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Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ...................................................................................... -
North Carolina
Gowan MALS Final Project Spring 2014 2 Table of Contents The Roots of Jazz in North Carolina ................................................................................................. 3 Setting the Stage ............................................................................................................................ 4 The 19th Century: Songs of Joy and Freedom .................................................................................. 9 19th Century Secular Music in North Carolina: In the String of Things ......................... 10 Sacred Music in 19th Century North Carolina: Lined Up and Ready ............................. 19 The 20th Century: Repression, Deliverance, and Escape ............................................................. 28 Secular Music in 20th Century North Carolina: Getting the Blues ................................... 29 Sacred Music in the 20th Century: Shout It Out ................................................................... 39 North Carolina: Fertile Ground for Jazz? ..................................................................................... 48 Works Cited .......................................................................................................................................... 52 Gowan MALS Final Project Spring 2014 3 The Roots of Jazz in North Carolina An analysis of the musical heritage of the Tar Heel State and its connection to jazz greats North Carolina is not known for its jazz music. When you think about the hubs of jazz, New Orleans, New York, -
An Analytical Approach to Vibraphone Performance Through the Transcription and Analysis of Gary Burton’S Solo on Blue Monk
AN ANALYTICAL APPROACH TO VIBRAPHONE PERFORMANCE THROUGH THE TRANSCRIPTION AND ANALYSIS OF GARY BURTON’S SOLO ON BLUE MONK A Monograph 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 Musical Arts in The School of Music By Charles B. Brooks B.A., Western Kentucky University, 1997 M.A., Austin Peay State University, 2000 December 2007 ACKNOWLEDGMENTS This document would not exist without the guidance and counsel of several extraordinary individuals. It is dedicated to my father for introducing me to the world of music. I would like to extend special gratitude to my mother for her guidance, strength, and belief that anything is possible. In addition I would like to thank Johnny Walker and my brother, Michael Brooks, without whom none of this would possible. This document is also dedicated to Kenneth Welch and Larry Long for their counsel and friendship. I extend special thanks to my teachers Dr. Christopher Norton, Mr. David Steinquest, Dr. Charles Smith, Dr. Thomas King, Dr. Jefferey Wood, Dr. Dinos Constantinides, Dr. Joseph Skillen, Dr. Robert Peck, and Dr. Michael Kingan. I would especially like to thank Dr. Willis Delony for staying the course and guiding me through rough terrain. ii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................ii LIST OF MUSICAL EXAMPLES................................................................................iv -
Jazz Lines Publications Silent Night Presents Arranged by Wynton Marsalis Full Score
Jazz Lines Publications Silent Night Presents Arranged by wynton marsalis full score jlp-7204 Words by Joseph Mohr, Music by Franz Gruber Copyright © 1989 SKAYNES MUSIC International Copyright Secured All Rights Reserved Used by Permission Logos, Graphics, and Layout Copyright © 2014 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization of Wynton Marsalis Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA wynton marsalis series Silent night (1989) Background (from the liner notes to the album): As might be expected, the joy, reverence, play, and humor associated with the Christmas season dominate the moods of this Wynton Marsalis album. But the ease and precision with which a down-home and elegant victory has been achieved over the large challenge of arranging such familiar material will surprise even seasoned Marsalis listeners. What amounts to the thematic and emotional folklore of the winter holidays has been fused with the clarity of passion and musical sophistication expected of the best of the jazz tradition. Here the talent for composition, arranging, and recasting that Wynton Marsalis has been diligently expanding upon since his very first album as a leader proves itself to have arrived at yet another fresh point of expressiveness. And as with all complete artistic achievements, it results from the seamless interweaving of the aesthetic and the personal. “For at least five years,” says Marsalis, “I have wanted to do a Christmas album. -
