Classics 5: Program Notes
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The Challenge of African Art Music Le Défi De La Musique Savante Africaine Kofi Agawu
Document generated on 09/27/2021 1:07 p.m. Circuit Musiques contemporaines The Challenge of African Art Music Le défi de la musique savante africaine Kofi Agawu Musiciens sans frontières Article abstract Volume 21, Number 2, 2011 This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a URI: https://id.erudit.org/iderudit/1005272ar new anthology, Piano Music of Africa and the African Diaspora, edited by DOI: https://doi.org/10.7202/1005272ar Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of See table of contents creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the Publisher(s) encounters of Steve Reich and György Ligeti with various African repertories. Les Presses de l’Université de Montréal Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, ISSN Uzoigwe, Euba, Labi and Osman serve as illustration. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Agawu, K. (2011). The Challenge of African Art Music. Circuit, 21(2), 49–64. https://doi.org/10.7202/1005272ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law. -
An Appraisal of the Evolution of Western Art Music in Nigeria
Graduate Theses, Dissertations, and Problem Reports 2020 An Appraisal of the Evolution of Western Art Music in Nigeria Agatha Onyinye Holland WVU, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Africana Studies Commons, African Languages and Societies Commons, Ethnomusicology Commons, Fine Arts Commons, Musicology Commons, and the Music Pedagogy Commons Recommended Citation Holland, Agatha Onyinye, "An Appraisal of the Evolution of Western Art Music in Nigeria" (2020). Graduate Theses, Dissertations, and Problem Reports. 7917. https://researchrepository.wvu.edu/etd/7917 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. An Appraisal of the Evolution of Western Art Music in Nigeria Agatha Holland Research Document submitted to the College of Creative Arts at West Virginia University -
August 2021 Summer Quarter
PIPEDREAMS Programs, August 2021 Summer Quarter: The following listings detail complete contents for the Aigist 2021 Summer Quarter broadcasts of PIPEDREAMS. The first section includes complete program contents, with repertoire, artist, and recording information. Following that is program information in "short form". For more information, contact your American Public Media station relations representative at 651-290-1225/877- 276-8400 or the PIPEDREAMS Office (651-290-1539), Michael Barone <[email protected]>). For last-minute program changes, watch DACS feeds from APM and check listing details on our PIPEDREAMS website: http://www.pipedreams.org AN IMPORTANT NOTE: It would be prudent to keep a copy of this material on hand, so that you, at the local station level, can field listener queries concerning details of individual program contents. That also keeps YOU in contact with your listeners, and minimizes the traffic at my end. However, whenever in doubt, forward calls to me (Barone). * * * * * * PIPEDREAMS Program No. 2131 (distribution on 8/2/2021) Methuen Memories . selections from the 75th anniversary season of the famous Walcker/Aeolian- [Hour 1] SIR WALTER ALCOCK: Marche Triumphale. HEALEY WILLAN: Andante, Fugue & Chorale –Adam Pajan (r. 6/9/21) HANRE SOL: Solitude (2020). JONATHAN DOVE: The Dancing Pipes (2014) –Michael Hey (r. 5/19/21) DMITRI SHOSTAKOVICH (arr. Joos): Andante, fr Piano Concerto No. 2, Op. 102 –Shaylen Joos, harp. MAURICE DURUFLÉ: Prelude & Fugue on the Name ALAIN, Op. 7 –Marshall Joos (r. 5/10/21) [Hour 2] J. S. BACH: Komm, heiliger Geist, here Gott, BWV 651 –Bridgette Wargovich (r. 5/26/21) SAMUEL BARBER: To Longwood Gardens. -
West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston
West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston by Jason John Squinobal Batchelor of Music, Music Education, Berklee College of Music, 2003 Master of Arts, Ethnomusicology, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2009 ffh UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jason John Squinobal It was defended on April 14, 2009 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Dr. Joseph K. Adjaye, Professor, Africana Studies Dissertation Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2009 iii West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston Jason John Squinobal, PhD University of Pittsburgh, 2009 Abstract This Dissertation is a historical study of the