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In the Mood for Instruments Parent Guide
OurStory: Duke Ellington and Jazz In the Mood for Instruments Parent Guide Read the “Directions” sheets for specific instructions. SUMMARY In this activity children will use one or more online tools to explore the way a musician can change the mood of a song by changing the instruments that play the song. WHY This activity will get children thinking about artistic decisions, both through looking at examples and by making their own decisions. TIME ■ 5–10 minutes RECOMMENDED AGE GROUP This activity will work best for children in kindergarten through 4th grade. CHALLENGE WORDS ■ Call-and-response: when one person makes a pattern of sounds, and the next person either repeats the same pattern or changes it just a little ■ Instrument: a tool used to produce music ■ Rhythm: a flow of sound in music with a pattern of beats GET READY ■ Read Duke Ellington: The Piano Prince and His Orchestra, a beautiful picture-book biography of one of America’s most famous jazz musicians. For tips on reading this book together, check out the Guided Reading Activity (http://americanhistory.si.edu/ ourstory/pdf/jazz/jazz_reading.pdf). ■ Read the Step Back in Time sheets. YOU NEED ■ Duke Ellington book ■ Directions sheet (attached) ■ Step Back in Time sheets (attached) ■ Computer with Internet and speakers or headphones More information at http://americanhistory.si.edu/ourstory/activities/jazz/. OurStory: Duke Ellington and Jazz In the Mood for Instruments Step Back in Time, page 1 of 2 For more information, visit the National Museum of American History Web site http://americanhistory.si.edu/ourstory/activities/jazz/. -
Mount Harissa Full Score
Jazz Lines Publications Presents Mount harissa From ‘IMPRESSIONS OF THE FAR EAST SUITE’ Arranged by duke ellington Prepared for Publication by Peter Jensen, Dylan Canterbury, Rob DuBoff, and Jeffrey Sultanof full score jlp-7405 By Duke Ellington Copyright © 1967 (Renewed) by Tempo Music, Inc., Music Sales Corporation All Rights for Tempo Music, Inc. administered by Music Sales Corporation (ASCAP) International Copyright Secured. All Rights Reserved. Used by Permission. Logos, Graphics, and Layout Copyright © 2015 The Jazz Lines Foundation Inc. 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 duke ellington/billy strayhorn series mount harissa [from impressions of the far east suite] (1964) Biographies: Duke Ellington influenced millions of people both around the world and at home. In his fifty-year career, he played over 20,000 performances in Europe, Latin America, and the Middle East as well as Asia. Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onward and will endure for generations to come. Wynton Marsalis said it best when he said, “His music sounds like America.” Because of the unmatched artistic heights to which he soared, no one deserves the phrase “beyond category” more than Ellington, for it aptly describes his life as well. When asked what inspired him to write, Ellington replied, “My men and my race are the inspiration of my work. -
Duke University 2009-2010 School of Medicine the Mission of Duke University
bulletin of Duke University 2009-2010 School of Medicine The Mission of Duke University James B. Duke’s founding Indenture of Duke University directed the members of the Uni- versity to “provide real leadership in the educational world” by choosing individuals of “out- standing character, ability and vision” to serve as its officers, trustees and faculty; by carefully selecting students of “character, determination and application;” and by pursuing those areas of teaching and scholarship that would “most help to develop our resources, increase our wisdom, and promote human happiness.” To these ends, the mission of Duke University is to provide a superior liberal education to un- dergraduate students, attending not only to their intellectual growth but also to their development as adults committed to high ethical standards and full participation as leaders in their communi- ties; to prepare future members of the learned professions for lives of skilled and ethical service by providing excellent graduate and professional education; to advance the frontiers of knowl- edge and contribute boldly to the international community of scholarship; to promote an intellec- tual environment built on a commitment to free and open inquiry; to help those who suffer, cure disease and promote health, through sophisticated medical research and thoughtful patient care; to provide wide ranging educational opportunities, on and beyond our campuses, for traditional students, active professionals and life-long learners using the power of information technologies; and to promote a deep appreciation for the range of human difference and potential, a sense of the obligations and rewards of citizenship, and a commitment to learning, freedom and truth. -