Grant Green: an Analysis of the Blue Note Guitarist╎s Musical
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2018 Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary Teague Stefan Bechtel Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Bechtel, Teague Stefan, "Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary" (2018). Dissertations. 479. https://digscholarship.unco.edu/dissertations/479 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2018 TEAGUE STEFAN BECHTEL ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School GRANT GREEN: AN ANALYSIS OF THE BLUE NOTE GUITARIST’S MUSICAL VOCABULARY A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Teague Stefan Bechtel College of Performing and Visual Arts School of Music Jazz Studies May 2018 This Dissertation by: Teague Stefan Bechtel Entitled: Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary has been approved as meeting the requirements for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies. Accepted by the Doctoral Committee Steven G. Kovalcheck, M.M., Research Advisor H. David Caffey, M.M., Co-Research Advisor Socrates Garcia, D.A., Committee Member Mary Schuttler, Ph.D., Faculty Representative Date of Dissertation Defense________________________________________________ Accepted by the Graduate School _________________________________________________ Linda L. -
The Branagh Film
SYDNEY STUDIES IN ENGLISH DEPARTMENT OF ENGLISH UNIVERSITY OF SYDNEY Volume 36, 2010 PENNY GAY: ‗A Romantic Musical Comedy‘ for the Fin-de-Siecle: Branagh‘s Love’s Labour’s Lost 1 BEN JUERS: Slapstick and Self-Reflexivity in George Herriman‘s Krazy Kat 22 JULIAN MURPHET: Realism in The Wire 52 LUKE HARLEY: An Apollonian Scream: Nathaniel Mackey‘s Rewriting of the Coltrane Poem in ‗Ohnedaruth‘s Day Begun‘ 77 REBECCA JOHINKE: Uncanny Carnage in Peter Weir‘s The Cars That Ate Paris 108 77 PETER KIRKPATRICK: Life and Love and ‗Lasca‘ 127 MARK BYRON: Digital Scholarly Editions of Modernist Texts: Navigating the Text in Samuel Beckett‘s Watt Manuscripts 150 DAVID KELLY: Narrative and Narration in John Ford‘s The Searchers 170 Editor: David Kelly Sydney Studies in English is published annually, concentrating on criticism and scholarship in English literature, drama and cinema. It aims to provide a forum for critical, scholarly and applied theoretical analysis of text, and seeks to balance the complexities of the discipline with the need to remain accessible to the wide audience of teachers and students of English both inside and outside the university. Submissions of articles should be made online at http://escholarship.library.usyd.edu.au/journals/index.php/SSE/about/sub missions#onlineSubmissions Each article will be read by at least two referees. Sydney Studies in English is published in association with the Department of English, University of Sydney, NSW 2006, Australia. Visit the Department‘s homepage at: http://sydney.edu.au/arts/english/ ISSN: 0156-5419 (print) ISSN: 1835-8071 (online) Sydney Studies in English 36 Special Edition: The Texts of Contemporary English Studies This volume of Sydney Studies in English is concerned with the changing nature of the text for the study of English. -
Instrumental
INSTRUMENTAL 1022 Absolute Beginners Series 1038 Instrumental Solo Collections 1020 All About Series 1028 Jazz Instruction 1067 Anglo Music Original Collections 1021 Julie Lyonn Lieberman 1034 Artist Transcriptions 1068 Master Solos 1096 Bass 1074 Music Minus One 1105 Bassoon 1023 A New Tune a Day Series 1026 Berklee Practice Method 1109 Oboe 1037 Big Band Play-Along 1070 Orchestra Musician’s CD-ROM Library 1036 Claude Bolling 1018 Play Today! Series 1129 Brass 1112 Recorder 1110 Saxophone 1140 Canadian Brass 1068 Schott Original 1072 CD Sheet Music Instrumental Play-Alongs 1093 Cello 1079 Solos for Instrumental Players 1106 Clarinet 1024 Step One Series 1041 Classical Play-Along 1081 Strings 1005 Cookbook Series 1010 Student/Parent Resources 1016 Correlated Collections for Band 1004 Teaching Music Series 1017 Correlated Collections for Strings 1000 Theory & Instruction 1066 Curnow Original Music 1021 The Tipbook Series 1006 Director Resources 1129 Transcribed Horns 1008 Small Ensemble Music Resources 1137 Trombone 1009 Wind Band Biographies 1130 Trumpet 1027 Essential Elements for Jazz 1138 Tuba 1012 Essential Elements 2000 for Band 1026 A Tune a Day Series 1014 Essential Elements 2000 for 1092 Viola Strings 1081 Violin 1139 Euphonium 1091 Violin Play-Along 1097 Flute 1069 John Williams 1078 G. Schirmer Instrumental Library 1097 Woodwinds 1011 Hal Leonard Pocket Resources 1096 Harp 1138 Horn Also see the Hal Leonard Instrumental Catalog for large ensemble works. 