cultural, social and musical influences that have led to the use of West African music in the compositions and performance of Art Blakey, Yusef Lateef, and Randy Weston. Many jazz musicians have utilized West African music in their musical compositions. Blakey, Lateef and Weston were not the first musicians to do so, however they were chosen for this dissertation because their experiences, influences, and music clearly illustrate the importance that West African culture has played in the lives of African American jazz musicians. Born during the Harlem Renaissance each of these musicians was influenced by the political views and concepts that predominated African American culture at that time. -
Symphony Sounds
Symphony Sounds October, 2015 49th Season, Number 1 Editor: Terri Zinkiewicz Peninsula Symphony Concert Welcome to the Peninsula Symphony’s 49th Season Sunday, October 25, 2015, at 7:00 PM It is hard to believe that another Peninsula Redondo Union High School Auditorium 222 North Pacific Coast Highway Symphony concert season is about to begin. Redondo Beach, CA 90277 Maestro Berkson has programmed a season- long presentation of all four of the symphonies of Johannes Brahms beginning with Brahms’ BRAHMS CYCLE I Symphony No. 1 on October 25. The pre- concert lecture for Symphony Association R. Strauss Serenade in E-flat major, Opus 7 members begins at 6:15 PM followed by the Sowande African Suite concert at 7:00 PM. Association members at Brahms Symphony No. 1 in C minor, Opus the sponsor level and above ($250+) may 68 attend a reception after the concert at Ws China Bistro (reception RSVP: 310-544-0320). Concert Details Doors open at 6:00 PM. Center-section seating It is not too late to renew and consider is reserved for members at the Patron level and upgrading your membership in the Peninsula above. Symphony Association. You may visit the membership table at any of our concerts or call Pre-concert lecture by Maestro Berkson begins our office at 310-544-0320. at 6:15 PM for Symphony Association members. General public admitted at approx. 6:50 PM. This edition of Symphony Sounds includes photos from recent events, short previews of the pieces and composers that will be performed at POST- CONCERT RECEPTION the October 25 concert and other articles. -
Celebrating the Resilience of Yorùbá Culture in Music
L&P MUSIC ACTIVITIES TRINITY LABAN Resource Pack Author & Concert Presenter Aanu Sodipe & Isreal Akindipe (Ọlá) Celebrating the Mentor Kevin Le Gendre & Resilience of Yorùbá Richard Henry Culture in Music Watch the concerts Introduction This resource has been produced to further illustrate He was a key figure in promoting Yorùbá music, the above recorded concert that took place at St incorporating local Nigerian melodies and rhythms Alfege Church on Thursday 22nd and 29th October in his organ works. He once said: 2020. The concerts and resource were made possible by a generous grant from the Royal Borough of Whatever African music may or may not be, Greenwich Council as part of the 2020 Black History one thing about it is that it communicates. It is Month celebrations, and provided a springboard for for this reason that we find, on the social levels, a year long programme of activity from Trinity Laban that we do not have performers and listeners, & Blackheath Halls – Black Culture 365. but performers and participants; we do not fix time, date and place for making music, it The talks and resource were created and developed “happens” when the spirit moves us. We must by Master’s student violinist and composer Aanu also note that on the more serious levels, i.e. Sodipe and Bachelor’s clarinet student Isreal Akindipe the ritualistic and the religious, African music (Ọlá) with support from mentors Kevin Le Gendre still communicates... On the social level, it and Richard Henry, alongside Trinity Laban’s Learning communicates with the men and women in & Participation team. -
1 ORGAN WORKS by COMPOSERS from AFRICA and the AFRICAN-DIASPORA BIBLIOGRAPHY: See Also Calvert Johnson, Compi
