WGLT Program Guide, January-February, 2007
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The Historic Recordings of the Song Desafinado: Bossa Nova Development and Change in the International Scene1
The historic recordings of the song Desafinado: Bossa Nova development and change in the international scene1 Liliana Harb Bollos Universidade Federal de Goiás, Brasil [email protected] Fernando A. de A. Corrêa Faculdade Santa Marcelina, Brasil [email protected] Carlos Henrique Costa Universidade Federal de Goiás, Brasil [email protected] 1. Introduction Considered the “turning point” (Medaglia, 1960, p. 79) in modern popular Brazi- lian music due to the representativeness and importance it reached in the Brazi- lian music scene in the subsequent years, João Gilberto’s LP, Chega de saudade (1959, Odeon, 3073), was released in 1959 and after only a short time received critical and public acclaim. The musicologist Brasil Rocha Brito published an im- portant study on Bossa Nova in 1960 affirming that “never before had a happe- ning in the scope of our popular music scene brought about such an incitement of controversy and polemic” (Brito, 1993, p. 17). Before the Chega de Saudade recording, however, in February of 1958, João Gilberto participated on the LP Can- ção do Amor Demais (Festa, FT 1801), featuring the singer Elizete Cardoso. The recording was considered a sort of presentation recording for Bossa Nova (Bollos, 2010), featuring pieces by Vinicius de Moraes and Antônio Carlos Jobim, including arrangements by Jobim. On the recording, João Gilberto interpreted two tracks on guitar: “Chega de Saudade” (Jobim/Moraes) and “Outra vez” (Jobim). The groove that would symbolize Bossa Nova was recorded for the first time on this LP with ¹ The first version of this article was published in the Anais do V Simpósio Internacional de Musicologia (Bollos, 2015), in which two versions of “Desafinado” were discussed. -
English Language Arts • Grade 12
-ICHIGAN-ERIT#URRICULUM -ICHIGAN-ERIT#URRICULUM Course/Credit Requirements -ICHIGAN-ERIT#URRICULUM ENGLISH LANGUAGE ARTS • GRADE 12 1 Credit Michigan State Board of Education Kathleen N. Straus, President Bloomfield Township John C. Austin, Vice President Ann Arbor Carolyn L. Curtin, Secretary Evart Marianne Yared McGuire, Treasurer Detroit Nancy Danhof, NASBE Delegate East Lansing Elizabeth W. Bauer Birmingham Reginald M. Turner Detroit Casandra E. Ulbrich Rochester Hills Governor Jennifer M. Granholm Ex Officio Michael P. Flanagan, Chairman Superintendent of Public Instruction Ex Officio MDE Staff Jeremy M. Hughes, Ph.D. Deputy Superintendent/Chief Academic Officer Dr. Yvonne Caamal Canul, Director Office of School Improvement Welcome This guide was developed to assist teachers in successfully implementing the Michigan Merit Curriculum. The identified content expectations and guidelines provide a useful framework for designing curriculum, assessments and relevant learning experiences for students. Through the collaborative efforts of Governor Jennifer M. Granholm, the State Board of Education, and the State Legislature, these landmark state graduation requirements are being implemented to give Michigan students the knowledge and skills to succeed in the 21st Century and drive Michigan’s economic success in the global economy. Working together, teachers can explore varied pathways to help students demonstrate proficiency in meeting the content expectations and guidelines. This guide should be used in conjunction with the High School Content Expectations document for the discipline. Curriculum Unit Design One of the ultimate goals of teaching is for students to acquire transferable knowledge. To accomplish this, learning needs to result in a deep understanding of content and mastery level of skills. As educational designers, teachers must use both the art and the science of teaching. -
The Music of Antonio Carlos Jobim