1016787 9 Instrumental_NU.indd 999 12/6/11 11:00 AM 1000 ThEoRy & INSTRUcTIoN ALL ABOUT MUSIC THEORY MORE BASICS BERKLEE by Mark Harrison IN RHYTHM MUSIC THEORY Please see the “All About” series feature for by Garwood Whaley Book 1 – a complete description. -
September 2013 570 Tracklists 1050 Entries I Received the Skeleton Of
Keith jarrett Disco Version 17 September 2013 570 tracklists 1050 entries . I Received The skeleton of this Discography on December 2010 from Klaus Muller (Many thanks to Him) tracklists (mainly official recordings) I added more than 600 Tracklists/entries coming from the following discos: Olivier Bruchez’s (BR) http://web.archive.org/web/20050426203346/http://www.bruchez.org/olivier/music/keith/tra delist.html Davide sparti’s (SP) Peter Losin’s (PL) Dime entries (DI) Arnulf Muller (mu) (pa) http://web.archive.org/web/20100612160739/http://papoulis.dyndns.org/~sim/jarrett/bootlegs.php My Collection +++ Concerts Prepared by Flambay + u014945 (fl+++) Concerts prepared by U014945 (+++) Hope you all enjoy For every mistake and update please e-mail me at [email protected] 620000 Don Jacoby And The College All Stars Bob Crull, Don Jacoby, Gary Slavo, Tom Wirtel, Chris Witherspoon (tp) Dee Barton, Willie Barton, Loren William Bin- ford, Dave Wheeler (tb) Al Beuler, John Giordano (as) Don Melka, Bob Pierson (ts) Jerry Keys (bs, as) Keith Jarrett (p) Don Gililland (g) Toby Guynn (b) John Van Ohlen (dr) 1962, Chicago, IL 1 Dizzy Atmosphere 2 Young Man With The Blues 3 Sing 4 It's Good For You 5 Just For A Thrill 6 Anema E Core (How Wonderful To Know) 7 Mais Oui 8 Sleepy Serenade 9 Jey Out Of Town 10 Jacob Jones 11 Let Me Love You 12 Teach Me Tonight 13 Groovin' High 14 The End Of A Love Affair 15 Lover Man (Oh, Where Can You Be?) 16 You Don't Know What Love Is 17 Back To The Beat 1-17: Don Jacoby - Swinging Big Sound (Decca DL 4241) 650300 Keith Jarrett trio (PA) Kent Carter Bass Danny Fullerton Drums, Winchester , Massachussets, USA . -
Music Library 2020 Part 2: Ensemble Repertoire Table of Contents
Music Library 2020 part 2: ensemble repertoire Table of Contents Concert Band 3 beginning 4 very easy 9 easy 28 medium easy 54 medium 83 medium advanced 104 advanced 114 not rated 119 Choir 120 unison 121 2-part 121 SA 123 SSA 123 3-part mixed 124 SAB 125 SATB 126 SSAA 130 SSAATTBB 130 SSATBB 130 TB 131 TBB 131 TTB 131 TTBB 131 Full Orchestra 133 very easy 134 easy 134 medium easy 135 medium 136 medium advanced 137 advanced 138 String Orchestra 139 beginning 140 very easy 140 easy 148 medium easy 164 medium 179 medium advanced 191 advanced 193 Jazz Band 195 very easy 196 easy 197 medium easy 201 medium 206 medium advanced 211 advanced 213 ©2020 MakeMusic. All rights reserved. 2 Concert Band beginning 4 very easy 9 easy 28 medium easy 54 medium 83 medium advanced 104 advanced 114 not rated 119 ©2020 MakeMusic. All rights reserved. 3 Concert Band beginning Title Composer Arranger Publisher Print on Demand 10 to the Power Grice, Rob Composers' Planet 12 the Clock Strikes Grice, Rob C.L. Barnhouse Co. 1st Classic Suite Hannickel, Mike Curnow Music Press, Inc. Admiration March Clark, Larry Carl Fischer LLC. All Aboard! Conaway, Matt C.L. Barnhouse Co. Along Came a Spider Hannickel, Mike Curnow Music Press, Inc. Anasazi Legend Compello, Joseph Carl Fischer LLC. Android Attack Oare, Michael Hal Leonard Corp. Andromeda Connection, The Barrett, Roland Belwin Attack of the Slide Trombones Hannickel, Mike Curnow Music Press, Inc. Ayre and Dance Pearson, Bruce Neil A. Kjos Music Co. Band on Parade Sweeney, Michael Hal Leonard Corp. -
Teaching and Learning Jazz Trombone Dissertation
