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From Printed Page to Live Hip Hop: American Poetry and Politics Into the 21St Century
FROM PRINTED PAGE TO LIVE HIP HOP: AMERICAN POETRY AND POLITICS INTO THE 21ST CENTURY Michael Dowdy 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 English in the Department of English. Chapel Hill 2006 Approved by Advisor: Linda Wagner-Martin Reader: Maria DeGuzmán Reader: Nick Halpern Reader: Trudier Harris Reader: John McGowan © 2005 Michael Dowdy ALL RIGHTS RESERVED ii ABSTRACT MICHAEL DOWDY: From Printed Page to Live Hip Hop: American Poetry and Politics into the 21st Century (Under the direction of Linda Wagner-Martin) This project identifies and explains the major rhetorical strategies American poets from Vietnam to the present use to create political poems. It argues that there are many different, though overlapping, approaches to making sociopolitically engaged poetry. Understanding political poetry as a collection of multiple rhetorical strategies moves away from identity- based and subject-based criticism. This project thus considers a number of representative poems from each strategy in order to illuminate each strategy’s intricacies. Further, the contention that hip hop has the most political potential of contemporary poetries suggests convergences with strategies for making printed poetry political. The framework for understanding both hip hop and printed poetry is derived from theories of agency that negotiate the individual’s ability to act according to her purposes in relation to the determining economic, political, and social forces that constrain action. The strategies considered thus emerge from various types of poetic agency: embodied agency, including both experiential and authoritative agency; equivocal agency, including comprehensive and particular varieties; migratory agency; and contestatory urban agency, which includes strategies indigenous to hip hop. -
Southern Sound and Space: an Exploration of the Sonic Manifestation of Place
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2016 Southern Sound And Space: An Exploration Of The Sonic Manifestation Of Place Christopher James Colbeck University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Studies Commons Recommended Citation Colbeck, Christopher James, "Southern Sound And Space: An Exploration Of The Sonic Manifestation Of Place" (2016). Electronic Theses and Dissertations. 880. https://egrove.olemiss.edu/etd/880 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. SOUTHERN SPACE AND SOUND: AN EXPLORATION OF THE SONIC MANIFESTATION OF PLACE A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of Southern Studies The University of Mississippi by CHRISTOPHER J. COLBECK August 2016 Copyright Christopher J. Colbeck 2016 ALL RIGHTS RESERVED ABSTRACT This thesis examines the relationships between sound and space, sound and time, and the influence of “place,” particularly southern places, on the creative process of contemporary musicians. The work also investigates the possibility of a common southern sound or auditory essence which may be embedded within all of the musical genres popularly thought to owe their lineage to the American South. The project is documentary in nature with the written component explaining the scholarship and methodology guiding the accompanying film. At the heart of the work are interviews with eleven contemporary musicians and three scholars of southern culture and history. -
Jazz Enciclopedia
John Abercrombie Джон Эберкромби Родился: 16 декабря 1944 в Порт Честере,штат Нью-Йорк Удивительное умение Джона Эберкромби сочетать в своем творче- стве многообразие джазовых направлений сделало его одним из самых влиятельных акустических и электро гитаристов 70-х и начала 80-х годов. Записи Эберкромби на ECM помогли этому рекорд лейблу обрести свою уникальную нишу в продвижении прогрессивного камерного джаза. В по- следнее время свет его звезды несколько угас - этому есть свои причины. Его излишняя дань консерватизму доминирует над джазом, но Эберкромби по-прежнему остается гранд-персоной с высокой творческой энергетикой. Есть понятие "стиля Эберкромби": он основан исключительно на джазе и содержит в себе весь арсенал современной импровизационной музыки. Но главное - он