Cantate (Fall 2006)
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Ronnie Scott's Jazz C
GIVE SOMEONE THE GIFT OF JAZZ THIS CHRISTMAS b u l C 7 z 1 0 z 2 a r J MEMBERSHIP TO e b s ’ m t t e c o e c D / S r e e i GO TO: WWW.RONNIESCOTTS.CO.UK b n OR CALL: 020 74390747 m e n v o Europe’s Premier Jazz Club in the heart of Soho, London o N R Cover artist: Roberto Fonseca (Mon 27th - Wed 29th Nov) Page 36 Page 01 Artists at a Glance Wed 1st - Thurs 2nd: The Yellowjackets N LD OUT Wed 1st: Late Late Show Special - Too Many Zooz SO o Fri 3rd: Jeff Lorber Fusion v Sat 4th: Ben Sidran e m Sun 5th Lunch Jazz: Jitter Kings b Sun 5th: Dean Brown Band e Mon 6th - Tues 7th: Joe Lovano Classic Quartet r Wed 8th: Ronnie Scott’s Gala Charity Night feat. Curtis Stigers + Special Guests Thurs 9th: Marius Neset Quintet Fri 10th - Sat 11th: Manu Dibango & The Soul Makossa Gang Sun 12th Lunch Jazz: Salena Jones “Jazz Doyenne” Sun 12th: Matthew Stevens Preverbal November and December are the busiest times Mon 13th - Tues 14th: Mark Guiliana Jazz Quartet of the year here at the club, although it has to be Wed 15th - Thurs 16th: Becca Stevens Fri 17th - Sat 18th: Mike Stern / Dave Weckl Band feat. Tom Kennedy & Bob Malach UT said there is no time when we seem to slow down. Sun 19th Lunch Jazz: Jivin’ Miss Daisy feat. Liz Fletcher SOLD O November this year brings our Fundraising night Sun 19th: Jazzmeia Horn Sun 19th: Ezra Collective + Kokoroko + Thris Tian (Venue: Islington Assembly Hall) for the Ronnie Scott’s Charitable Foundation on Mon 20th - Tues 21st: Simon Phillips with Protocol IV November 8th featuring the Curtis Stigers Sinatra Wed 22nd: An Evening of Gershwin feat. -
Vocal Jazz Ensemble and 11 O'clock Jazz Orchestra
Vocal Jazz Ensemble and 11 O’Clock Jazz Orchestra Christine Duncan and Jim Lewis, directors Wednesday, November 28, 2018 at 7:30 pm Walter Hall, 80 Queen’s Park PROGRAM But Not For Me G. and I. Gershwin Instrumental Precious E. Spalding arranged by: K. Marsh Still Travelling K. Marsh Pleasant J. Welchner Not For Human Beings Hobson’s Choice arranged by: L. Swankey Madeleine Ertel, trumpet I Want To Be Happy V. Youmans/I. Caesar arranged by: K. Marsh Vocal Jazz Ensemble Christine Duncan, director Events II and IV for Jazz Orchestra and Improvising Choir J. Lewis/C. Duncan When You Are Here H. Barstow Combined Vocal Jazz Ensemble and 11 O’Clock Jazz Orchestra Christine Duncan and Jim Lewis, directors Spectrum B. Mintzer Lately M. Schneider Energy Generation D. McCaslin Body and Soul Comp Green arranged by: R. McConnell Brandon’s First Day P. Ashwell 11 O’Clock Jazz Orchestra Jim Lewis, director Vocal Jazz Ensemble Vocalists Rhythm Section Avery Cantello Alyssa Giammaria Piano: William Hunt Kathleen O’Keefe Mairead Keogh Guitar: Dawson Chamberlain Brooklyn Bohach Emma Gilman Acoustic/Electric Bass: Anne Elgie Vannessa Gadoutsis Max Simpson Dominique Lalama Alyssa Datu Drums: Miles Fuller Isabella Hay Jenna Pinard Raquel Skilich David Bruce Abigail Mathew 11 O’Clock Jazz Orchestra Alto Saxophone Trumpet Guitar Brenon Parmar Shannon McDougall Wes White Garret Hildebrandt Lucas Udvarnoky Evan Garner Piano Tenor Saxophone Madeleine Ertel Max Donaldson Sam Demets Christian Antonacci Dermot O’Halloran Bass Trombone Leighton Harrell Baritone Saxophone Blair Scanling Thomas Steele Andrew Gormley Drums Ray Sun Evan Ng Bien Carandang For more information on U of T Jazz, visit uoftjazz.ca and follow @UofTJazz on social media. -
Vocal Jazz in the Choral Classroom: a Pedagogical Study