FACULTY ARTIST FACULTY ARTIST SERIES PRESENTS SERIES PRESENTS THE MUSIC OF ANTONIO THE MUSIC OF ANTONIO CARLOS JOBIM (1927-1994) CARLOS JOBIM (1927-1994) Samba Jazz Syndicate Samba Jazz Syndicate Phil DeGreg, piano Phil DeGreg, piano Kim Pensyl, bass Kim Pensyl, bass Rusty Burge, vibraphone Rusty Burge, vibraphone Aaron Jacobs, bass* Aaron Jacobs, bass* John Taylor, drums^ John Taylor, drums^ Monday, February 13, 2012 Monday, February 13, 2012 Robert J. Werner Recital Hall Robert J. Werner Recital Hall 8:00 p.m. 8:00 p.m. *CCM Student *CCM Student ^Guest Artist ^Guest Artist CCM has become an All-Steinway School through the kindness of its donors. CCM has become an All-Steinway School through the kindness of its donors. A generous gift by Patricia A. Corbett in her estate plan has played a key role A generous gift by Patricia A. Corbett in her estate plan has played a key role in making this a reality. in making this a reality. PROGRAMSelections to be chosen from the following: PROGRAMSelections to be chosen from the following: A Felicidade Falando de Amor A Felicidade Falando de Amor Bonita The Girl from Ipanema Bonita The Girl from Ipanema Brigas Nunca Mais One Note Samba Brigas Nunca Mais One Note Samba Caminos Cruzados Photograph Caminos Cruzados Photograph Chega de Saudade So Tinha Se Con Voce Chega de Saudade So Tinha Se Con Voce Corcovado Triste Corcovado Triste Desafinado Wave Desafinado Wave Double Rainbow Zingaro Double Rainbow Zingaro Antonio Carlos Jobim was born in Rio de Janeiro, Brazil, to Antonio Carlos Jobim was born in Rio de Janeiro, Brazil, to cultured parents. -
Bebopnet: Deep Neural Models for Personalized Jazz Improvisations - Supplementary Material
BEBOPNET: DEEP NEURAL MODELS FOR PERSONALIZED JAZZ IMPROVISATIONS - SUPPLEMENTARY MATERIAL 1. SUPPLEMENTARY MUSIC SAMPLES We provide a variety of MP3 files of generated solos in: https://shunithaviv.github.io/bebopnet Each sample starts with the melody of the jazz stan- dard, followed by an improvisation whose duration is one chorus. Sections BebopNet in sample and BebopNet out of sample contain solos of Bebop- Net without beam search over chord progressions in and out of the imitation training set, respectively. Section Diversity contains multiple solos over the same stan- Figure 1. Digital CRDI controlled by a user to provide dard to demonstrate the diversity of the model for user- continuous preference feedback. 4. Section Personalized Improvisations con- tain solos following the entire personalization pipeline for the four different users. Section Harmony Guided Improvisations contain solos generated with a har- monic coherence score instead of the user preference score, as described in Section 3.2. Section Pop songs contains solos over the popular non-jazz song. Some of our favorite improvisations by BebopNet are presented in the first sec- Algorithm 1: Score-based beam search tion, Our Favorite Jazz Improvisations. Input: jazz model fθ; score model gφ; batch size b; beam size k; update interval δ; input in τ sequence Xτ = x1··· xτ 2 X 2. METHODS τ+T Output: sequence Xτ+T = x1··· xτ+T 2 X in in in τ×b 2.1 Dataset Details Vb = [Xτ ;Xτ ; :::; Xτ ] 2 X ; | {z } A list of the solos included in our dataset is included in b times scores = [−1; −1; :::; −1] 2 Rb section 4. -
João Gilberto
SEPTEMBER 2019 VOLUME 86 / NUMBER 9 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Coleman Hawkins Desafinado: Bossa Nova & Jazz
Coleman Hawkins Desafinado: Bossa Nova & Jazz Samba mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Desafinado: Bossa Nova & Jazz Samba Country: US Style: Bossa Nova MP3 version RAR size: 1109 mb FLAC version RAR size: 1292 mb WMA version RAR size: 1650 mb Rating: 4.2 Votes: 274 Other Formats: DMF AUD DXD WAV VOX ASF AA Tracklist A1 Desafinado 5:46 A2 I'm Looking Over A Four Leaf Clover (Jazz Samba) 2:50 A3 Samba Para Bean 5:25 A4 I Remember You 4:05 B1 One Note Samba (Samba De Uma Nota So) 6:02 B2 O Pato (The Duck) 4:08 B3 Um Abraco No Bonfa (An Embrace To Bonfa) 4:49 B4 Stumpy Bossa Nova 2:32 Credits Bass – Major Holley Coordinator [Music Coordinator] – Manny Albam Cover, Photography [Liner Photos] – Jack Bradley Design [Cover Design] – Robert Flynn Design [Liner Design] – Joe Lebow Engineer – Rudy Van Gelder Guitar – Barry Galbraith, Howard Collins Liner Notes – Dan Morgenstern Percussion – Eddie Locke, Tommy Flanagan, Willie Rodriguez Producer – Bob Thiele, Bob Thiele Tenor Saxophone – Coleman Hawkins Notes Reissue with green bullseye labels, released between 1974-79. Gatefold jacket. Recorded September 12 and 17, 1962. Other versions Category Artist Title (Format) Label Category Country Year Desafinado: Bossa Nova & A-28 Coleman Hawkins Jazz Samba (LP, Album, Impulse! A-28 US 1963 Mono) Desafinado (Bossa Nova & A-28 Coleman Hawkins Jazz Samba) (LP, Album, Impulse! A-28 US 1963 Mono, Promo) Desafinado (LP, Album, RE, DOL856H Coleman Hawkins DOL DOL856H Europe 2015 180) The Coleman ABC 17.1045/9 Desafinado (LP, Album, RE) -
