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Big Band Jazz and 20th C. Art Music: The Historical Relationship Documented Aaron Hedenstrom Music Composition University of Wisconsin-Eau Claire Faculty Mentor: Ethan Wickman, DMA The Premise Data Analysis: Timeline of Events The art music tradition (music stemming from the European Classical tradition) and the jazz tradition have had major impacts on one another throughout the 20th and 21st 1920s 1922: Darius Milhaud composes composes Trois rag caprices centuries. This project was designed to lay out history's events to show the 1923: Darius Milhaud premieres La création du monde 1924: Gershwin premieres "Rhapsody in Blue" 1926: Duke Ellington's 10-piece band records "East St. Louis Toodle-oo" which was their first recording progression of 20th century music as it relates to the big band and art music traditions. 1927: Ellington's 10-piece band records "Black and Tan Fantasy" 1928: Ravel tours North America and composes Sonata for Violin and Piano, which has a slow movement called Blues. American press notes Ravel's love of jazz The importance of this relationship is evident in the immense popularity of jazz-art and blues music hybrids like Rhapsody in Blue and also in the vast range of possibilities to be 1929: Gershwin premieres "An American in Paris" found in future musical creations. 1930s 1930: Duke Ellington's 12-piece band appears in film Check and Double Check and records the famous Mood Indigo. 1930: Gershwin writes "I Got Rhythm" 1932-1942: Ellington band enlarges to become 6 brass, 4 reeds, and rhythm section 1933-1938: -
A Stellar Lament of Lost Love
MASTERPIECE A Stellar Lament of Lost Love Hoagy Carmichael’s Star Dust, with lyrics by Mitchell Parish, is probably the most-recorded song in history. By John Edward Hasse Published originally in The Wall Street Journal, Aug. 23, 2019 Love is now the star dust of yesterday The music of the years gone by. What is probably the most-recorded American song in history began as melodic fragments imagined by a former Indiana University student named Hoagland “Hoagy” Carmichael. When he finished fiddling with his wordless tune, he had the beginnings of an American classic, StarDust that surpassed his later evergreens such as Skylark, Lazy River, and Georgia on My Mind and stood apart from all other popular songs. At the piano, he toyed with his ideas for months until the piece was first recorded by a group of his pals on Halloween in 1927. Carmichael was under the musical spell of the storied comet-in-the-sky cornetist Bix Beiderbecke, whose lyricism enraptured the young pianist. Like an elegant Beiderbecke improvisation captured in midair for all time, Star Dust has the fresh and spontaneous quality of a jazz solo. So striking is the melody line that it can be played naked—no harmonies—and stand as a remarkable statement. The allure of Star Dust begins with its title, suggesting a magical quality. The song is brilliant because of its originality, artistry and adaptability to many musical voices, both instrumental and vocal. It became a standard because so many musicians, from Louis Armstrong to Frank Sinatra, and their audiences too, embraced its charms. -
Johnny Hodges: an Analysis and Study of His Improvisational Style Through Selected Transcriptions
HILL, AARON D., D.M.A. Johnny Hodges: An Analysis and Study of His Improvisational Style Through Selected Transcriptions. (2021) Directed by Dr. Steven Stusek. 82 pp This document investigates the improvisational style of Johnny Hodges based on improvised solos selected from a broad swath of his recording career. Hodges is widely considered one of the foundational voices of the alto saxophone, and yet there are no comprehensive studies of his style. This study includes the analysis of four solos recorded between 1928 and 1962 which have been divided into the categories of blues, swing, and ballads, and his harmonic, rhythmic, and affective tendencies will be discussed. Hodges’ harmonic approach regularly balanced diatonicism with the accentuation of locally significant non-diatonic tones, and his improvisations frequently relied on ornamentation of the melody. He demonstrated considerable rhythmic fluidity in terms of swing, polyrhythmic, and double time feel. The most individually identifiable quality of his style was his frequent and often exaggerated use of affectations, such as scoops, sighs, and glissandi. The resulting body of research highlights the identifiable characteristics of Hodges’ style, and it provides both musical and historical contributions to the scholarship. JOHNNY HODGES: AN ANALYSIS AND STUDY OF HIS IMPROVISATIONAL STYLE THROUGH SELECTED TRANSCRIPTIONS by Aaron D. Hill A Dissertation Submitted to The Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2021 Approved by __________________________________ Committee Chair 2 APPROVAL PAGE This dissertation written by AARON D. HILL has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. -