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2019 Vocal Jazz in the Choral Classroom: A Pedagogical Study Lara Marie Moline Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Moline, Lara Marie, "Vocal Jazz in the Choral Classroom: A Pedagogical Study" (2019). Dissertations. 576. https://digscholarship.unco.edu/dissertations/576 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]. © 2019 LARA MARIE MOLINE ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School VOCAL JAZZ IN THE CHORAL CLASSROOM: A PEDAGOGICAL STUDY A DIssertatIon SubMItted In PartIal FulfIllment Of the RequIrements for the Degree of Doctor of Arts Lara Marie MolIne College of Visual and Performing Arts School of Music May 2019 ThIs DIssertatIon by: Lara Marie MolIne EntItled: Vocal Jazz in the Choral Classroom: A Pedagogical Study has been approved as meetIng the requIrement for the Degree of Doctor of Arts in College of VIsual and Performing Arts In School of Music, Program of Choral ConductIng Accepted by the Doctoral CoMMIttee _________________________________________________ Galen Darrough D.M.A., ChaIr _________________________________________________ Jill Burgett D.A., CoMMIttee Member _________________________________________________ Michael Oravitz Ph.D., CoMMIttee Member _________________________________________________ Michael Welsh Ph.D., Faculty RepresentatIve Date of DIssertatIon Defense________________________________________ Accepted by the Graduate School ________________________________________________________ LInda L. Black, Ed.D. Associate Provost and Dean Graduate School and InternatIonal AdMIssions Research and Sponsored Projects ABSTRACT MolIne, Lara Marie. -
Testimonials
MATSUE-NEW ORLEANS TOMODACHI EXCHANGE Matsue Exchange Participants Matsue-New Orleans TOMODACHI EXCHANGE Ms. Yuka Ikejiri I love the music of New Orleans. I'm very happy to create more opportunities in Matsue to listen to New Orleans music and to spread awareness about our Friendship City relationship. I'd like to work towards attracting more visitors to Matsue based on this relationship. Mr. Hitoshi Kashiwai I like talking about travels and cuisine, and being physically active, so I like taking a proactive role in conversation. I cannot speak much English, but I hope things will go well. Mr. Hiroyuki Katayama Throughout college and graduate school, I played bass in a jazz band. Although I am not currently involved in band activities, I still love listening to jazz, funk, soul, and other kinds of African-American music. Ever since I was a student I felt that I wanted to have ties all around the world, and during graduate school I took part in a JICA internship program, during which time I lived in Bolivia for half a year. In addition, I have had shorter stays in places like China, Cambodia, and Morocco. Through my work, I have planned and reviewed projects geared towards interregional exchange with people who live in all areas of Shimane. I think this experience will be a great strength in planning and overseeing exchange activities following this program. Matsue-New Orleans TOMODACHI EXCHANGE Ms. Mika Miyamoto My specialty is playing the saxophone. I'd be very pleased to interact with the locals by performing together. I am cheerful and personable, so I hope to make a lot of friends in New Orleans. -
Home • About • Archives • Sitemap • Full Width • Gallery • Contact Us • • • Torpedopop Breaking News I've Been
Brian Wilson: Songwriter, 1962 – 1969 | TorpedoPop | Page 1 of 11 • Home • About • Archives • Sitemap • Full Width • Gallery • Contact us • RSS FEED • MAIL SUBSCRIPTION TorpedoPop Breaking News • I've been listening to the remastered "The Queen Is Dead" this weekend. Sounds great. Nice done and Happy Birthday Johnny Marr! 14 days ago • New review up. The Wrong Words – The Wrong Words http://t.co/p0p8m8n via @ AddToAny 133 days ago • Training 591 days ago http://wenker.se/archives/1507 11/14/2011 Brian Wilson: Songwriter, 1962 – 1969 | TorpedoPop | Page 2 of 11 • News » • Articles » • Reviews » • Torpedo » • Look! Listen! » • Discography • Filmography » Brian Wilson: Songwriter, 1962 – 1969 By Gary Pig Gold On 11/01/2011 At 7:15 Category : Articles , English Tags : beach boys , brian wilson Responses : No Comments 0 Like 16 Share 0 Related Posts • The Beach Boys – The Smile Sessions Box Set 08/27/2011 • “The Greatest Rock Movie You’ve Never Seen,” according to Steven Van Zandt 05/07/2010 http://wenker.se/archives/1507 11/14/2011 Brian Wilson: Songwriter, 1962 – 1969 | TorpedoPop | Page 3 of 11 As we all eagerly await our grand new SMiLE boxes, Gary Pig Gold reminds us of….. TEN REASONS WHY “BRIAN WILSON: SONGWRITER, 1962 – 1969 ” SHOULD BE THE LAST BEACH BOYS DOCUMENTARY YOU NEED EVER WATCH 1. Veteran SoCal socio-musical historian Domenic Priore, sitting alongside a tiki totem beneath a strategically placed orange branch, more than ably launches our story over a wealth of Eastmancolor’d freeway and beach footage, drawing, as only he can, that all-important connection from Gidget to Dick Dale all the way to teenage Brian’s Hawthorne, California music room. -