TEACHING AND LEARNING JAZZ TROMBONE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Julia M. Gendrich, B.S., M.S. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Dr. William T. McDaniel, Co-Adviser _______________________________ Co-Adviser Dr. Timothy A. Gerber, Co-Adviser School of Music Dr. Jon R. Woods _______________________________ Co-Adviser School of Music ABSTRACT The purpose of the study was to identify and assess methods of teaching and learning jazz trombone improvisation that have been implemented by jazz trombone professors. Its intent was to describe learning procedures and areas of trombone study. A survey instrument was designed after interviewing 20 professional jazz trombonists. The survey was pilot-tested (n = 9) and adjustments were made. Jazz trombone professors (n = 377) were sent questionnaires, with a response rate of 28 percent after an additional reminder to all and follow-up phone calls to one-third of the sample. Of the 106 total respondents, 58 were deemed to be eligible participants as both trombonists and as teachers of jazz improvisation. Three areas were explored: 1) early stages of development, 2) teaching, and 3) trombone technique. Data showed that most of the professors (77%) had learned to improvise between 7th-12th grades. They identified the most important method of learning for themselves as listening and playing-along with recordings. Learning occurred on their own for many, though college also had an impact. Schools (K-12) were not strongly rated as being helpful in the trombonists learning to improvise (2.49 on a scale of one to five), though schools did provide many jazz performance experiences. -
Methods for Fighting the Epidemic of Tune Illiteracy Woodshed
110-118_SHED.qxd 3/17/10 4:18 PM Page 114 MASTER CLASS Woodshed by J.B. Dyas, Ph.D Methods For Fighting The Epidemic Of Tune Illiteracy For the past 20-plus years, I’ve 8-bar bridge and 8-bar last A) had the honor of teaching in a • “Moment’s Notice”: ABAB'V (8-bar first A, 8-bar first B, wide variety of didactic situa- 8-bar second A, 6-bar second B, 8-bar vamp with tions, from jazz camps and per- B-flat pedal) forming arts high schools to • “Peace”: 10-bar tune universities and prestigious jazz • “Stablemates”: ABA (14-bar first A, 8-bar bridge, institutes. If you were to 14-bar last A) approach each of the incredible • “Yes Or No”: AABA (14-bar A sections with a jazz masters and pedagogues 16-bar bridge) I’ve taught alongside and ask 3) Memorize the root movement; play roots with definitive or play-along them, “What’s the best way to recording. learn how to play jazz?” you’re 4) Memorize the chord qualities; play chords (arpeggios in quarter notes) sure to get many, many differ- with play-along recording as follows: ent answers: go to school, don’t • 1–3–5–7–9 for chords lasting two bars (have the 9th sustain go to school, go to New York, for the second bar) go to New Orleans, transcrip- • 1–3–5–7 for chords lasting one bar tion books are a great tool, • 1–3 for chords lasting two beats using transcription books is • For II–V–I progressions in major, play: cheating, look at your band- mates, close your eyes, and the contradictions go on and on. -
Kendor Music 2017 Catalog
Kendor Music 2017 Catalog Celebrating 63 Years Of Educational Publishing distributor of Doug Beach Music & Sammy Nestico Music www.kendormusic.com CONTENTS • 1 Noteworthy Contents • Kendor/Doug Beach/Sammy Nestico publications are available through music dealers worldwide. A listing of Kendor's preferred dealers is available on our website. Jazz Ensemble Kendor Music Jazz Quest Series ................................................................................................................ 2 www.kendormusic.com Jazz Gateway Series ............................................................................................................ 2 Art Dedrick Legacy Editions ................................................................................................. 2 e-mail ................. [email protected] Jazz Journey Series ............................................................................................................. 3 phone ............................... 716-492-1254 Jazz Summit Series .............................................................................................................. 4 24-hour fax ....................... 716-492-5124 Vanguard Jazz Orchestra Signature Editions ...................................................................... 4 Vocalist With Big Band Series .............................................................................................. 5 Jazz Combo Series .............................................................................................................