1 ORGAN WORKS BY COMPOSERS FROM AFRICA AND THE AFRICAN-DIASPORA BIBLIOGRAPHY: see also www.agoatlanta.org Calvert Johnson, compiler (2013) AFRICAN-AMERICAN COMPOSERS Adams, H. Leslie (b. Cleveland, 1932). Infinitas (1999). ______. Offering of Love [Offertory] (1991). Westlake OH: HCM, 1992. In Abbington vol. 1. ______. Prelude & Fugue for Organ (1978). Pullman WA: Vivace Press, 1998. http://www.hleslieadams.com; http://chevalierdesaintgeorges.homestead.com/Adams.html ARCHIVES: Leslie Adams Music Archives, Special Collections, Cleveland Public Library EDUCATION: BME, Oberlin (1955), studying composition with Herbert Elwell and Joseph Wood; further private study with Robert Starer and Vittorio Giannini; MM, California State University-Long Beach (1967) studying composition with Leon Dallin and Robert Tyndall; PhD, Ohio State University (1973), studying with Marshall Barnes. CAREER: Choral director, Stillman College (AL); Pianist for dance companies (1957-62); High School teacher, Soehl Jr High, Linden NJ (1962-63); Associate Musical Director, Karamu House, Cleveland OH (1964-65); Music teacher, New Mexico School for Performing Arts, Raton NM (1966-67);Assistant Professor, Florida A&M University (1968); Associate Professor, Choral director, University of Kansas (1970-78); Composer-in- residence, Karamu House, Cleveland OH (1979-80); Scholar-in –residence, Rockefeller Foundation, Bellagio Italy (1979); Fellowship, Yaddo Artists Colony, Saratoga Springs (1980, 1984); Cleveland Foundation Fellow (1980); Jennings Foundation Fellow (1981); Guest composer, Cuyahoga Community College OH (1980); Composer-in residence, Cleveland Music School Settlement (1981-84, 1991); Founder and President, Accord Associates (1980-1986); Executive Vice-President, Composer-in-Residence, Accord Associates (1986-92); Artist-in-residence, Creative Arts (1997-present); National Association of Negro Musicians Composer Award (2004); Composer Legacy Award, National Opera Association (2006); Distinguished Alumnus Award, California State University, Long Beach (2006); Gems of Cleveland Award (2007). -
Development of Materials for a One Year Course in African Music for the General Undergraduate Student
DOCUMENT RESUME ED 045 042 24 HE 001 879 AUTHOR Butcher, Vada E.; And Others TITLE Development of Materials for a One Year Course in African Music for the General Undergraduate Student. Final Report. INSTITUTION Howard Univ., Washington, D.C. SPONS AGENCY Office of Education (DHEW) , Washington, D.C. Bureau of Research. BUREAU NO PR-6-1779 PUB DATE Sep 70 CONTRACT OEC0-8-061779-2821 NOTE 242p. FDRS PRICE. 7rRs Price MF-$1.00 HC-$12.20 DESCRIPTORS. *African American Studies, *A.Erican Culture, *Curriculum Development, Curriculum Guides, *Higher Education, Instructional Materials; *Music, Music Education, Undergraduate Study IDENTIFIERS *Africa ABSTRACT The major objective of the Project in African Music at Howard University was to develop materials for a course in African music designed for General Education curricula in institutions of higher education. The project was expanded to include the development of materials on African-derived music and to make the materials adaptable for use in secondary schools. The report includes background!of the study, methods of collecting and developing materials, workshops and pilot courses, and results of the educational evaluation report sent to all workshop participants. Appendix A lists the collection of African traditional instruments gathered from Nigeria, Ghana, and Uganda. Appendix B includes materials developed by the project. The workshop program, auestionnaires, questionnaire recipients, and a press release conclude the report. (AF) 1,e e- 77(7 e,9 2_ id FINAL REPORT Project No. 6-1779 Contract No. 0-8-061779-2821 DEVELOPMENT OF MATERIALS FOR A ONE YEAR COURSE IN AFRICAN MUSIC FOR THE GENERAL UNDERGRADUATE STUDENT (PROJECT IN AFRICAN MUSIC) by Veda E. -
African Heritage Symphonic Series • Vol I
AFRICAN HERITAGE SYMPHON IC SERIES • VOL I CHICAGO SINFONIETT A / PAUL FREEMAN, CONDUCTOR DDD Absolutely Digital™ CDR 90000 055 AFRICAN HERITAGE SYMPHONIC SERIES • VOLUME I SAMUEL COLERIDGE-TAYLOR (1875–1912) 1 DANSE NÈ` GRE FROM AFRICAN SUITE (1898) (6:14) PETITE SUITE DE CONCERT (1910) (13:36) 2 La caprice de Nannette (3:54) 4 Un sonnet d’amour (3:02) 3 Demande et réponse (3:59) 5 La tarantelle frétillante (2:29) FELA SOWANDE (1905–1987) AFRICAN SUITE (SELECTIONS) (1930) (10:02) 6 I. Joyful Day – Allegro giocoso (2:33) 8 V. Akinla – Allegro non troppo (3:07) 7 II. Nostalgia – Andante (4:14) WILLIAM GRANT STILL (1895–1978) SYMPHONY NO. 1, “AFRO-AMERICAN” (1930) (21:10) 9 I. Moderato assai (6:10) bl III. Animato (3:19) bk II. Adagio (4:18) bm IV. Lento, con risoluzione (7:11) CHICAGO SINFONIETTA / PAUL FREEMAN, CONDUCTOR TT: (51:26) This recording is made possible in part by a grant from the National Endowment for the Arts. Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not- for-profit foundation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by contributions and grants from individuals, foundations, and corporations, includ- ing the WPWR-TV Channel 50 Foundation and the Illinois Arts Council, a state agency. PROGRAM NOTES by dominique-rené de lerma ost of the United States’ early settlers were too identity to distinguish their writings from the com- Moccupied with other matters to be concerned manding ideas of Richard Wagner. -
