The Evolution of PASIC by Gary Cook
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Works by John Cage, Lou Harrison, Christopher Rouse, Eugene Kurtz, Irwin Bazelon, J.Verplanck New World 80382-2 by Eric Salzman
Works by John Cage, Lou Harrison, Christopher Rouse, Eugene Kurtz, Irwin Bazelon, J.Verplanck New World 80382-2 by Eric Salzman Rhythm is the starting point. Along with the sound of the human voice, the music of rhythm is as old as music itself. The sound of a woodpecker is a drum tattoo.The great apes drum, as well as vocalize. The human infant is cradled by the mother's heartbeat even before birth. Drums and percussion have always been an essential part of music and life throughout the world, except in Western art music of the past few centuries. Only in recent years has the percussion ensemble taken its rightful place along with the more familiar string, wind, and brass ensembles in Western music. The new percussion music has roots in three fairly distinct places: non-Western music, mostly Asian; jazz and related Afro-Latin forms; and the experimental music movements, both pre- and post- World War II. All of these influences are represented on this album. In the 1930s and again in the 1970s, the American avant-garde turned its attention from pure experimentation to more accessible forms of music-making and, at the same time, opened itself to non-Western—especially Eastern—influence. Led by the Californian Henry Cowell and his West Coast disciples John Cage and Lou Harrison, this underground, orientalizing avantgarde of the Thirties and Forties has long-term links with the minimalists and post-modernists of more recent vintage. John Cage was born in Los Angeles in 1912 and studied with Cowell, Arnold Schoenberg, and Adolph Weiss; Edgard Varèse was also a major influence, particularly in the area of percussion music. -
List of Available Videos
Artist Concert 3 Doors Down Live at the Download Festival 3 Doors Down Live At The Tabernacle 2014 30 Odd Foot Of Grunts Live at Soundstage 30 Seconds To Mars Live At Download Festival 2013 5 Seconds of Summer How Did We End Up Here? 6ft Hick Notes from the Underground A House Live on Stage A Thousand Horses Real Live Performances ABBA Arrival: The Ultimate Critical Review ABBA The Gold Singles Above And Beyond Acoustic AC/DC AC/DC - No Bull AC/DC In Performance AC/DC Live At River Plate\t AC/DC Live at the Circus Krone Acid Angels 101 A Concert - Band in Seattle Acid Angels And Big Sur 101 Episode - Band in Seattle Adam Jensen Live at Kiss FM Boston Adam Lambert Glam Nation Live Aerosmith Rock for the Rising Sun Aerosmith Videobiography After The Fire Live at the Greenbelt Against Me! Live at the Key Club: West Hollywood Aiden From Hell with Love Air Eating Sleeping Waiting and Playing Air Supply Air Supply Live in Toronto Air Supply Live in Hong Kong Akhenaton Live Aux Docks Des Sud Al Green Everything's Going To Be Alright Alabama and Friends Live at the Ryman Alain Souchon J'veux Du Live Part 2 Alanis Morissette Guitar Center Sessions Alanis Morissette Live at Montreux 2012 Alanis Morissette Live at Soundstage Albert Collins Live at Montreux Alberta Cross Live At The ATO Cabin Alejandro Fernández Confidencias Reales Alejandro Sanz El Alma al Aire en Concierto Ali Campbell Live at the Shepherds Bush Empire Alice Cooper AVO Session Alice Cooper Brutally Live Alice Cooper Good To See You Again Alice Cooper Live at Montreux Alice Cooper -
Frisco Dwindles to Two Franklin Ave^ Brooklyn; No «Overt ASTOR HOTEL (Time« Square)
1951 Chicago. December 14, 1951 NEWS-FEATURES DOWN BEAT 11 LOPA (Chicago and Much) no cuvar or minimum). Roy Kral’« piano and vocal« blending with Jackie Cain’s voice and Ken SWINGIN' THE GOLDEN GATE ny Buchanan*« bam for a welcome and unique sound and sight. On The Town DE LISA (5521 S. State) no minimum or eovor). A big bright show which often S' ' — ------------------------------------------------------- features the singing of Joo Williams and NEW YORK always the band of drummer Red Saunders. Number Of Jazz Clubs In HOTSPOTS trio—Frank Cerrehia on guitar. Norman Mondav morning breakfast shows draw un piano, and Justin Arndt on base. •elebritiea. THE ALBtKl (13» E. 36«h| PImUi Cy LITTLE CLUB (70 S. 55th). Sonny