A Search and Retrieval Based Approach to Music Score Metadata Analysis
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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. -
THELONIOUS MONK SOLO Monkrar
THELONIOUS MONK - SOLO MONK.rar >>> DOWNLOAD (Mirror #1) 1 / 3 MidwayUSA..is..a..privately..held..American..retailer..of..various..hunting..and..outdoor- related..products.. SoloMonkMP3.rar...Premium..Download..Thelonious..Monk..-..Solo..Monk..(1965)..- ..Fast..&..Anonymous...Add..comment...Your..Name...Your..E-Mail.. Thelonious...Monk.zipka*****l.com132.95...MBThelonious...Monk.zip..... Despite.various.reissue.forma ts.over.several.decades,.the.seven.original.LPs.contained.in.Thelonious.Monk.-.The.Riverside.Tenor.S essions.stood.perfectly.well.on.their... thelonious..monk..-..live..at..the..olympia,paris..may..23rd,1965..-..cd..2.zip. ]Thelonious...Monk.../...S olo...Monk...Solo...Monk...:...Thelonious...Monk.../:...Sbme...Special...Mkts....:...2003/08/19.......Theloni ous...Monk...(p)........... Monk's...Point...10....I...Should...Care...11....Ask...Me...Now...12....These...Fooli sh...Things...(Remind...Me...Of...You)...13....Introspection...14....Darn...That...Dream...15....Dinah...(Ta ke...1)...16....Sweet...And...I..... Solo.Monk.is.the.eighth.album.Thelonious.Monk.released.for.Columbi a.Records.in.1965..The.album.is.composed.entirely.of.solo.piano.work.by.Monk..The.Allmusic.review. by... THELONIOUS..MONK..-..Monk's..Music..-..Amazon.com..Music..Interesting.....Though,..I..will..say.. it's..pretty..remarkable..that..Monk..doesn't..solo..much..on..this..recording.. Solo.Monk. 1964.Solo.M onk..1964.It's.Monk's.Time.(Remastered.2003).1964.Live.At.The.1964.Monterey.Jazz.Festival....1958. Thelonious.In.Action..1957.Thelonious.Monk.With.John... Thelonious..Monk's..solo..recordings..offer..f ascinating..insight..into..the..compositional..and..improvisational..talents..of..one..of..music's..true..o ddballs,..and..Alone..In..San.... My..favourite..album:..Brilliant..Corners..by..Thelonious..Monk.....Thelo nious..Monk's..Brilliant..Corners.....and..Rollins's..lazily..unfolding..and..huge-toned..tenor..solo. -
JAZZ FUNDAMENTALS Jazz Piano, Theory, and More
JAZZ FUNDAMENTALS Jazz Piano, Theory, and More Dr. JB Dyas 310-206-9501 • [email protected] 2 JB Dyas, PhD Dr. JB Dyas has been a leader in jazz education for the past two decades. Formerly the Executive Director of the Brubeck Institute, Dyas currently serves as Vice President for Education and Curriculum Development for the Thelonious Monk Institute of Jazz at UCLA in Los Angeles. He oversees the Institute’s education and outreach programs including Jazz In America: The National Jazz Curriculum (www.jazzinamerica.org), one of the most significant and wide-reaching jazz education programs in the world. Throughout his career, he has performed across the country, taught students at every level, directed large and small ensembles, developed and implemented new jazz curricula, and written for national music publications. He has served on the Smithsonian Institution’s Task Force for Jazz Education in America and has presented numerous jazz workshops, teacher-training seminars, and jazz "informances" around the globe with such renowned artists as Dave Brubeck and Herbie Hancock. A professional bassist, Dyas has appeared with Jamey Aebersold, David Baker, Jerry Bergonzi, Red Rodney, Ira Sullivan, and Bobby Watson, among others. He received his Master’s degree in Jazz Pedagogy from the University of Miami and PhD in Music Education from Indiana University, and is a recipient of the prestigious DownBeat Achievement Award for Jazz Education. 3 Jazz Fundamentals Text: Aebersold Play-Along Volume 54 (Maiden Voyage) Also Recommended: Jazz Piano Voicings for the Non-Pianist and Pocket Changes I. Chromatic Scale (all half steps) C C# D D# E F F# G G# A A# B C C Db D Eb E F Gb G Ab A Bb B C Whole Tone Scale (all whole steps) C D E F# G# A# C Db Eb F G A B Db ___________________________________________________________________________________________________________ II. -
