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Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Brandon Patrick George, Flute Toyin Spellman-Diaz, Oboe Mark Dover, Clarinet Jeff Scott, French Horn Monica Ellis, Bassoon
Brandon Patrick George, Flute Toyin Spellman-Diaz, Oboe Mark Dover, Clarinet Jeff Scott, French Horn Monica Ellis, Bassoon Program Startin’ Sumthin’ Jeff Scott Quintet for Winds John Harbison iv. Scherzo v. Finale Kites Over Havana Paquito D’Rivera arr. Valerie Coleman Pavane Gabriel Fauré arr. Jeff Scott Dance Mediterranea Simon Shaheen arr. Jeff Scott Opening Act Assistant Professor of Music Matthew Evan Taylor If not NOW, then WHEN! Matthew Evan Taylor Alto Improvisation 3, Contrasts Program Notes Jeff Scott Startin’ Sumthin’ Startin’ Sumthin’ is a modern take on the genre of Ragtime music. With an emphasis on ragged! The defining characteristic of Ragtime music is a specific type of syncopation in which melodic accents occur between metrical beats. This results in a melody that seems to be avoiding some metrical beats of the accompaniment by emphasizing notes that either anticipate or follow the beat. The ultimate (and intended) effect on the listener is actually to accentuate the beat, thereby inducing the listener to move to the music. Scott Joplin, the composer/pianist known as the “King of Ragtime,” called the effect “weird and intoxicating.” ―Note by Jeff Scott John Harbison Quintet for Winds John Harbison studied with Walter Piston at Harvard, with Boris Blacher in Berlin, and with Roger Sessions and Earl Kim at Princeton; in 1969 he joined the faculty at MIT. His compositions include two operas (one on Shakespeare’s The Winter’s Tale), orchestral works, concertos for piano, violin, and brass quintet, chamber music, and vocal settings on an impressive range of texts. Harbison has also made a career as a conductor; he has been conductor of the Boston Cantata Singers and has guest conducted the San Francisco and Boston Symphony Orchestras. -
May 2001 03 Jazz Ed
ALL ABOUT JAZZ monthly edition — may 2001 03 Jazz Ed. 04 Pat Metheny: New Approaches 09 The Genius Guide to Jazz: Prelude EDITOR-IN-CHIEF: Aaron Wrixon 14 The Fantasy Catalog: Tres Joses ASSOCIATE EDITOR: Michael Martino 18 Larry Carlton and Steve Lukather: Guitar Giants CONTRIBUTORS: 28 The Blue Note Catalog: All Blue Glenn Astarita, Mathew Bahl, Jeff Fitzgerald, Chris Hovan, Allen Huotari, Nils Jacobson, Todd S. Jenkins, Joel Roberts, Chris M. Slawecki, Derek Taylor, Don Williamson, 32 Joel Dorn: Jazz Classics Aaron Wrixon. ON THE COVER: Pat Metheny 42 Dena DeRose: No Detour Ahead PUBLISHER: 48 CD Reviews Michael Ricci Contents © 2001 All About Jazz, Wrixon Media Ventures, and contributors. Letters to the editor and manuscripts welcome. Visit www.allaboutjazz.com for contact information. Unsolicited mailed manuscripts will not be returned. Welcome to the May issue of All About Jazz, Pogo Pogo, or Joe Bat’s Arm, Newfoundland Monthly Edition! (my grandfather is rolling over in his grave at This month, we’re proud to announce a new the indignity I have just committed against columnist, Jeff Fitzgerald, and his new, er, him) — or WHEREVER you’ve been hiding column: The Genius Guide to Jazz. under a rock all this while — and check some Jeff, it seems, is blessed by genius and — of Metheny’s records out of the library. as is the case with many graced by voluminous The man is a guitar god, and it’s an intellect — he’s not afraid to share that fact honour and a privilege to have Allen Huotari’s with us. -
Cliftonkm026.Pdf
Copyright by Kevin Mark Clifton 2002 The Dissertation Committee for Kevin Mark Clifton Certifies that this is the approved version of the following dissertation: Poulenc’s Ambivalence: A Study in Tonality, Musical Style, and Sexuality Committee: ______________________________ James Buhler, Supervisor ______________________________ Roger Graybill ______________________________ Stefan Kostka ______________________________ Andrew Dell’Antonio ______________________________ Fred Maus Poulenc’s Ambivalence: A Study in Tonality, Musical Style, and Sexuality by Kevin Mark Clifton, B.A., M.M. Dissertation Presented to the Faculty of the Graduate School of The Univeristy of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2002 Table of Contents Chapter 1: Ambivalence Theory: Definition, Context, and Methodology 1 Chapter 2: Poulenc’s Mouvements Perpétuels: A Case for Musical Cubism 25 Chapter 3: Revealing Tonal Axes and Musical Masks in Poulenc’s Concerto for Two Pianos in D minor, I 61 Chapter 4: Sexualizing the Exotic: Evocation and Meaning of the Gamelan in Poulenc’s Aubade and the Concerto for Two Pianos in D minor 108 Conclusion: Poulenc’s Ambivalence Reconsidered 149 Bibliography 155 Vita 159 iv Chapter 1 “ A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.” -- Leonard Bernstein Ambivalence Theory: Definition, Context, and Methodology Introduction I would like to begin my study of the musical language of Francis Poulenc (1899-1963) by considering Ned Rorem’s description of Poulenc’s personality: Like his name he was both dapper and ungainly. His clothes came from Lanvin but were unpressed. -