A Brief History of Bossa Nova
A brief history of Bossa Nova Translation of Bossa Nova = New Trend (Taken from “The marriage of American Jazz and Brazilian Bossa Nova” Masters thesis by Ami Molinelli and Andre Scarabelot; California Institute of the Arts (CalArts, 2002) 1850-1910 Birth of Choro: Brazil’s first national music and the mother of the samba. Likened as Brazil’s “ragtime” 1917 First “possible” recording of a Samba “Pelo Telefone” 1939 Carmen Miranda brings “Samba” to the USA 1956 “Orfeo Negro” or Black Orfeus opens as a play (musical composer is Vinicius de Morães) 1956 “Bim Bom” composed by Joao Gilberto and is considered the first bossa nova composition for style and simplicity* 1958 Elizete Cardoso released album Canção do Amor Demais; with compositions by Jobim/Morães; track of Chega de Saudade considered first bossa nova recording 1958/59 Chega de Saudade/No More Blues released by João Gilberto (written by Jobim/Morães) and gains popularity. Bim Bom was released on this album Mid-late 1950’s MusiDisc (Brazilian Record label) is issuing Pacific Jazz Records: “West Coast Jazz” ** 1959 Film adaptation of play “Black Orfeu” wins 1st prize at Cannes Film Festival (soundtrack by Luis Bonfá and Antônio Carlos Jobim and includes compositions by Morães) 1962 “Jazz Samba” released in April on Verve by Stan Getz and Charlie Byrd*** 1962 Carnegie Hall Bossa Nova concert: Miltinho Banana, Luiz Bonfá, Ico Castro-Neves, Oscar Castro-Neves, Carmen Costa, Chico Feitosa, Stan Getz, João Gilberto, Antônio Carlos Jobim, Ana Lucia, Carlos Lyra, Gary McFarland, Sérgio Mendes, Roberto Menescal, José Paulo, Roberto Ponte, Sérgio Ricardo, Normando Santos, Agostinho dos Santos Lalo Schifrin, Bola Sete, Percy Wilcox, and Caetano Zama, etc. -
The Sock Hop and the Loft: Jazz, Motown, and the Transformation of American Culture, 1959-1975
The Sock Hop and the Loft: Jazz, Motown, and the Transformation of American Culture, 1959-1975 The Commerce Group: Kat Breitbach, Laura Butterfield, Ashleigh Lalley, Charles Rosentel Steve Schwartz, Kelsey Snyder, Al Stith In the words of the prolific Peter Griffin, “It doesn’t matter if you’re black or white. The only color that really matters is green.” Notwithstanding the music industry’s rampant racism, the clearest view of how African Americans transformed popular music between 1959 and 1975 is through the lens of commerce. Scrutinizing the relationship between creators and consumers opens up a broad view of both visual and auditory arts. The sources we selected range from cover art and an Andy Warhol silkscreen to books on the industry’s backroom deals and the Billboard Hot 100 to a retrospective Boyz II Men album on Motown’s history and an NPR special on Jimi Hendrix for kids. Combining both sight and sound, we offer online videos, a documentary on jazz, and blaxploitation films. The unparalleled abilities of Motown’s music to transcend racial barriers and serve as a catalyst for social change through an ever-widening audience necessitates a study of Berry Gordy’s market sense and the legacy of his “family” in popular culture from the 1970s through today. First, the ubiquity of the Motown sound meant that a young, interracial audience enjoyed music that had been largely exclusive to black communities. The power of this “Sound of Young America” crossover was punctuated by Dr. Martin Luther King Jr.’s affirmation in his “Transforming a Neighborhood into a Brotherhood” address that radio’s capacity to bridge black and white youth through music and create “the language of soul” surpasses even Alexander the Great’s conquests. -
Ella Fitzgerald Collection