Chief Fela Sowande, Traditional African Culture and the Black Studies Movement: a Student Remembers
Chief Fela Sowande, Traditional African Culture and the Black Studies Movement: A Student Remembers by Mwatabu S. Okantah, M.A. Assistant Professor and Poet in Residence Department of Pan-African Studies Kent State University, Kent, OH Mwatabu S. Okantah ([email protected]) holds the BA in English and African Studies from Kent State University (1976) and a MA in Creative Writing from the City College of New York (1982). Currently, he is an Assistant Professor and Poet in Residence in the Department of Pan-African Studies at Kent State University, and Director of the Center of Pan-African Culture. Additionally, Professor Okantah is also the author of Afreeka Brass (1983), Collage (1984), Legacy: for Martin & Malcolm (1987) and Cheikh Anta Diop: Poem for the Living (1997) and many other works. His latest book of poetry is Reconnecting Memories: Dreams No Longer Deferred (Africa World Press, 2004). African-Americans must ensure each new generation the existence of a sound knowledge base that informs and elucidates the history and experiences of black people….This is the continuing role of Black Studies programs as they struggle to exist in an era of advanced technology, with rapidly changing social patterns and limited resources. The promise of Black Studies … lies in the ability to provide the foundation that supports and enriches; to nourish the vision and motivation of present and future generations; and to reaffirm the continuity between past, present and future.1 Introduction In a very real sense, this paper is my way to say “thank you,” and to acknowledge, in a formal way, my own understanding of the teachings of Nigerian musician and philosopher Chief Fela Sowande; a mentor whose work has been a major influence, not only on my development as an artist and an educator, but also as a human being. -
Organ Literature of Twentieth-Century Black Composers: an Annotated Bibliography
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I Un1vers1ty Microfilms International A Bell & Howell InformatiOn Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 313.'761-4700 800.'521-0600 Order Number 9314581 Organ literature of twentieth-century black composers: An annotated bibliography Harrell, Paula Denise, D.M.A. The University of North Carolina at Greensboro, 1992 Copyright @1992 by Harrell, Paula Denise. -
Jazz: a Music of the Spirit by Ahmed Abdullah, Monique Ngozi Nri and Louis Reyes Rivera
Jazz: A Music of the Spirit By Ahmed Abdullah, Monique Ngozi Nri and Louis Reyes Rivera The music commonly known as Jazz has been around for more than a century. While many of the practitioners have expressed discomfort with the term, Jazz, the attempts to name and explain this properly have been rare. Two of the now living artists who most prominently come to mind as critics of the name, and who have renamed their particular music, are Randy Weston and Max Roach. Mr. Weston determined that his music should be called African Rhythms, and Mr. Roach determined that the music he created was called the Music of Max Roach. Their response was an appropriate one for the 20th Century. However, in the 21st Century, it is imperative that the musicians who are progenitors of the art form, along with organizations that support its propagation, come together to determine and define this music, given the 100 plus years of experiences we have to draw from. During the last nine years, an historic renaissance of community activism in Brooklyn has once again begun to be associated with this music for the first time since the 70s. This activism has been driven by an organized effort on the part of many collaborating community-based institutions, including the December 12th Movement, Melchizedek Music Productions, Shamal Books, the Central Brooklyn Jazz Consortium, Jazz 966, Black Telephone Workers For Justice, Up Over Jazz Productions, United Music Makers, Janes United Methodist Church, Our Lady of Victory Roman Catholic Church, The Concord Baptist Church of Christ, St Philip's Episcopal Church (to name a few), and has prompted the need for clarity as to the naming of the music.