commons, Social History Commons, and the United States History Commons Lefferts, Peter M., "Black US Army Bands and Their aB ndmasters in World War I" (2018). Faculty Publications: School of Music. 67. https://digitalcommons.unl.edu/musicfacpub/67 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 04/02/2018 This is the third version, put on-line in 2018, of this work-in-progress. This essay was put on-line for the first time in 2012, at (https://digitalcommons.unl.edu/musicfacpuB/25/), and a second version was put on-line in 2016, at (https://digitalcommons.unl.edu/musicfacpuB/55/). The author is grateful to those who have contacted him aBout this work and welcomes further comments, additions, and corrections ([email protected]). Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts This essay sketches the story of the Bands and Bandmasters of the twenty seven new black army regiments which served in the U.S. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
La Méringue Entre L'oralité Et L'écriture : Histoire D'un Genre Musical Haïtien
Document generated on 09/27/2021 8:46 a.m. Canadian University Music Review Revue de musique des universités canadiennes --> See the erratum for this article La méringue entre l’oralité et l’écriture : histoire d’un genre musical haïtien Claude Dauphin Number 1, 1980 URI: https://id.erudit.org/iderudit/1013735ar DOI: https://doi.org/10.7202/1013735ar See table of contents Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Dauphin, C. (1980). La méringue entre l’oralité et l’écriture : histoire d’un genre musical haïtien. Canadian University Music Review / Revue de musique des universités canadiennes, (1), 49–65. https://doi.org/10.7202/1013735ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 1980 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ LA MERINGUE ENTRE I/ORALITÉ ET L'ÉCRITURE : HISTOIRE D'UN GENRE MUSICAL HAÏTIEN Claude Dauphin La meringue, genre et forme musicale autant que danse sociale, est une manifestation bien affirmée du nationalisme haïtien. Le titre de l'ouvrage de Jean Fouchard, La meringue, danse nationale d'Haïti (1973), symbolise ainsi une dimension bien concrète de la typologie culturelle haïtienne. -
Guest Artist Recital: New York Voices New York Voices
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 11-5-2004 Guest Artist Recital: New York Voices New York Voices Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation New York Voices, "Guest Artist Recital: New York Voices" (2004). All Concert & Recital Programs. 3425. https://digitalcommons.ithaca.edu/music_programs/3425 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. ITHACA COLLEGE CONCERTS 2004-5 NEW YORK VOICES Darmon Meader Kim Nazarian Lauren Kinhan Peter Eldridge Andy Ezrin, piano Papul Nowinski, bass Marcello Pellitteri, drums Ford Hall Friday, November 5, 2004 8:15 p.m. · IT:HACA Program To Be Selected From The Following: Ain't Nobody Here Written by Joan Whitney & Alex Kramer But Us Chickens Additional Lyrics by Darmon Meader Arranged by Darmon Meader Almost Like Being in Love Music by Frederick Loewe Lyrics by Alan Jay Lerner Arranged by Darmon Meader A Night in Tunisia Written by Dizzy Gillespie Arranged by Darmon Meader Baby Driver Written by Paul Simon Arranged by Peter Eldridge & Darmon Meader Baroque Samba Written & arranged by Darmon Meader Bli-Blip Written by Duke Ellington & Sid Kuller Additional lyrics by Darmon Meader Arranged by Darmon Meader Caravan Written by Duke Ellington, Juan Tizol, Irving Mills Additional -
THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To
Z 2 THE INCIDENTAL MUSIC OF BEETHOVEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Theodore J. Albrecht, B. M. E. Denton, Texas May, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .................. iv Chapter I. INTRODUCTION............... ............. II. EGMONT.................... ......... 0 0 05 Historical Background Egmont: Synopsis Egmont: the Music III. KONIG STEPHAN, DIE RUINEN VON ATHEN, DIE WEIHE DES HAUSES................. .......... 39 Historical Background K*niq Stephan: Synopsis K'nig Stephan: the Music Die Ruinen von Athen: Synopsis Die Ruinen von Athen: the Music Die Weihe des Hauses: the Play and the Music IV. THE LATER PLAYS......................-.-...121 Tarpe.ja: Historical Background Tarpeja: the Music Die gute Nachricht: Historical Background Die gute Nachricht: the Music Leonore Prohaska: Historical Background Leonore Prohaska: the Music Die Ehrenpforten: Historical Background Die Ehrenpforten: the Music Wilhelm Tell: Historical Background Wilhelm Tell: the Music V. CONCLUSION,...................... .......... 143 BIBLIOGRAPHY.....................................-..145 iii LIST OF ILLUSTRATIONS Figure Page 1. Egmont, Overture, bars 28-32 . , . 17 2. Egmont, Overture, bars 82-85 . , . 17 3. Overture, bars 295-298 , . , . 18 4. Number 1, bars 1-6 . 19 5. Elgmpnt, Number 1, bars 16-18 . 19 Eqm 20 6. EEqgmont, gmont, Number 1, bars 30-37 . Egmont, 7. Number 1, bars 87-91 . 20 Egmont,Eqm 8. Number 2, bars 1-4 . 21 Egmon t, 9. Number 2, bars 9-12. 22 Egmont,, 10. Number 2, bars 27-29 . 22 23 11. Eqmont, Number 2, bar 32 . Egmont, 12. Number 2, bars 71-75 . 23 Egmont,, 13. -
Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 8-26-2016 Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the African American Studies Commons, American Popular Culture Commons, and the Music Commons Lefferts, Peter M., "Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography" (2016). Faculty Publications: School of Music. 64. http://digitalcommons.unl.edu/musicfacpub/64 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 08/26/2016 Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln This document is one in a series---"Chronology and Itinerary of the Career of"---devoted to a small number of African American musicians active ca. 1900-1950. They are fallout from my work on a pair of essays, "US Army Black Regimental Bands and The Appointments of Their First Black Bandmasters" (2013) and "Black US Army Bands and Their Bandmasters in World War I" (2012/2016). In all cases I have put into some kind of order a number of biographical research notes, principally drawing upon newspaper and genealogy databases. None of them is any kind of finished, polished document; all represent work in progress, complete with missing data and the occasional typographical error. -
¥T1 Id -'F- L~R~J Was That Performance of " Tannhauser" in 1863 Which, According ~.'Tkon"-"'1
rro te above literally the lyric initial theme of the symphony arming for III. Scherzo: Sehr schnell (very fast), A minor, 3/ 4 thus with battle" : Trio: Etwas langsamer (a little slower), F major, 3/ 4 , two per IV_ Finale : B ~wegt, do ch nicht schnell (with motion but not fast), nat is here eJC..tof. E major, alla breve any emen "'t;" DOC" ,~::;; OG~LL ~ ~ ,----. t only the IVa; $; 4'3 3.7 IrS· k11 J pelr Sh'/Jd I p VIOl.1NS x: .. The symphony is scored for two each of flutes, oboes, clarinets, Late advan and bassoons, four horns, three trumpets, three trombones, two Ir'* fJrtD Iqr\J t"VI!t ~6IhJq;;j &J J I # tenor-tubas and two bass-tubas ("Wagner-Tuben"), contrabass not of the ) " \.....:...-. ,. > J Poco '" POc.O C.R.E5C.. tuba, timpani, and strings. climax. A only direct The launching of this melodic arrow by the bows of the violins lsic moves is sharpened by Bruckner's indication to play "with the point." Overture in G minor cribe or to The second subj ect is the simplest of simpl e ideas, transformed Few, if any, of the great composers were so late in maturing ;kn er here by the co mposer's mastery of orchestration into a chorale of utter as Bruckn er. The overture in G minor remains, if compared to ~me ntation genius. It may be nothing more than "an exercise in modulating any of the nine symphonies, a transitional if not a student produc i, pi::.::icato. cadences," technicall y speaking, but one that no student could tion. -
Blackface Behind Barbed Wire
Blackface Behind Barbed Wire Gender and Racial Triangulation in the Japanese American Internment Camps Emily Roxworthy THE CONFUSER: Come on, you can impersonate a Negro better than Al Jolson, just like you can impersonate a Jap better than Marlon Brando. [...] Half-Japanese and half-colored! Rare, extraordinary object! Like a Gauguin! — Velina Hasu Houston, Waiting for Tadashi ([2000] 2011:9) “Fifteen nights a year Cinderella steps into a pumpkin coach and becomes queen of Holiday Inn,” says Marjorie Reynolds as she applies burnt cork to her face [in the 1942 filmHoliday Inn]. The cinders transform her into royalty. — Michael Rogin, Blackface, White Noise (1996:183) During World War II, young Japanese American women performed in blackface behind barbed wire. The oppressive and insular conditions of incarceration and a political climate that was attacking the performers’ own racial status rendered these blackface performances somehow exceptional and even resistant. 2012 marked the 70th anniversary of the US government’s deci- sion to evacuate and intern nearly 120,000 Japanese Americans from the West Coast. The mass incarceration of Issei and Nisei in 1942 was justified by a US mindset that conflated every eth- nic Japanese face, regardless of citizenship status or national allegiance, with the “face of the TDR: The Drama Review 57:2 (T218) Summer 2013. ©2013 New York University and the Massachusetts Institute of Technology 123 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00264 by guest on 01 October 2021 enemy.”1 While this racist reading of the Japanese (American) face has been widely condemned in the intervening 70 years, the precarious semiotics of Japanese ethnicity are remarkably pres- ent for contemporary observers attempting to apprehend the relationship between a Japanese (American) face and blackface. -
Aida Overton Walker Performs a Black Feminist Resistance
Restructuring Respectability, Gender, and Power: Aida Overton Walker Performs a Black Feminist Resistance VERONICA JACKSON From the beginning of her onstage career in 1897—just thirty-two years after the end of slavery—to her premature death in 1914, Aida Overton Walker was a vaudeville performer engaged in a campaign to restructure and re-present how African Americans, particularly black women in popular theater, were perceived by both black and white society.1 A de facto third principal of the famous minstrel and vaudeville team known as Williams and Walker (the partnership of Bert Williams and George Walker), Overton Walker was vital to the theatrical performance company’s success. Not only was she married to George; she was the company’s leading lady, principal choreographer, and creative director. Moreover and most importantly, Overton Walker fervently articulated her brand of racial uplift while simultaneously executing the right to choose the theater as a profession at a time when black women were expected to embody “respectable” positions inside the home as housewives and mothers or, if outside the home, only as dressmakers, stenographers, or domestics (see Figure 1).2 Overton Walker answered a call from within to pursue a more lucrative and “broadminded” avocation—one completely outside the realms of servitude or domesticity. She urged other black women to follow their “artistic yearnings” and choose the stage as a profession.3 Her actions as quests for gender equality and racial respectability—or as they are referred to in this article, feminism and racial uplift—are understudied, and are presented here as forms of transnational black resistance to the status quo.