FREDONIA JAZZ STUDIES PROGRAM Fall 2020 Instrumental Audition Information
FREDONIA JAZZ STUDIES PROGRAM Fall 2020 Instrumental Audition Information In place of in-person instrumental auditions, students must submit audio recordings no later than Sunday, August 23, 2020 by 12:00 pm. NO EXCEPTIONS. • EVERYONE must prepare the appropriate JAZZ AUDITION MUSIC prior to their audition. • EVERYONE must submit recordings using the ONLINE AUDITION FORM. • REGISTER for the ensemble you think you might be placed in, or the ensemble that best fits your schedule at this point. You can correct your registration during the add/drop period if you are placed in a different ensemble. BIG BANDS Fredonia Jazz Orchestra (MUS 052-01) Nick Weiser, director; W 6:10 PM - 8:00 PM Fredonia New Jazz Ensemble (MUS 051-01) Nick Weiser, director; M 6:10 PM - 8:00 PM COMBOS Fredonia Instrumental Jazz Combos (MUS 050-01) Nick Weiser & Elliot Scozarro, directors; MW 3:00 PM - 3:50 PM or TBA Fredonia Vocal Jazz Combo (MUS 049-01) Nick Weiser, director; MW 3:00 PM - 3:50 PM or TBA • AUDITION RESULTS will be emailed Monday, August 24, by 10:00 AM. • REHEARSALS for all ensembles begin on or after Monday, August 24. Rehearsal for the Fredonia New Jazz Ensemble is scheduled to begin Monday, August 24 at 6:10 PM. The Fredonia Jazz Orchestra and Fredonia New Jazz Ensemble will have rooms, dates, and times posted on the roster sheets; combos will meet based on individual schedules as determined by the combo director, who will then notify you via email of rehearsal details. • Any audition questions (after you’ve read everything here!) should be referred to Dr. -
Cantate (Winter 2013)
Standing Tall & Proud 2 • Cantate • Vol. 25, no. 2 • Winter 2013 CALIFORNIA ACDA Contents Articles 5 The President’s Pen: The Beginner’s Performance by Jonathan Talberg, President 6 Open Your Hearts, Heal Your Minds by Lori Marie Rios, President-Elect 8 Why Jazz Choir? by Christine Guter, Jazz Choir R&S Chair 10 Getting It All In: Teaching “The Other” While Preparing “The Performance” by Christopher Borges, Central Region Representative 12 Embracing Change, Lessons Learned by Steven Kronauer, Male Choirs R&S Chair 16 Losing Elijah, Finding Ourselves by Anna Hamre, Community Choirs R&S Chair WHEREAS, the human spirit is elevated to a broader understanding of itself through study and performance in Of Note... the aesthetic arts, and 4 Calendar, Advertisers Index WHEREAS, 18 Regional Conference Reports serious cutbacks in funding and support have steadily eroded state 20-21 Top Five for Your Choir institutions and their programs p. 20 - Children and Community Youth throughout our country, p. 21 - Women’s Choirs 23 California ACDA Directory BE IT RESOLVED that all citizens of the United States actively voice their affirmative and collective support for necessary funding at the local, state, and national levels of education and government, to ensure the survival of arts programs for this and future generations. “We are the music makers, and CALIFORNIA ACDA MEMBERS ARE we are the dreamers of dreams.” ENCOURAGED TO PRINT THIS ACDA ADVOCACY RESOLUTION IN ALL PROGRAMS. - Arthur O’Shaughnessy LEADING THE WAY Cantate • Vol. 25, no. 2 • Winter 2013 • 3 Official Publication of the California Chapter American Choral Directors Association Calendar CANTATE Volume 25, Number 2 2013 ACDA National Conference ............................Mar. -
Surfer Rules #1