Tovuu. Adviser College O F Optometry ACKNOWLEDGMENTS
RESPONSE CHARACTERISTICS OF SINGLE NEURONS IN THE VISUAL CORTEX OF THE VIRGINIA OPOSSUM Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Philosophy in the Graduate School o f The Ohio State U niversity By Jerry Lee Christensen, B.Sc., M.Sc. The Ohio State University 1969 Approved by tovUU. Adviser College o f Optometry ACKNOWLEDGMENTS I wish to thank my Adviser, Dr. Richard M. H ill, whose patient guidance made this study possible. This study was also supported in part by U.S.P.H.S. Grants NBO6983 and NB05416 and by an N.I.H. predoctoral fellowship. I also want to thank Dr. Jess B. Eskridge whose inspiring teaching made me want to study the subject of physiological optics further and eventually go on to make this my career. I also must acknowledge the tolerant understanding of my wife, Betsy, without whose help this would have been impossible. 11 VITA June 24, 1940 ......................................... Born - Columbus, Ohio 1964 ............................................... .............. B.Sc. Optometry, The Ohio State U n ive rs ity, Columbus, Ohio 1965*1968 ....................................................N.I.H. Predoctoral fellow, The Ohio State University, Columbus, Ohio 1966 .............................. .................. ............ M.Sc., The Ohio State University, Columbus, Ohio 1968-1969 .................................................... Teaching Associate, College of Optometry, The Ohio State U n iv e rs ity , Columbus, Ohio PUBLICATIONS "Receptive Field Properties of Single Cells in the Dorsal Lateral Geniculate Nucleus of the Guinea Pig". British J. of Physiological Optics. In press. __ "A Review of the Anatomy and Neurophysiology o f the Opossum (Didelphis virginiana) Visual System". Am. J. Optom and Arch. -
Readers Poll
84 READERS POLL DOWNBEAT HALL OF FAME One night in November 1955, a cooperative then known as The Jazz Messengers took the stage of New York’s Cafe Bohemia. Their performance would yield two albums (At The Cafe Bohemia, Volume 1 and Volume 2 on Blue Note) and help spark the rise of hard-bop. By Aaron Cohen t 25 years old, tenor saxophonist Hank Mobley should offer a crucial statement on how jazz was transformed during Aalready have been widely acclaimed for what he that decade. Dissonance, electronic experimentation and more brought to the ensemble: making tricky tempo chang- open-ended collective improvisation were not the only stylis- es sound easy, playing with a big, full sound on ballads and pen- tic advances that marked what became known as “The ’60s.” ning strong compositions. But when his name was introduced Mobley’s warm tone didn’t necessarily coincide with clichés on the first night at Cafe Bohemia, he received just a brief smat- of the tumultuous era, as the saxophonist purposefully placed tering of applause. That contrast between his incredible artistry himself beyond perceived trends. and an audience’s understated reaction encapsulates his career. That individualism came across in one of his rare inter- Critic Leonard Feather described Mobley as “the middle- views, which he gave to writer John Litweiler for “Hank Mobley: weight champion of the tenor saxophone.” Likely not intended The Integrity of the Artist–The Soul of the Man,” which ran in to be disrespectful, the phrase implied that his sound was some- the March 29, 1973, issue of DownBeat. -
The Atlanta Contemporary Art Center
April 24, 2008 Coming up at the Contemporary April 18 – June 14, 2008 Artists' Reception, Friday, April 18, 7 - 9 pm Main & Left Galleries - Jack Whitten, Memorial Paintings Gallery Four - Sincerely, John Head, Boxed Set Round Gallery - Michael Gibson, We are selling mainly to Americans Main & Left Galleries Jack Whitten, Memorial Paintings For the past 40 years, Jack Whitten has utilized abstraction as a rich territory for expression, experimentation, and problem solving. His paintings possess an uncommon energy and physicality, informed by the techniques he mastered working in construction trades of cabinet making and home building. His cultivation of precise and idiosyncratic studio procedures has resulted in the understanding that Whitten makes paintings rather than paints them. Within each decade of his career, he has produced works whose inspiration and finished look have been motivated by a memorializing impulse: to pay tribute or bear witness to the family members, cultural and historical figures (artists, musicians, politicians, writers), and tragic events that have shaped his life. This exhibition of paintings is the first survey of the artist’s canvases in the South, and includes works from 1968 to the present. Born in Bessemer, Alabama, in 1939, Whitten was deeply influenced by the injustices of segregation; sermons at the Southern Church of God; the joys of fishing and hunting; and the resourcefulness of his parents. As a young artist in New York in the 1960s, he established a dialogue with key African-American artists (Romare Bearden, Jacob Lawrence, Norman Lewis) and many of the first generation of Abstract Expressionist painters (Willem De Kooning, Franz Kline, Philip Guston). -