Groove Doctors - Song List
GROOVE DOCTORS - SONG LIST VOCAL STANDARDS A KISS TO BUILD A DREAM ON ALL THE WAY AT LAST AS TIME GOES BY BEYOND THE SEA BUT NOT FOR ME CHEEK TO CHEEK COME FLY WITH ME COME RAIN AND COME SHINE DO NOTHING TILL YOU HEAR FROM ME DOWN IN BRAZIL EAST OF THE SUN EMBRACEABLE YOU FLY ME TO THE MOON GREEN DOLPIN STREET HEART ANDSOUL HERE’S THAT RAINY DAY HOW HIGH THE MOON I CONCENTRATE ON YOU I LEFT MY HEART IN SAN FRANCISCO I LOVE BEIN HERE WITH YOU ISN’T IT ROMANTIC I THOUGHT ABOUT YOU IT DON’T MEAN A THING I’VE GOT THE WORLD ON A STRING I’VE GOT YOU UNDER MY SKIN I WANNA BE AROUND LET’S FALL IN LOVE LIKE A LOVER LIKE SOMEONE IN LOVE LOVE AND MARRIAGE LOVE DANCE MASQUERADE MISTY MOONDANCE MY FUNNY VALENTINE MY ONE AND ONLY LOVE MY ROMANCE NEW YORK NEW YORK NEW YORK STATE OF MIND NIGHT AND DAY VOCAL STANDARDS OLD DEVIL MOON ON THE SUNNY SIDE OF THE STREET OUR LOVE IS HERE TO STAY PIANO MAN RUBY RUBY SCOTCH AND SODA SINCE I FELL FOR YOU SOMEONE TO WATCH OVER ME SPEAK LOW STARDUST STEPPIN OUT WITH MY BABY STOMPIN AT THE SAVOY SUMMERTIME SUMMER WINDS TEACH ME TONIGHT THAT’S ALL THE BEST IS YET TO COME THE GOOD LIFE THE NEARNESS OF YOU THE SECOND TIME AROUND THE VERY THOUGHT OF YOU THE WAY YOU LOOK TONIGHT THERE WILL NEVER BE ANOTHER YOU TIME AFTER TIME UNFORGETTABLE WATCH WHAT HAPPENS WHAT A WONDERFUL WORLD WHAT ARE YOU DOIN NEW YEARS EVE WHEN I FALL IN LOVE WITCHCRAFT YOU DON’T KNOW ME YOU’D BE SO NICE TO COME HOME TO YOUR NOBODY TILL SOMEBODY LOVES YOU POP AND BALLADS ANOTHER STAR A SONG FOR YOU BACK AT ONE COPACABANA DADDY’S LITTLE GIRL FEEL LIKE -
A Month to Celebrate Jazz, Turned Tragic
MUSIC FEATURES A Month To Celebrate Jazz, Turned Tragic April was a cruel month, but the jazz community is searching for signs of light April 30, 2020 · 7:02 AM ET NATE CHINEN Henry Grimes performs in New York in 2003. Grimes died on April 15 at the age of 84, of complications from coronavirus. Jack Vartoogian/Getty Images Amidst The Coronavirus Pandemic, A Month To Celebrate Jazz Turns Tragic : NPR In an alternate timeline, I know precisely how I would have spent the evening of April 17. The dynamic South African pianist Nduduzo Makhathini had been booked for an album-release engagement at Dizzy's Club, the in-house nightclub at Jazz at Lincoln Center. I was looking forward to hearing his band in that room — not only because Makhathini's stateside appearances are few and far between, but also because the urgent, questing spirit of his music is something best experienced in person and in close quarters, as a form of communion. Here is how I spent the evening of April 17: At that point, one month into home quarantine, I had grown accustomed to the live stream as a plucky substitute for conventional performance. I was about to cue up one of those streams when I saw reports of the death of Giuseppi Logan, a multi-reedist who made his mark in free jazz. I'd just started writing Logan's obituary when my phone rang: A friend and fellow critic wanted to know whether I was working on an obit for the revered avant-garde bassist Henry Grimes. -
Modeling Musical Influence Through Data