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. -
Unfamiliar Sounds in Familiar Settings Hartley V1.0
© 2017 Paul Hartley UNFAMILIAR SOUNDS IN FAMILIAR SETTINGS: ON THE COSMOPOLITAN LABOUR OF FILM COMPOSERS IN ISTANBUL BY PAUL DERRICK GEORGE HARTLEY DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2017 Urbana, Illinois Doctoral Committee: Professor Donna A. Buchanan, Chair Professor Emeritus Bruno Nettl Assistant Professor Michael Silvers Assistant Professor John P. Meyers Dr. Ulrike Präger ABSTRACT Filmmaking in Turkey has long, convoluted history. The Turkish film industry developed, flowered, and declined before being nearly obliterated altogether by a military coup in 1980. Following the nearly total disappearance of a coherent studio system, a new approach to filmmaking, the New Turkish Cinema, developed during a time of economic and cultural resurgence. Now in a mature phase, Turkish films and television programs are rapidly becoming a focus of local and global interest, as Turkey grows as a consumer marketplace and as a player in global affairs. Films and television programs have become key players in Turkey’s economic, cultural, and diplomatic resurgence. Despite film’s reemergence, film music has not been a focus of scholarly inquiry until recently because critics and scholars have not seen it as a contributing factor to the development of the new Turkish cinema. This dissertation examines the creative labor of film composers working in the Turkish film industry from 2010-2016. It focuses on the socio-cultural contexts that facilitate the work of filmmakers as they create films suitable for the Turkish market while working from within a much more globalized, cosmopolitan framework. -
Yusef Lateef Yusef Lateef Mp3, Flac, Wma
Yusef Lateef Yusef Lateef mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Yusef Lateef Country: US Released: 1972 Style: Hard Bop, Modal MP3 version RAR size: 1566 mb FLAC version RAR size: 1524 mb WMA version RAR size: 1456 mb Rating: 4.2 Votes: 484 Other Formats: TTA VOC WMA AU AAC APE AC3 Tracklist Hide Credits Taboo A1 9:00 Written-By – Stillman*, Lecuona* Mahaba A2 3:09 Written-By – Lateef* Ecaps A3 6:26 Written-By – Lateef* All Alone B1 3:58 Written-By – Berlin* Anastasia B2 4:07 Written-By – Newman*, Webster* Minor Mood B3 9:22 Written-By – Lateef* Rasheed C1 4:17 Written-By – Lateef* I'l Remember April C2 6:39 Written-By – Raye*, DePaul*, Johnson* Koko's Tune C3 6:18 Written-By – Lateef* Sea Breeze D1 3:06 Written-By – Hoffman*, Manning* Dopolous D2 3:12 Written-By – Lateef* Cry! Tender D3 5:52 Written-By – Lateef* Yesterdays D4 4:15 Written-By – Kern*, Harbach* Credits Liner Notes – Ira Gitler Remastered By – Rudy Van Gelder Notes 24007 on spine, PR 24007 on front cover, PRST 24007 on labels. Van Gelder stamped on vinyl Other versions Category Artist Title (Format) Label Category Country Year PR 24007 Yusef Lateef Yusef Lateef (2xLP, Comp) Prestige PR 24007 US 1972 PR 24007 Yusef Lateef Yusef Lateef (2xLP, Comp) Prestige PR 24007 UK 1972 PR 24007 Yusef Lateef Yusef Lateef (2xLP, Comp, M/Print) Prestige PR 24007 US 1972 PR 24007 Yusef Lateef Yusef Lateef (2xLP, Comp, RE) Prestige PR 24007 US Unknown PR 24007 Yusef Lateef Yusef Lateef (2xLP, Comp, Gat) Prestige PR 24007 France 1972 Related Music albums to Yusef Lateef by Yusef Lateef Yusef Lateef - Eastern Sounds Yusef Lateef - Robot Man / Look On The Right Side Latyrx [Lateef & Lyrics Born] - The Album Yusef Lateef - The Blue Yusef Lateef Yusef Lateef - Greatest Hits Yusef Lateef - Psychicemotus Yusef Lateef - Other Sounds Yusef Lateef - The Golden Flute Yusef Lateef With Art Farmer - Autophysiopsychic Abdul Lateef Khan - Sukoon. -
Recordings by Women Table of Contents