Walter after 10 p.». every night but Mon* Kendis trio, with Lionel Meth soloing at 1111 CLUB (1111 W. Bryn Mawr; no day, pint the Johnny Smith trio. piano. minimum or cover). Johnny Lane’s Dixie DINE AND DANCE erew, with Benny Woodworth, trampet) BEDFORD REST (Eastern Parkway and Lane, clarinet; George Winn, trombone and Frisco Dwindles To Two Franklin ave^ Brooklyn; no «overt ASTOR HOTEL (Time« Square). Ted euphonium; Roy Wasson, piano, and Hey- minimum). Semi-organised jam ECMioni Huston's band in Columbia room from 10 Hey Humphrey, drums. By RALPH J. GLEASON Sunday. p.m. Broadway eoektail lounge now open, 113 CLUB (113 E. 47th) no cover or San Francisco—The small jazz combos may be all over the CAFE SOCIETY (2 Sheridan Square). where you can dance to Alan Holmes’ minimum). Friis Jones, formerly of Pitts Claude Hopkina quartet playa for dancing. -
THE SHEPHERD SCHOOL PERCUSSION ENSEMBLE Richard Brown, Director
... THE SHEPHERD SCHOOL PERCUSSION ENSEMBLE Richard Brown, Director PERCUSSIVE ARTS SOCIETY INTERNATIONAL CONVENTION 1989 Nashville, Tennessee Thursday, November 9,1989 2:00p.m. Nashville Convention Center .. RICE UNIVERSITY '.t I I PROGRAM 't Fourscon * (1985) Irwin Bazelon CombiniiZioni (1974) Robert Hall Lewis Boru Meal (1983) J. (Billy) Verplanck • Third Construction * (1943) John Cage Ionisation (1931) Edgar Var~se ~ SHEPHERD SCHOOL PERCUSSION ENSEMBLE Laura Bess J. Riely Francis Chistopher Rose Hugh Brock Sharon Hickox Richard Skains Christian Dionne Usa McCaffery Daniel Smith Gabriel Dionne Andrea Moore Thomas Winckler David Murray *Performed by the CONI'INUUM PERCUSSION QUARTET: Gabriel Dionne Christopher Rose J. Riely Francis Richard Skains ACKNOWLEDGEMENTS The Shepherd School Percussion Ensemble is grateful to the follow ing for the use ofthe instruments: Pear/Drums Sabian Cymbals Latin Percussion Zildjian Cymbals DeMo"ow Marimbas Ludwig Drums Kori Marimbas YamtJha Music Corporation Musser Marimbas Steve Weiss Music Ross 111St1'111Mnts Terry Applebaum, Klungkung Gongs Northwestern University RICHARD BROWN, a native ofPhiladelphia, earned his Bachelor of Music degree from Temple University, Philadelphia, and his Master of Music degree from Catholic University, Washington, D.C. He started his career in 1968 with the Chamber Symphony ofPhiladelphia. He was in the United States Army Band in Washington, D.C., and then moved to Houston to play with the Houston Symphony, apositionhe held for eight years. While in Houston, he established the Percussion Department at The Shepherd School ofMusic. Richard Brown left the Houston Symphony to establish a free-lance career in New York City. He worked in the studios recording film scores, records, and radio and TV jingles, played several Broadway shows, and worked with the Metropolitan Opera, the Orchestra ofSt. -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Princes Theatre Town Hall, Clacton-On-Sea
PRINCES THEATRE TOWN HALL, CLACTON-ON-SEA WHAT’S ON GUIDE SPRING 2015 This Spring at the Princes Theatre Joe Longthorne - page 3 LDN Wrestling - page 5 Joseph - page 5 The Fureys - page 13 Vienna Festival Ballet Michael Jackson Tribute Essence of Ireland - page 14 Champions of Magic - page 13 - page 14 - page 17 Welcome and Happy New Year to you all… 2015 looks set to be a fantastic year with an array of shows to the musical theatre workshop held in the Spring Half Term. 2015 suit all ages and tastes. We start the year off with the UK’s No.1 presents two superbly popular musicals that you will not want to Swing Band Jive Aces who were the first band to reach the final miss “Joseph & The Technicolor Dream Coat” performed by the Youth round of Britain’s Got Talent. We are pleased to announce that Joe Theatre Performerz and the Wizard of Oz from the producers of Jack Longthorne will be returning in January and hope he has made a & The Beanstalk, Polka Dot Pantomimes. full recovery. This will be followed by a dazzling performance with The season will finish with the UK’s largest touring magic show beautiful gowns and soulful voices from 60s group The Three Degrees. “The Champions of Magic” which features 5 of the world’s finest The spectacular Rigoletto Russian State Opera & Ballet, Essence magicians and world class tricksters that will leave you speechless of Ireland and the very popular Vienna Festival Ballet who will be with stunning illusions and Colin Fry the world’s most recognised celebrating their 35th anniversary will once again be returning to spiritualist medium and healer. -