всегда подразумевает и демонст- рирует нечто большее, чем могут вместить все диапазоны музыки - от фолка и рока до Вос- точной и Западной классической музыки. С 1962 по 1966 год Эберкромби учился в Бостон- ском музыкальном колледже (Berklee College of Music), и во время учебы гастролировал с блюзменом Джонни Хэммондом (Johnny Hammond). В 1969 году Эберкромби переезжает в Нью-Йорк и некоторое время играет в группах, возглавляемых барабанщиками Чико Хамиль- тоном и Билли Кобэмом. Группа, в которой он впервые обратил на себя внимание, называлась "Spectrum", а первый альбом, где Эберкромби заявил о себе как бэнд-лидер, назывался "Timeless. Альбом был записан с барабанщи- ком Джеком ДеДжонетте и клавишником Яном Хаммером. Затем последовал "Gateway" в со- ставе другого трио с Джеком ДеДжонетте и ба- систом Дэйвом Холландом, заменившим Яна Хаммера. Тонкий и проникновенный стиль Эберкромби дает наибольший эффект в малых формах: в составе Gateway трио, или в дуэте с гитаристом Ральфом Таунером. -
MLA 2017 Annual Meeting Orlando, Florida February 22-26, Rosen Plaza Hotel Baker
Newsletter Southeast Chapter BREVE NOTES Music Library Association No. 110 April 2017 MLA 2017 Annual Meeting Orlando, Florida February 22-26, Rosen Plaza Hotel Baker Contents From the Chair ................................................... 3 Member News ................................................. 35 MLA Sessions Report, Part 1 .............................. 4 SEMLA/TMLA Save the Date ............................ 36 Who’s Afraid of the Big Backlog? ..................... 10 Call for Program Proposals .............................. 37 MLA Sessions Report, Part 2 ............................ 13 Travel Grant Information ................................. 38 Relections of a First-Time Attendee ................. 16 Membership Reminder ................................... 40 MLA Organ Crawl ............................................. 18 Interim Meeting Minutes ................................ 41 Call for Officer Nominations ............................ 29 Treasurer’s Report ........................................... 44 Robena Cornwell Interview ............................. 30 Membership Application ................................. 46 2 • BREVE NOTES No. 110 • April 2017 SEMLA Southeast Chapter of the Music Library Association Executive Board The Southeast Chapter of the Music Library Association, Inc. (SEMLA), is a non-stock, non-profit organization dedicated to promoting the establishment, use, and growth of music libraries and collections of Chair music materials in the Southeast. It encourages communication and CHRIS DURMAN cooperation -
CANNONBALL ADDERLEY: the Black Messiah (2-CD Set)
SELLING POINTS: CANNONBALL ADDERLEY: • Cannonball Adderley Was a Mainstay The Black Messiah (2-CD Set) of Miles Davis’ Kind of Blue Band and Was a Charting Solo Artist During the In 1970, Cannonball Adderley recorded a series of concerts that resulted in three cult ‘60s (“Mercy, Mercy, Mercy”) classic live albums, of which this double-album—produced, like other landmark double albums of the time like Soul Zodiac and Soul of the Bible, by David Axelrod—is the • The Black Messiah Was One of a hardest to find. It captures Cannonball and the Quintet (brother Nat Adderley on Celebrated Series of Collaborations cornet, Roy McCurdy on drums, Walter Booker on bass and George Duke—fresh with Producer David Axelrod from replacing Joe Zawinul, who had left to form Weather Report—on keyboards) at • Featured Quintet of Nat Adderley, the forefront of the burgeoning electronic jazz-rock fusion movement, sounding at Roy McCurdy, Walter Booker and times every bit like the early ‘70s band of Cannonball’s former bandleader Miles George Duke Davis, except maybe even funkier and more out there. But Cannonball always had a populist streak to him—after all, the man had a Top 20 hit with “Mercy, Mercy, • Guests Included Airto Moreira, Mercy”—and so The Black Messiah also features flat-out rock and roll (guest Alvin Battiste, Ernie Watts, Buck Clark guitarist Mike Deasy’s “Liittle Benny Hen”) as well as dips into the soul-jazz style and Mike Deasy that had landed him on the charts several years earlier, all punctuated by his always • Recorded Live at the Troubadour in entertaining between-song raps. -