Archives - Surfers Rules #1 Surfers Rules #20.4 La version vinyle de No Pier Pressure est sortie le 1er juin. Pet Sounds bientôt disponible en version blu-ray. Sortie repoussée au 15 septembre. Les 8 dates de la tournée de Brian Wilson au Royaume Uni prévues en septembre ont été annulées. Officiellement, la promotion de No Pier Pressure retiendrait l'homme aux USA. Peut être plus sûrement, les lieux choisis, des endroits comme l'Arena O² à Londres, et le prix élevé des places ont fait fuire les combattants. Session de rattrapage : une ultime tournée européenne, ses adieux, est envisagée en 2016 à l'occasion des 50 ans de Pet Sounds Parution du livre Long Promised Road: Carl Wilson, Soul of the Beach Boys - the Biography signé par Ken Crowley le 3 septembre 2015 Le journal Le Monde se penche en vidéo sur No Pier Pressure. Chronique qui sonne assez juste. A la mi-avril, ce sont pas moins de 6 nouvelles rééditions vinyles 180gr rendues disponibles par Capitol aux USA : Carl & The Passion : So Tough (1972), 15 Big Ones (1976), M.I.U. Album (1978), L.A. (Light Album) (1979), Keepin’ The Summer Alive (1980) et The Beach Boys (1985). Nouveau, sur le site : chroniques d'Orange Crate Art, d'Imagination et du Live At The Roxy et, rayon Beach Boys, du Live, The 50th Anniversary Tour. Critique "raisonnée" de No Pier Pressure signée Basile Farkas dans le nouveau numéro de Rock & Folk (#573, mai 2015). Le Dr Faustroll a revu la sienne sur notre site. Right Time/Sail Away est le simple vinyle de Brian Wilson extrait du nouvel album qui est sorti à l'occasion du Record Store Day le 18 avril (1000 exemplaires). -
An Analysis of Instrumental Jazz Improvisation Development
An Analysis of Instrumental Jazz Improvisation Development Among High School and College Musicians By Christopher Michael Palmer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Education) in the University of Michigan 2013 Doctoral Committee: Associate Professor Carlos Xavier Rodriguez, Chair Assistant Professor Kate R. Fitzpatrick-Harnish Professor Patricia M. King Professor Marie F. McCarthy Professor Edward W. Sarath © 2013 Christopher Michael Palmer All Rights Reserved DEDICATION To my parents, who introduced me to the wonderful world of music at a young age, my fascination with improvisation comes from your encouragement of creativity and play. ii ACKNOWLEDGMENTS I wish to thank the many people who contributed in a variety of ways towards helping me with my dissertation. Thank you Donald Babcock, Miles Brown, Mark Filsinger, Marty Marks, Jack Wagner, and Chad West for assisting me in recruiting participants for this study. I extend thanks to Catherine Wilensky for her statistical expertise. Thanks to the faculty and students in the University of Michigan Jazz and Contemporary Improvisation Department. In particular, I would like to thank Andrew Bishop, Patrick Booth, Ellen Rowe, Ed Sarath, Chris Smith, and Dennis Wilson. Your willingness to share your time and expertise is deeply appreciated. I am indebted to the guidance of my dissertation committee, led by Carlos Xavier Rodriguez, for helping me develop and articulate my ideas regarding the development of improvisation achievement. I also wish to thank Colleen Conway, Kate Fitzpatrick-Harnish, Pat King, Marie McCarthy, and Betty Anne Younker for enriching discussions and learning experiences in your classes. -
A Cappella Ear Training: Bringing Theory and Aural Skills Together Via
australian asociety s for mumsic A cappella ear training: Bringing e ducation incorporatede theory and aural skills together via singing in a jazz program environment Helen Russell University of Southern Queensland Abstract As jazz study has become an established branch of the tertiary music landscape, disquiet has arisen in some quarters about the “mechanical” way in which improvisation is taught. This study examined the ways in which singing in an a cappella harmony group affected the improvisational abilities of tertiary level jazz students. Over three semesters, students participated in a method developed by the author known as “A cappella Ear Training” (AET). AET was used to test the author’s assumption that learning to sing in harmony with other voices and without recourse to the mechanics of any instrument would improve the ability of the students to internalize the theoretical information with which they were being presented in all areas of the course. The research used a qualitative approach, and drew on data generated