Ella Fitzgerald Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Revised 2010 December Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu010023 LC Online Catalog record: http://lccn.loc.gov/2006568227 Processed by the Music Division of the Library of Congress Collection Summary Title: Ella Fitzgerald Collection Span Dates: 1956-1992 Bulk Dates: (bulk 1960-1985) Call No.: ML31.F58 Creator: Fitzgerald, Ella Extent: 23,500 items ; 285 containers ; 176 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Ella Fitzgerald (1917-1996) was a popular and highly-respected American jazz and pop vocalist and recording artist. The Ella Fitzgerald Collection chiefly consists of musical arrangements made for her by more than fifty arrangers and orchestrators. Arrangers whose works are found in this collection include: Buddy Bregman, Benny Carter, Frank DeVol, Russ Garcia, Billy May, Marty Paich, Nelson Riddle, and Gerald Wilson. The arrangements consist of a combination of full scores and parts, and are often accompanied by piano-conductor short scores, reduced scores, lead sheets and lyric sheets. Music is found in the form of manuscripts, printed music, photocopies, and ozalids, often in multiple or different versions. In addition, the collection contains repertoire and program lists and other miscellaneous material, including a minimal amount of correspondence and photographs. Note: To find locations of arrangements within this finding aid, consult the Songs Index and Arrangers Index under Index Terms. -
Contemporary Carioca: Technologies of Mixing in A
Con tempo C o n t e m p o r a r y raryC a r i o c a Cari oca ontemporary CCarioca Technologies of Mixing in a Brazilian Music Scene Frederick Moehn Duke University Press Durham anD LonDon 2012 © 2012 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper ♾ Designed by Kristina Kachele Typeset in Quadraat and Ostrich Sans by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Stony Brook University, which provided funds toward the publication of this book. For Brazil’s musical alchemists ontents Illustrations ix C Preface xi Acknowledgments xxiii Introduction 1 1 Marcos Suzano: A Carioca Blade Runner 25 2 Lenine: Pernambuco Speaking to the World 55 3 Pedro Luís and The Wall: Tupy Astronauts 92 4 Fernanda Abreu: Garota Carioca 130 5 Paulinho Moska: Difference and Repetition 167 6 On Cannibals and Chameleons 204 Appendix 1: About the Interviews, with a List of Interviews Cited 211 Appendix 2: Introductory Aspects of Marcos Suzano’s Pandeiro Method 215 Notes 219 References 245 Discography 267 Index 269 llustrations Map of Rio de Janeiro with inset of the South Zone 6 1 “mpb: Engajamento ou alienação?” debate invitation xii 2 Marcos Suzano’s favorite pandeiro (underside) 29 I 3 Marcos Suzano demonstrating his pandeiro and electronic foot pedal effects setup 34 4 A common basic samba pattern on pandeiro 48 5 One of Marcos Suzano’s pandeiro patterns 49 6 Marcos -
Nomination Form International Memory of the World Register
Nomination form International Memory of the World Register THE MONTREUX JAZZ FESTIVAL, CLAUDE NOBS’ LEGACY (Switzerland) 2012-15 1.0 Summary (max 200 words) « It’s the most important testimonial to the history of music, covering jazz, blues and rock ». These are the words that Quincy Jones pronounced to present the preservation and restoration project of one of the musical monuments from the 20th century, the Montreux Jazz Festival Archives. From Aretha Franklin or Ray Charles to David Bowie or Prince, more than 5,000 hours of concerts have been recorded both in audio and video, since the creation of the Montreux Jazz Festival in 1967, by the visionary Claude Nobs. This collection contains many of the greatest names in middle and mainstream Jazz, including Errol Garner, Count Basie, Lionel Hampton, Dizzy Gillespie, Oscar Peterson to Herbie Hancock. Most of them composed great number of improvised jam sessions extremely rare. Miles Davis played his last performance, conducted by Quincy Jones in 1991. Many artists, like Marvin Gaye, recorded their first and only performance for television in Montreux. This collection of “live” music recordings, ranging from 1967-2012, with universal significance and intercultural dimensions has no direct equal in the world. This musical library traces a timeline of stylistic influences from the early styles of jazz to the present day. In 2007, Swiss Federal Institute of Technology in Lausanne (EPFL) and the Montreux Jazz Festival have decided to join forces to create a unique and first of a kind, high resolution digital archive of the Festival. 2.0 Nominator 2.1 Name of nominator (person or organization) THIERRY AMSALLEM (MONTREUX JAZZ FESTIVAL FOUNDATION) 2.2 Relationship to the nominated documentary heritage MEMBER OF THE MONTREUX JAZZ FESTIVAL FOUNDATION BOARD & OWNER AND CURATOR OF THE MONTREUX JAZZ FESTIVAL AUDIOVISUAL LIBRARY 2.3 Contact person(s) (to provide information on nomination) M. -
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on.