Pioneers of the Concept Album
Fancy Meeting You Here: Pioneers of the Concept Album Todd Decker Abstract: The introduction of the long-playing record in 1948 was the most aesthetically signi½cant tech- nological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a ½rst generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The ½rst brought together performers unlikely to col- laborate in the world of live music making. The second strategy featured well-known singers in song- writer- or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others. After setting the speed dial to 33 1/3, many Amer- icans christened their multiple-speed phonographs with the original cast album of Rodgers and Hammer - stein’s South Paci½c (1949) in the new long-playing record (lp) format. The South Paci½c cast album begins in dramatic fashion with the jagged leaps of the show tune “Bali Hai” arranged for the show’s large pit orchestra: suitable fanfare for the revolu- tion in popular music that followed the wide public adoption of the lp. Reportedly selling more than one million copies, the South Paci½c lp helped launch Columbia Records’ innovative new recorded music format, which, along with its longer playing TODD DECKER is an Associate time, also delivered better sound quality than the Professor of Musicology at Wash- 78s that had been the industry standard for the pre- ington University in St. -
The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St. -
The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. -
Ellington! 11 AM 2015 2016 BROADEN the HORIZONS of YOUR CLASSROOM
LEARNING LINKS JazzReach: WEDNESDAY OCTOBER 21 2015 Ellington! 11 AM 2015 2016 BROADEN THE HORIZONS OF YOUR CLASSROOM. EXPERIENCE THE VIBRANT WORLD OF THE ARTS AT THE McCALLUM! McCALLUM THEATRE INSTITUTE PRESENTS “My men and my race JazzReach: Ellington! are the inspiration of my work. I try to catch the character and mood and feeling of my people.” WEDNESDAY OCTOBER 21 2015 Duke Ellington 11 AM Connecting to Curriculum and Students’ Lives! HISTORY • New York, African-American history ARTS • Jazz, musical instruments Expanding the Concept of Literacy What is a “text”? We invite you to consider the performances on McCallum’s Field Trip Series as non- print texts available for study and investigation by your students. Anyone who has shown a filmed version of a play in their classroom, used a website as companion to a textbook, or asked students to do online research already knows that “texts” don’t begin and end with textbooks, novels, and reading packets. They extend to videos, websites, games, plays, concerts, dances, radio programs, and a number of other non-print texts that students and teachers engage with on a regular basis. We know that when we expand our definition of texts to the variety of media that we use in our everyday lives, we broaden the materials and concepts we have at our disposal in the classroom, increase student engagement, and enrich learning experiences. Please consider how utilizing your McCallum performance as a text might align to standards established for reading, writing, speaking, listening, and language. How do we help students to use these texts as a way of shaping ideas and understanding the world? Please use this material to help you on this journey. -
Down to Business: Herman Lubinsky and the Postwar Music Industry
Journal of Jazz Studies vol. 10, no. 1, pp. 1-24 (Summer 2014) Down to Business: Herman Lubinsky and the Postwar Music Industry Robert Cherry and Jennifer Griffith The historical record has emphasized how black performers were treated unfairly by the men who dominated the postwar music industry. Managers and venue operators, we are told, fell into dubious practices and the most contentious figures were the Jewish owners of independent record companies that sprang up in the 1940s. Accounts suggest that for several decades most artists relied on any owner who was willing to record them. In addition, the ubiquity of artists’ drug addiction between the 1940s and 1970s has influenced studies of artist-owner relationships. It has prompted a deserved historical sympathy for the artists and, unfortunately, negative views