Modeling Musical Influence Through Data The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:38811527 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Modeling Musical Influence Through Data Abstract Musical influence is a topic of interest and debate among critics, historians, and general listeners alike, yet to date there has been limited work done to tackle the subject in a quantitative way. In this thesis, we address the problem of modeling musical influence using a dataset of 143,625 audio files and a ground truth expert-curated network graph of artist-to-artist influence consisting of 16,704 artists scraped from AllMusic.com. We explore two audio content-based approaches to modeling influence: first, we take a topic modeling approach, specifically using the Document Influence Model (DIM) to infer artist-level influence on the evolution of musical topics. We find the artist influence measure derived from this model to correlate with the ground truth graph of artist influence. Second, we propose an approach for classifying artist-to-artist influence using siamese convolutional neural networks trained on mel-spectrogram representations of song audio. We find that this approach is promising, achieving an accuracy of 0.7 on a validation set, and we propose an algorithm using our trained siamese network model to rank influences. -
Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey. -
Trevor Tolley Jazz Recording Collection
TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre. -
By Ted Dykstra and Richard Greenblatt
CENTER REPERTORY COMPANY OF WALNUT CREEK Michael Butler, Artistic Director Scott Denison, Managing Director presents 2 Pianos 4 Hands By Ted Dykstra and Richard Greenblatt Cast Mark Anders Carl J. Danielsen Scenic Designer Original Lighting Designer Casting Director Scott Weldin Don Darnutzer Bruce Elsperger Original Sound Designer Associate Lighting Designer Original Costume Designer David R. White Jane Spencer Kish Finnegan Sound Designer Stage Manager Will McCandless Corrie Bennett Directed by Bruce K. Sevy 2 Pianos 4 Hands was originally produced in April 1996 by Tarragon Theatre (Toronto, Canada), in association with Talking Fingers Inc., and Produced Off-Broadway, in London and throughout North America by Mirvish Productions, Toronto. 2 Pianos 4 Hands is produced by permission of Marquis Entertainment Inc. (www.marquisent.ca). January 29 - February 28, 2009 Lesher Center for the Arts Margaret Lesher Theatre Season Sponsor Season Partner Season Media Sponsor The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States The Director in this production is a member of the Society of Stage Directors and Choreographers The Scenic Designer and Lighting Designer are members of United Scenic Artists Union CAST music from Cal Berkeley. Piano studies with Barbara Shearer. movie. Most recently, he has performed in a new collaboration Member (composer) of BMI workshop, Harrington Award. with Diane Flacks entitled Care (Tarragon Theatre), performed Mark Anders Listen to composition samples at myspace.com/carldanielsen his is one-man play Letters from Lehrer (CanStage), featuring the work of song satirist Tom Lehrer, and directed both Danny - King Carl J. -
Round Midnight”
Thelonious Monk’s “‘Round Midnight” Selected Bibliography/Discography Michael McClimon M539 – Introduction to Music Bibliography Prof. Phil Ponella 28 April, 2010 1 Bibliography Aikin, Jim. “Two Views of ‘‘Round Midnight’: A Classic Tune Then and Now.” Keyboard 11 (April 1985): 36-42. This article contains one page of text and two transcriptions of “‘Round Midnight,” one by Monk (from Thelonious Himself, April 1957) and another recorded by Richie Beirach. The article is intended primarily for keyboardists interested in Monk's music, but contains some other useful information too. Aikin pays a lot of attention to the mood of the tune, and is careful to point out that Monk's unusual piano technique is not "careless or sloppy," as some have criticized. Most of the insight into the music is available elsewhere, but the article remains valuable for Tom Darter's