Weeksville Lost Jazz Shrines
1 Weeksville Lost Jazz Shrines Annotated Bibliography and Discography Primary Sources Interviews Note: Most of the artists listed below were interviewed over a period of two years (April, 2010 –October, 2011 through Weeksville’s Lost Jazz Shrine Project). Artists interviewed include: Brooklyn natives; longtime Brooklyn residents; or artists who performed frequently at some of Brooklyn's Lost Jazz Shrines and in some cases, continue to perform in Brooklyn. Abdullah, Ahmed. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 46 mins 36 sec. Barnes, Wade E. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 7 December 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 51 min. 26 sec. Barron, Kenny. Oral History Interview. Interviewed by Willard Jenkins. 9 October 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Braithwaite, “Fab 5” Freddie. Oral History Interview. Interviewed by Willard Jenkins and Jennifer Scott. 7 Oct 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 25 mins. 32 secs. Carroll, Alma. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 24 August 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 10 mins. 34 secs. Cheatham, Jo Ann. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. -
DUELING MALLETS Featuring Guest Artist SUSAN PASCAL
CtHVvP ~ . ,t:5 c. C()& 0 if )015' --",.,'-~ ) '/3~- THE MALLET HEAD SERIES presents D DUELING MALLETS featuring guest artist SUSAN PASCAL Susan Pascal, vibraphone Dan Dean, electric bass Tom Collier, marimba Ted Poor, drums February 13,2015 7:30 PM Meany Studio Theater 1-0 C:PI-7f'/r, JC6 2 1- - 9 cPZ-=ffj-n 1'1;3 Program to be chosen from: -HlGjj:ffl,4 y eNE .......................................................... BOBBY HUTCHERSON =;- JUPITER JUMP .......................:t.;2:l..................................... TOM COLLIER 'firll<f7l;'SJO}' ............................................................................ TOM COLLIER q SLEEK BUICK...........................5'Lf3I. .................................................. DAN DEAN }vf:lfLLET.htz::z......................................................................... TOM COLLIER .. ':)MONTARA .....................................~.{.:.t:?................ BOBBY HUTCHERSON 9 CORAL ..................................-::;"'~3(.............................................. KEITHJARRETT. L.f TURNED AROUND AGAIN..............L"h.;,Z...3....................... TOM COLLIER " 2.. BLACK HOLE .............. H?~.~.?;.............................................. TOM COLLIER :3> SAME SHAME ....................................1-''391........................ BOBBY HUTCHERSON I TIMES LIKE THESE.........~.i..l.9. .......................................... MAK.OTO OZONE f h f:>G~ 5 &rw ve.. - J1IJr IT JCU-/<>oYj Cf :3 g SUSAN PASCAL: Seattle jazz vibraphonist Susan Pascal has taken her music -
USBC Approved Bowling Balls
USBC Approved Bowling Balls (See rulebook, Chapter VII, "USBC Equipment Specifications" for any balls manufactured prior to January 1991.) ** Bowling balls manufactured only under 13 pounds. 5/17/2011 Brand Ball Name Date Approved 900 Global Awakening Jul-08 900 Global BAM Aug-07 900 Global Bank Jun-10 900 Global Bank Pearl Jan-11 900 Global Bounty Oct-08 900 Global Bounty Hunter Jun-09 900 Global Bounty Hunter Black Jan-10 900 Global Bounty Hunter Black/Purple Feb-10 900 Global Bounty Hunter Pearl Oct-09 900 Global Break Out Dec-09 900 Global Break Pearl Jan-08 900 Global Break Point Feb-09 900 Global Break Point Pearl Jun-09 900 Global Creature Aug-07 900 Global Creature Pearl Feb-08 900 Global Day Break Jun-09 900 Global DVA Open Aug-07 900 Global Earth Ball Aug-07 900 Global Favorite May-10 900 Global Head Hunter Jul-09 900 Global Hook Dark Blue/Light Blue Feb-11 900 Global Hook Purple/Orange Pearl Feb-11 900 Global Hook Red/Yellow Solid Feb-11 900 Global Integral Break Black Nov-10 900 Global Integral Break Rose/Orange Nov-10 900 Global Integral Break Rose/Silver Nov-10 900 Global Link Jul-08 900 Global Link Black/Red Feb-09 900 Global Link Purple/Blue Pearl Dec-08 900 Global Link Rose/White Feb-09 900 Global Longshot Jul-10 900 Global Lunatic Jun-09 900 Global Mach One Blackberry Pearl Sep-10 900 Global Mach One Rose/Purple Pearl Sep-10 900 Global Maniac Oct-08 900 Global Mark Roth Ball Jan-10 900 Global Missing Link Black/Red Jul-10 900 Global Missing Link Blackberry/Silver Jul-10 900 Global Missing Link Blue/White Jul-10 900 Global -