Downbeat.Com January 2016 U.K. £3.50
JANUARY 2016 U.K. £3.50 DOWNBEAT.COM DOWNBEAT LIZZ WRIGHT • CHARLES LLOYD • KIRK KNUFFKE • BEST ALBUMS OF 2015 • JAZZ SCHOOL JANUARY 2016 january 2016 VOLUME 83 / NUMBER 1 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ŽanetaÎuntová Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Baxter Barrowcliff ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sam Horn 630-941-2030 [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; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: -
00:00:00 Music Transition “Crown Ones” Off the Album Stepfather by People Under the Stairs
00:00:00 Music Transition “Crown Ones” off the album Stepfather by People Under The Stairs. Chill, grooving instrumentals. 00:00:05 Oliver Host Hello, I’m Oliver Wang. 00:00:07 Morgan Host And I’m Morgan Rhodes. You’re listening to Heat Rocks. Like the rest of you, we are all in our social distancing mode, and this of course is an unprecedented time of isolation and anxiety. And I know many of us, myself included, are turning to art and culture as a way to stay sane and connected and inspired. As such, we wanted to create a few episodes around the idea of comfort music, and we’ve already been engaging with all of you in our audience about it. 00:00:31 Oliver Host To tackle this, we will be using a format that Morgan helped to inspire, the Starting Five, which is both a reference to basketball as well as a nod to those five-CD changers that used to be all the range back in the 1990s. And so both Morgan and I chose five albums, and the last episode you heard her starting five. And today, it’s gonna be my five in terms fo what constitutes my idea of comfort music. 00:00:56 Morgan Host In the third installment, that airs next week, we’ll be choosing a starting five from suggestions that you, our audience, has made via our various social media accounts. So, you asked me and now I’m asking you, what is your definition of comfort music, or what does comfort music really mean to you, especially now? 00:01:15 Oliver Host I really enjoyed hearing what you had to say last week in terms of the albums or the music that reminded you of falling in love wit music, or just falling in love in general. -
Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene
Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene by Matthew Somoroff Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Co-Supervisor ___________________________ Paul Berliner, Co-Supervisor ___________________________ Philip Rupprecht ___________________________ Mark Anthony Neal Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 ABSTRACT Listening at the Edges: Aural Experience and Affect in a New York Jazz Scene by Matthew Somoroff Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Co-Supervisor ___________________________ Paul Berliner, Co-Supervisor ___________________________ Philip Rupprecht ___________________________ Mark Anthony Neal An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Matthew Somoroff ©2014 Abstract In jazz circles, someone with “big ears” is an expert listener, one who hears the complexity and nuance of jazz music. Listening, then, figures prominently in the imaginations of jazz musicians and aficionados. While jazz scholarship has acknowledged the discourse on listening within various jazz cultures, to date the actual listening practices of jazz musicians and listeners remain under-theorized. This dissertation investigates listening and aural experience in a New York City community devoted to avant-garde jazz. I situate this community within the local history of Manhattan’s Lower East Side, discuss the effects of changing neighborhood politics on music performance venues, and analyze social interactions in this scene, to give an exposition of “listening to music” as a practice deeply tied into other aspects of my interlocutors’ lives. -
The Chronicle