transcription of Monk's solo. Bowen, José A. “The History of Remembered Innovation: Tradition and Its Role in the Relationship between Musical Works and Their Performances.” The Journal of Musicology 11, no. 2 (Spring 1993): 139-73. Bowen uses Monk’s “‘Round Midnight” as a case study in describing the fluid nature of a musical work. The work, he asserts, is not the score, but the many and varied performances of the work itself. He uses the history of Monk’s tune, first as recorded by Cootie Williams, and with later interpretations by Dizzy Gillespie and Miles Davis, to illustrate that there is no strict requirement to constitute a musical work, but rather a set of family resemblances (following Wittgenstein). -
Handout Vocal Jazz in the Choral Curriculum Voices United 8-13-16
Vocal Jazz in the Choral Curriculum Repertoire for your Concert Choir Kathleen Shannon, R & R Chair for Vocal Jazz, Delaware ACDA assisted by Martin Lassman, Treasurer, Delaware ACDA Voices United Conference August 13, 2016 [email protected] http://deacda.org/index.html Selecting Repertoire – Where to Start Great American Songbook u A recognized musical canon encompassing critically acclaimed, significant songs written during the first half of the 20th Century u Synonymous with the concept of the American “standard” u Sources include Broadway, Tin Pan Alley, Hollywood musical films, songs written for specific famous singers u The availability of sheet music, the advent of recording technology and the birth of radio and television helped to bring this music to a wide audience. Irving Berlin (1888-1989) Berlin wrote most of his own lyrics, except as noted u Anything You Can Do I Can Do Better u I’ve Got My Love To Keep Me Warm u Blue Skies u Let’s Face The Music And Dance u Cheek to Cheek u Play A Simple Melody u Count Your Blessings (Instead of u Puttin’ On Th e Ri tz Sheep) u Sisters u God Bless America u Steppin’ Ou t Wi th My B ab y u Happy Holiday (Bing Crosby) u There’s No Business Like Show u How Deep Is The Ocean Business u I Got the Sun In the Morning and the u They Say It’s Wonderful Moon At Night u Top Hat, White Tie and Tails u I Love A Piano u What’ll I Do? u It’s A Lovely Day Today u White Christmas Jerome Kern (1885-1945) Kern and Oscar Hammerstein II wrote five musicals together, including Show Boat. -
Thelonious Monk Orchestra at Town Hall
ad" melody, his debt to thing he has RIVERSIDE »re at hand: ell as leader proudly presents id personal) Ie does better a new, ingeniously mes or with Ray Haynes distinguished and truly different in) provided ussive piano Thelonious Monk recording: armer’s style ic than per- he is rather but perhaps lulated by a lally obvious ch as the fact trast for him man group, ay be correct THELONIOUS is not up to that is his at „ I MONK THELONIOUS I MONK I NS—Decca bl uilty; It's Tat xtd Emotions; ORCHESTRA uuday Kind Of ORCHESTRA '-ike My Baby; If Rain; Don't a. with varioM AT erent danger ■d labels: the t of old stuff n. TOWN s for Verve, dently a pas- ecording ses- s Fitzgerald's HALL Reasons, she m Boys; on Monaural: Riverside RLP 12-300 Stereo: Riverside RLP 1138 and an or- vith the Ray :stra directed ith the Song The debut performance of this new Monk band, recorded in concert orchestra; on at New York’s Town Hall, makes a really startling and unique album. le Andy Love er Bob Hag- Full-scale orchestrations of great Monk compositions add a new creative dimension nes are poor, to the work of one of the major forces of modem jazz. ases, terrible, rercial songs, (Special note: Listen to Little Rootie Tootie ly. Ella does in particular, for the most exciting sound of the year!) her best isn’t Soloists include Thelonious (in rare form), edious medi- Donald Byrd, Phil Woods, Charlie Rouse, Pepper Adams.