The Indwelling: the Beast Takes Possession
The Indwelling: The Beast Takes Possession Book 7 of the Left Behind Series TIM LAHAYE & JERRY B. JENKINS PROLOGUE From Assassins BUCK had ducked under a scaffold at the sound of the gun. A tidal wave of humanity swept past him on both sides, and he saw glee on some faces. Converts from the Wailing Wall who had seen Carpathia murder their heroes? By the time Buck looked to the stage, the potentates were leaping off, the drapery was flying into the distance, and Chaim appeared catatonic, his head rigid. Carpathia lay on the platform, blood running from his eyes, nose, and mouth, and-it appeared to Buck-from the top of his head. His lapel mike was still hot, and because Buck was directly under a speaker tower, he heard Nicolae's liquid, guttural murmur, “But I thought ... I thought... I did everything you asked.” Fortunato draped his stocky body over Carpathia's chest, reached beneath him, and cradled him. Sitting on the stage, he rocked his potentate, wailing. “Don't die, Excellency!” Fortunato bawled. “We need you! The world needs you! I need you!” Monday of Gala Week LEAH Rose prided herself on thinking under pressure. She'd been chief administrative nurse in a large hospital for a decade and had also been one of few believers there the last three and a half years. She had survived by her wits and eluded Global Community Peacekeeping Forces until finally having to flee and join the Tribulation Force. But on the Monday of the week that would see the assassinations of the two witnesses and the Antichrist, Leah had no clue what to do. -
Scography Preview for the Capitol Label Main Series 11000-12573
11000-12500 Main Series (1972 to 1987) SMAS 11000 - Greenhouse - Leo Kottke [1972] Bean Time (Instrumental)/Tiny Island (Vocal)/The Song Of The Swamp (Instrumental)/In Christ There Is No East Or West (Instrumental)/Last Team Engine Train (Instrumental)/From The Cradle To The Grave (Vocal)//Louise (Vocal)/The Spanish Entomologist (Instrumental)/Owls (Instrumental)/You Don’t Have To Need Me (Vocal)/Lost John (Instrumental) ST 11001 - Mr. Words And Music - Tennessee Ernie Ford [1971] Daddy Frank (The Guitar Man)/West Texas Highway/Put Your Hand In The Hand/Take Me Home, Country Roads/The Night They Drove Old Dixie Down//Big Mable Murphy/Turn Your Radio On/Mobile/Okie From Muskogee/Mr. Words And Music SMAS 11002 - Comin’ Thru - Quicksilver Messenger Service [1972] Doin’ Time In The U.S.A./Chicken/Changes/California State Correctional Facility Blues//Forty Days/Mojo/Don’t Lose It 11003 ST 11004 - Salty - Alex Richman [1972] Nobody’s Calling/Maybe Some Other Day/You Again/Little Bit Kinder/Another Bad Dream//Iowa/Going Too Slow/What Could It Be?/Go Back Upstairs/No More Answers ST 11005 - Paul Pena - Paul Pena [1972] Woke Up This Morning/I’m Gonna Make It Alright/River/One For The Lonely//Something To Make You Happy/My Adorable One/When I’m Gone/Lullaby ST 11006 - Two-Sided Fantasy - Landslide [1972] Doin’ What I Want/Creepy Feelin’/Everybody Knows (Slippin’)/Dream Traveler//Susan/Sad And Lonely/Little Bird/Happy 11007 ST 11008 - Fiddler On The Roof - “Cannonball” Adderley [1972] Reissue of Capitol ST/T 2216. SK 11009 - Viva - Trini Lopez [1972] Vive La Vida Hoy/Y Volvere/Canta (Sing)/Tu Amigo Fiel (You've Got A Friend)/Montana Rubi (Ruby Mountain)//Viva!/Sol De Mi Vida (Bring Back My Sunshine)/Jesus Christo/Siempre Le Sigo (All That Keeps Me Going)/Mi Mami Blue * SW 11010 - Lettermen 1 - Lettermen [1972] Anticipation/Day After Day/I’m Only Sleeping/It’s One Of Those Nights/Never Been To Spain/Oh My Love/Old Fashioned Love Song/That’s Enough For Me/Touch Me/White Lies, Blue Eyes ST 11011 – Tombstone Every Mile – Dick Curless [1972] Reissue of Tower ST/T 5005. -
FROM PITTSBURGH to the PERSHING: ORCHESTRATION, INTERACTION, and INFLUENCE in the EARLY WORK of AHMAD JAMAL by Michael Paul Mack