Thursday February 14, 1985 Vol. 808, No. 98, 28 pages Duke University Durham, North Carolina Free Circulation: 15,000 THE CHRONICLE Newsfile Yearbook draws negative reviews Nuclear aversion: Aversion to By TOWNSEND DAVIS nuclear arms involvement is apparent The 1984 Chanticleer was distributed to ly spreading among the Western allies, undergraduates Wednesday after a lengthy according to Pentagon and State Depart printing process by the Meriden Gravure ment officials. They said they were try Co. and met with mostly negative student ing to formulate a policy to deal with the reactions. situation. "It doesn't strike me as a yearbook; it looks more like someone's photo album," Human rights: Improvements in said Trinity senior Jennifer Copeland. "I'm human rights in Latin America, par sure the people who worked on it meant ticularly in El Salvador, have been found something, but I wish I knew what is was." by the State Department in its annual review of the rights situations around The 240-page book contained 16 color the world. See page 2. pages, 20 photos of South of the Border motel billboards along Interstate-95, cam pus scenes and Durham landscapes. 1984 Korean opposition: Opposition Editor David Graveen took 132 of the 170 forces in Seoul, jubilant over their gains photos featured, and the senior portraits ap in Tuesday's general elections, said they peared on a black-and-white poster. would try to form a broad legislative Students line up to pick up this year's Chanticleer, handed out by law student Gregg Graveen could not be reached for coalition against the government. -
Duke University Commencement ~ 2012
Sunday, the Thirteenth of May, Two Thousand and Twelve ten o’clock in the morning ~ wallace wade stadium Duke University Commencement ~ 2012 One Hundred Sixtieth Commencement Notes on Academic Dress Academic dress had its origin in the Middle Ages. When the European universities were taking form in the thirteenth and fourteenth centuries, scholars were also clerics, and they adopted Mace and Chain of Office robes similar to those of their monastic orders. Caps were a necessity in drafty buildings, and copes or capes with hoods attached were Again at commencement, ceremonial use is needed for warmth. As the control of universities made of two important insignia given to Duke gradually passed from the church, academic University in memory of Benjamin N. Duke. costume began to take on brighter hues and to Both the mace and chain of office are the gifts employ varied patterns in cut and color of gown of anonymous donors and of the Mary Duke and type of headdress. Biddle Foundation. They were designed and executed by Professor Kurt J. Matzdorf of New The use of academic costume in the United Paltz, New York, and were dedicated and first States has been continuous since Colonial times, used at the inaugural ceremonies of President but a clear protocol did not emerge until an Sanford in 1970. intercollegiate commission in 1893 recommended a uniform code. In this country, the design of a The Mace, the symbol of authority of the gown varies with the degree held. The bachelor’s University, is made of sterling silver throughout. It is thirty-seven inches long and weighs about gown is relatively simple with long pointed Significance of Colors sleeves as its distinguishing mark. -
The Literary Ellington
BRENT HAYES EDWARDS The Literary Ellington oOne of the main assumptions in thinking about African American creative expres- sion is that music—more than literature, dance, theater, or the visual arts—has been the paradigmatic mode of black artistic production and the standard and pin- nacle not just of black culture but of American culture as a whole. The most elo- quent version of this common claim may be the opening of James Baldwin’s 1951 essay “Many Thousands Gone”: “It is only in his music, which Americans are able to admire because a protective sentimentality limits their understanding of it, that the Negro in America has been able to tell his story. It is a story which otherwise has yet to be told and which no American is prepared to hear.”1 Eleven years later Amiri Baraka put it even more forcefully, excoriating the “embarrassing and in- verted paternalism” of African American writers such as Phyllis Wheatley and Charles Chesnutt, and claiming flatly that “there has never been an equivalent to Duke Ellington or Louis Armstrong in Negro writing.”2 Such presuppositions and hierarchical valuations have been part of the source of a compulsion among gener- ations of African American writers to conceptualize “vernacular” poetics and to strive toward a tradition of blues or jazz literature, toward a notion of black writing that implicitly or explicitly aspires to the condition of music. I want to start by juxtaposing these stark claims with an early essay by one of the musicians they so often cite as emblematic. Duke Ellington’s first article, “The Duke Steps Out,” was published in the spring of 1931 in a British music journal called Rhythm.