through participant-observation and interview techniques. Students were observed throughout the course, with the author making field notes on the practice of the class session. Further interviews with some participants were conducted to ascertain the students’ perception of the AET approach. Analysis of the data confirmed that AET enabled the development of a theoretically informed practice whereby the participating students came to recognize concepts in practice and performance. Keywords: A cappella, ear training, harmony, improvisation, jazz, musicianship, theory. Background This paper seeks to position the A cappella Ear Training (AET) method as a rejection of the As an instrumentalist I have always mediated dualism of ear or eye, and suggests that the two between the notes on the page and my instrument are mutually supportive. -
The Wurlitzer Style 180 Band Organ
THE www.amica.org Volume 51, Number 2 AMICA March/April 2014 AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION BULLETIN ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a Visit the AMICA web site at: http://www.amica.org 501(c)(3) non-profit, tax exempt group devoted to the restoration, distribution, to enter the “Members-Only” portal, Current User Name: AMICA research and enjoyment of automatic musical instruments. AMICA was Password: Bellows@1963 founded in San Francisco, California in 1963. VOLUME 51, Number 2 March/April 2014 AMICA BULLETIN FEATURES Display and Classified Ads Meet the Younger Generation . .edited by Glenn Thomas . .53 Articles for Publication Letters to the Publisher Nickel Notes: Jim Krughoff . .by Matthew Jaro . 56 Chapter News Wurlitzer Style 180 Band Organ . .by Matthew Caulfield . .64 UPCOMING PUBLICATION Link A Orchestrion Acquisition . .by Glenn Thomas . .73 DEADLINES Link A Orchestrion Restoration . .by Paul Manganaro . .74 The ads and articles must be received Repairing / Replacing Piano Roll Leaders . .by Douglas Heckrotte . by the Publisher on the 1st of the 81 Odd number months: Facade a la Mode . .by Kenneth Hodge . .84 January July Where Are They Now? . .by Terry Smythe . March September 86 May November Bulletins will ordinarily be mailed in the 1st week of the even months, for COLUMNS expected delivery mid-month. Editorial Observations . Glenn Thomas, Publisher 48 165 Kildee Rd. From the Membership Secretary . .48 Belle Mead, NJ 08502 Membership Update . Phone: 908-431-0490 49 e-mail: [email protected] Web Sites of Interest . -
5Th Regional Conference March 5-6, 2016 California State University Long Beach Long Beach, California
5th Regional Conference March 5-6, 2016 California State University Long Beach Long Beach, California Board of Directors Advisory Councils President: Betty Anne Younker (University of Western At Large: Richard J. Dammers (Rowan University) Ontario) Composition: Daniel C. Adams (Texas Southern President Elect: Keith Ward (University of Puget University) Sound) Cultural Inclusion: Juan Carlos Vega (Puerto Rico Vice-President: Jennifer Sterling Snodgrass Conservatory of Music) (Appalachian State University) Ethnomusicology: Sharon Poulson Graf (University Secretary: Nancy H. Barry (Auburn University–Auburn) Treasurer: Ann Sears (Wheaton College) Improvisation: Edward W. Sarath (University of At Large: Richard J. Dammers (Rowan University) Michigan–Annof Illinois Springfield) Arbor) Composition: Daniel C. Adams Instructional Technology: Scott Lipscomb (Texas Southern University) (University of Minnesota–Twin Cities) Ethnomusicology: Sharon Poulson Graf (University of Music Education: Amanda C. Soto (Texas State University) Music Education: Amanda C. Soto (Texas State Music in General Studies: Constance Cook Glen University)Illinois–Springfield) (Indiana University–Bloomington) Music in General Studies: Constance Cook Glen Music Theory: Juan Chattah (University of Miami) (Indiana University–Bloomington) Musicology: Craig Parker (Kansas State University) Music Theory: Juan Chattah (University of Miami) Performance: Nicole L. Molumby (Boise State Musicology: Craig Parker (Kansas State University) University) Performance: Nicole L. Molumby (Boise