FROM PITTSBURGH TO THE PERSHING: ORCHESTRATION, INTERACTION, AND INFLUENCE IN THE EARLY WORK OF AHMAD JAMAL by Michael Paul Mackey Bachelor of Science, Duquesne University, 2003 Master of Music, Duquesne University, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Michael Paul Mackey It was defended on March 31, 2017 and approved by Amy Williams, Associate Professor, Music Deane L. Root, Professor, Music Geri Allen, Associate Professor, Music Laurence Glasco, Associate Professor, History Dissertation Advisor: Michael Heller, Assistant Professor, Music ii Copyright © by Michael Paul Mackey 2017 iii FROM PITTSBURGH TO THE PERSHING: ORCHESTRATION, INTERACTION, AND INFLUENCE IN THE EARLY WORK OF AHMAD JAMAL Michael Paul Mackey, PhD University of Pittsburgh, 2017 Despite over sixty years of international recognition and the enduring respect of his fellow musicians, pianist Ahmad Jamal’s omission from jazz discourse is most curious. Stanley Crouch hailed Jamal as second only to Charlie Parker as the most influential individual on the development of jazz after 1945. While Jamal was still a teenager in Pittsburgh, the eminent Art Tatum deemed him a “coming great.” After establishing himself as one of Chicago’s leading pianists during the 1950s, his album But Not for Me: Live at the Pershing (1958) remained on Billboard’s album chart for 107 weeks and has become one of the best-selling jazz albums of all-time. -
28 Modern Drummer • Dezembro 2010 28
Lynne Earls Lynne i r t o A 28 MODERN DRUMMER • DEZEMBROOUTUBRO 2010 2010 Moreira Por Cristiano Bertolucci, Christiano Rocha, Douglas Las Casas e Vlad Rocha. Abertura de Dudu Portes. Discografi a compilada por Giancarlo Mei ascido em Itaiópolis, no interior de Santa Catarina, Airto, ainda bebê, já mostrava que a mú- sica corria em suas veias devido a um comportamento estranho que assustava muito a sua mãe. Imagine uma jovem mãe de primeira viagem que se prepara para fazer o almoço e, N de repente, percebe que o seu pequeno bebê começa a se debater de maneira intensa e estranha sem nenhum motivo aparente. Ao chamar pessoas conhecidas para ver, todos repararam que, tanto no berço quanto no chão, enfi m, onde quer que estivesse, em determinado momento, o pequeno Airto começava a se debater e a emitir sons estranhos. Preocupada com o comportamento do menino, tratou de levá-lo até Curitiba para que a avó, bem mais experiente, desse uma examinada no garoto. Nada aconteceu nos primeiros dias. Vendo que estava tudo normal com o bebê, a avó pediu para a mãe mostrar como era a sua rotina em casa. Na hora de preparar o almoço, a mãe foi até a sala, ligou o rádio no programa Parada de Sucessos e foi para a cozinha. No caminho, viu o menino se debatendo, DEZEMBRO 2010 se contorcendo e balançando a cabeça. Chamou a mãe para ver e aí a voz da experiência falou: “É isso que ele faz?” E a mãe, com os olhos já mareados, falou que sim. -
Ed 015 900 24 Te 000 200 Speech Manual
R E P O R T R E S U M E S ED 015 900 24 TE 000 200 SPEECH MANUAL. RHETORIC CURRICULUM V, STUDENT VERSION. BY- KITZHABER, ALBERT R. OREGON UNIV., EUGENE REPORT NUMBER CRP-H-149-67 REPORT NUMBER BR-5-0366-67 CONTRACT °EC-5-10-319 ECRS PRICE MF-$0.75 HC-$5.24 129P. DESCRIPTORS- *ENGLISH CURRICULUM, *ENGLISH INSTRUCTION, *INSTRUCTIONAL MATERIALS, *RHETORIC, *SPEECH, CHORAL SPEAKING, GRADE 11, ORAL COMMUNICATION, PHYSIOLOGY, SPEECH EVALUATION, SPEECH INSTRUCTION, SECONDARY EDUCATION, STUDY GUIDES, CURRICULUM RESEARCH, PROJECT-ENGLISH, OREGON CURRICULUM STUDY CENTER, EUGENE, THIS MANUAL IS A REFERENCE AID FOR 11TH-GRADE STUDENTS PREPARING SPEAKING ASSIGNMENTS. CHAPTER 1, "THE PHYSIOLOGY OF SPEECH," CONTAINS INFORMATION ON THE SPEECH ORGANS AND THEIR FUNCTIONS IN THE PRODUCTION OF SOUNDS. THE MAIN POINTS OF "ROBERT'S RULES OF ORDER" ARE OUTLINED IN CHAPTER 2. CHAPTER 3 GIVES ATTENTION TO OUTLINING AND TO PREPARING INTRODUCTIONS AND CONCLUSIONS FOR A SPEECH. CHAPTER 4, "SPEECHES FOR SPECIFIC PURPOSES," ANALYZES THE SPECIAL PROBLEMS CHARACTERISTIC OF SPEECHES WHICH INFORM, PERSUADE, ENTERTAIN, OR ARE FOR SPECIAL OCCASIONS. TYPES OF SPEAKING -- INTERVIEWING, IMPROMPTU SPEAKING, ORAL INTERPRETATION, AND CHORAL SPEAKING--ARE DISCUSSED IN CHAPTER 5, AND IN CHAPTER 6 METHODS OF ANALYSIS AND EVALUATION OF SPEECHES ARE EXPLAINED. THE LATTER CHAPTERS INCLUDE MODEL SITUATIONS, SUGGESTIONS FOR SPEECHES, AND EXERCISES IN THE APPLICATION OF INSTRUCTIONAL MATERIAL. AN APPENDIX CONTAINS MODEL SPEECHES, SELECTIONS FOR ORAL INTERPRETATION, AND AN ANNOTATED LIST OF RECOMMENDED RECORDINGS. SEE ALSO ED 010 129 THROUGH ED 010 160, ED 010 803 THROUGH ED 010 832, TE 000 195 THROUGH TE 000 220, AND TE 000 227 THROUGH TE 000 249.