Faculty Biographies Division Coordinators and Educational Consultants
2012 Summer Symposium, presented by Faculty Biographies Division Coordinators and Educational Consultants Mark Buselli Jazz Band Division Coordinator Mark Buselli is Director of Jazz Studies at Ball State University. Awards include a 2010-2011 BSU College of Fine Arts Dean’s Creative Arts Award, a Creative Renewal grant from the Indianapolis Arts Council in 2005, a teacher of the year award in 2004 at Butler University, a Creative Vision award from NUVO in May of 2007, a top 10 CD release of 2009 (December 2009) in JAZZIZ magazine for “An Old Soul,” and a top 100 CD of the decade (January 2010) in DownBeat magazine for the Buselli/Wallarab release of “Basically Baker.” Mr. Buselli has over 40 arrangements published for big bands, brass ensemble and piano/trumpet. He has nine recordings out as a leader on the Owlstudios and OA2 record labels. He has written/arranged/performed for numerous artists.Mr. Buselli currently serves as Education Director of the Buselli Wallarab Jazz Orchestra/Midcoast Swing Orchestra in Indianapolis, where he has created numerous educational opportunities for over 10,000 students. Mr. Buselli graduated from the Berklee School of Music in Boston and received his Master of Music degree in Jazz Studies from Indiana University. Thomas Caneva Concert Band Division Coordinator Dr. Thomas Caneva is Director of Bands, Professor of Music and Coordinator of Ensembles and Conducting at Ball State University. At Ball State, Dr. Caneva’s responsibilities include conducting the Wind Ensemble, coordinating the graduate wind conducting program, teaching undergraduate conducting and administering the entire band program. Under his direction, the Ball State University Wind Ensemble has performed at CBDNA Regional and National Conferences, the American Bandmasters Association Convention, and state and regional MENC conventions. -
Orchestra Bells As a Chamber and Solo Instrument: a Survey Of
ORCHESTRA BELLS AS A CHAMBER AND SOLO INSTRUMENT: A SURVEY OF WORKS BY STEVE REICH, MORTON FELDMAN, FRANCO DONATONI, ROBERT MORRIS, MARTA PTASZYŃSKA, WILL OGDON, STUART SAUNDERS SMITH, LAFAYETTE GILCHRIST AND ROSCOE MITCHELL Mark Samuel Douglass, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Mark Ford, Major Professor Joseph Klein, Relative Field Professor David Bard-Schwarz, Committee Member Benjamin Brand, Director of Graduate Studies and Dean of the College of Music Douglass, Mark Samuel. Orchestra Bells as a Chamber and Solo Instrument: A Survey of Works by Steve Reich, Morton Feldman, Franco Donatoni, Robert Morris, Marta Ptaszyńska, Will Ogdon, Stuart Saunders Smith, Lafayette Gilchrist and Roscoe Mitchell. Doctor of Musical Arts (Performance), May 2016, 96 pp., 73 musical examples, 11 figures, references, 59 titles. This dissertation considers the use of orchestra bells as a solo instrument. I use three examples taken from chamber literature (Drumming by Steve Reich, Why Patterns? by Morton Feldman, and Ave by Franco Donatoni) to demonstrate uses of the instrument in an ensemble setting. I use six solo, unaccompanied orchestra bell pieces (Twelve Bell Canons by Robert Morris, Katarynka by Marta Ptaszyńska, Over by Stuart Saunders Smith, A Little Suite and an Encore Tango by Will Ogdon, Breaks Through by Lafayette Gilchrist, and Bells for New Orleans by Roscoe Mitchell) to illustrate the instrument’s expressive, communicative ability. In the discussion of each piece, I include brief background information, the composer’s m usical language in the piece and performance considerations. I interviewed composers of these solo works to complete the research for this document to discuss their musical language and their thoughts on writing for solo orchestra bells.