'• ••':.•.• %*__*& -• '*r-f ":# fc** Si* o. •_ V -;r>"".y:'>^. f/i Anniversary Editi Recordings By Women table of contents Ordering Information 2 Reggae * Calypso 44 Order Blank 3 Rock 45 About Ladyslipper 4 Punk * NewWave 47 Musical Month Club 5 Soul * R&B * Rap * Dance 49 Donor Discount Club 5 Gospel 50 Gift Order Blank 6 Country 50 Gift Certificates 6 Folk * Traditional 52 Free Gifts 7 Blues 58 Be A Slipper Supporter 7 Jazz ; 60 Ladyslipper Especially Recommends 8 Classical 62 Women's Spirituality * New Age 9 Spoken 64 Recovery 22 Children's 65 Women's Music * Feminist Music 23 "Mehn's Music". 70 Comedy 35 Videos 71 Holiday 35 Kids'Videos 75 International: African 37 Songbooks, Books, Posters 76 Arabic * Middle Eastern 38 Calendars, Cards, T-shirts, Grab-bag 77 Asian 39 Jewelry 78 European 40 Ladyslipper Mailing List 79 Latin American 40 Ladyslipper's Top 40 79 Native American 42 Resources 80 Jewish 43 Readers' Comments 86 Artist Index 86 MAIL: Ladyslipper, PO Box 3124-R, Durham, NC 27715 ORDERS: 800-634-6044 M-F 9-6 INQUIRIES: 919-683-1570 M-F 9-6 ordering information FAX: 919-682-5601 Anytime! PAYMENT: Orders can be prepaid or charged (we BACK ORDERS AND ALTERNATIVES: If we are tem CATALOG EXPIRATION AND PRICES: We will honor don't bill or ship C.O.D. except to stores, libraries and porarily out of stock on a title, we will automatically prices in this catalog (except in cases of dramatic schools). Make check or money order payable to back-order it unless you include alternatives (should increase) until September. -
THE FUSION of KOREAN and WESTERN ELEMENTS in ISANG YUN's KONZERT FÜR FLÖTE UND KLEINES ORCHESTER by SONIA CHOY (Under
THE FUSION OF KOREAN AND WESTERN ELEMENTS IN ISANG YUN’S KONZERT FÜR FLÖTE UND KLEINES ORCHESTER by SONIA CHOY (Under the Direction of Angela Jones-Reus and Stephen Valdez) ABSTRACT The Korean born composer, Isang Yun (1917-1995) is renowned for his synthesis of traditional Korean music and Taoist philosophy with Western compositional techniques. Yun adapted the Eastern concept of a single tone as the basis of a work into Western music. Yun’s early works (1959-1975) are based on the twelve tone system, while the compositions in his later periods (1975-1992) use a simplified musical language based on Eastern sounds. Yun’s Konzert für Flöte und Kleines Orchester (Concerto for Flute and Small Orchestra, 1977) features this language. The Konzert is influenced by three elements: first, the sound and performance techniques of traditional Korean wind instruments including the daegum, the danso, and the piri; second, Taoism, particularly in the way the work evokes a pervasive dialectic of Yin and Yang; and third, a programmatic fantasy influenced by two Korean poems, the anonymous Chungsanboelkok (Poem of a Clear Mountain) and Seok-cho Sin’s related poem, Chungsana, Malhayeora (Speak, the Clear Mountain). Focusing on the intersection of these three elements, this document explores the flute concerto in detail. It includes an overview of Yun’s stylistic influences, in particular the Korean instruments and performance practice he evokes in the work. It also describes the short period in which Yun composed his thirteen concertos (1976-1992), the musical style of which reflects his experience of abduction and imprisonment as well as his broader political and social concerns. -
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. -
Vlijtiujti Table of Contents
MU VliJTiUJTi Table of Contents Ordering Information 2 Blues * Jazz * R&B * Divas 30 Ladyslipper Online! 3 Choral * Acappella 31 Order Blank 4 BabySlipper Music 31 Turning 30: Ladyslipper & Women's Music 5 Comedy 32 New Additions: All Genres & Categories 6 Classical 32 Hot Wire Back Issues 12 Ho * Ho * Holiday Music 33 "Women's Music" * Feminist Music 13 Gift Certificates * Cards 34 Compilations for Cool Causes 18 Calendars * Books 35 Drumming * Percussion 19 DVD's * Videos 35 Women's Spirituality * New Age 20 Songbooks 36 African Heritage 24 $6.99 CD's 37 World Music 25 $5.99 CD's 37 Native American 26 $4.99 CD's 38 Singer-Songwriter * Folk 27 Grab-Bags 38 Country * Bluegrass 29 $2.99 Cassettes 39 Artist Index 39 Dedication This publication is lovingly dedicated to Kay Gardner 1941-2002 Ordering info CONTACT INFO: BACK-ORDERS AND ALTERNATIVES: If we are U.S. POSTAGE & HANDLING RATES: MAIL: Ladyslipper, PO Box 3124, Durham NC 27715 temporarily out of stock on a title, we will automatical ORDER LINE: 800-634-6044 Mon-Fri 10-5 Eastern ly back-order it unless you include alternatives STANDARD: $2.95 first item, $1.00 each additional INFO: 919-383-8773 Mon-Fri 10-5 Eastern Time (should be same-priced titles). Listing alternatives item. FAX: 919-393-3525 will give you faster service. If we back-order for you, EMAIL: [email protected] you may contact us at any time to cancel or to EXPEDITED: $4.95 first item, $2.00 each additional WEB: www.ladyslipper.org instead choose a substitute, credit or refund.