of owners who were often perceived to take advantage of their vulnerability. Consequently, record company owners were in a position to exploit artists and only a few Jewish owners have escaped claims of unfair practices towards the black artists they recorded.1 In this article, we explore testimonies and written accounts of critics and biographers to show how contradictory and inconclusive evidence has led to simplistic notions of exploitive business practices. In particular, we explore the harsh negative assessment of Herman Lubinsky, owner of Savoy Records. Most importantly, we demonstrate that record owner practices were substantially affected by changes in conditions of the jazz market between 1930 and 1960. Judging the level -
Duke Ellington 4 Meet the Ellingtonians 9 Additional Resources 15
ellington 101 a beginner’s guide Vital Statistics • One of the greatest composers of the 20th century • Composed nearly 2,000 works, including three-minute instrumental pieces, popular songs, large-scale suites, sacred music, film scores, and a nearly finished opera • Developed an extraordinary group of musicians, many of whom stayed with him for over 50 years • Played more than 20,000 performances over the course of his career • Influenced generations of pianists with his distinctive style and beautiful sound • Embraced the range of American music like no one else • Extended the scope and sound of jazz • Spread the language of jazz around the world ellington 101 a beginner’s guide Table of Contents A Brief Biography of Duke Ellington 4 Meet the Ellingtonians 9 Additional Resources 15 Duke’s artistic development and sustained achievement were among the most spectacular in the history of music. His was a distinctly democratic vision of music in which musicians developed their unique styles by selflessly contributing to the whole band’s sound . Few other artists of the last 100 years have been more successful at capturing humanity’s triumphs and tribulations in their work than this composer, bandleader, and pianist. He codified the sound of America in the 20th century. Wynton Marsalis Artistic Director, Jazz at Lincoln Center Ellington, 1934 I wrote “Black and Tan Fantasy” in a taxi coming down through Central Park on my way to a recording studio. I wrote “Mood Indigo” in 15 minutes. I wrote “Solitude” in 20 minutes in Chicago, standing up against a glass enclosure, waiting for another band to finish recording. -
2 Duke Ellington
2 DUKE ELLINGTON Lesson Ideas Younger Students • Discuss Duke Ellington’s childhood and young adulthood with the students. Ask each student to imagine himself or herself as Duke Ellington. Each student creates a comic strip about life as child or teenage Duke Ellington. Comic strips can incorporate factual and imagined storylines. Showcase the finished comic strips in the classroom or compile into a newspaper. Distribute a newspaper photocopy to each student. • Provide students with white card stock and markers so they can construct a one-octave piano keyboard (with eight keys). Make your own to provide an example or allow students to model theirs using the classroom’s piano. Instruct students to write an adjective describing Duke on each piano key, based on what they have learned in class, and to draw a picture to accompany each qualifier. Examples of adjectives include musical, charismatic, noble, graceful, inventive and stylish. Play some of Duke Ellington’s music in the background as students create their piano keyboards. Older Students • Divide students into groups to record a podcast about Duke Ellington. Designate students for specific tasks: • Scriptwriters to write the podcast script • Podcast host to read the main narrative • Recording engineer to tape the podcast • Actors to read pretend commercials or act as interviewees • Sound effects artist You can choose to do a live newscast format instead of a podcast format depending on available resources and number of students. Recording is optional. • Duke Ellington became popular during the Harlem Renaissance of the 1920s and 1930s. Langston Hughes, a prominent poet during the Harlem Renaissance, often wrote his poems while listening to jazz music at the local clubs. -
5. Who Wrote Duke Ellington's Music?
[fresh page] [recto or verso] [cn][ct]5. Who wrote Duke Ellington’s music? Authorship and collective creativity in ‘Mood Indigo’ [au]Björn Heile ____________________________________________________________________ [txt] Musical copyright law is subtly informed by often tacit aesthetic preferences. For instance, it privileges melody over harmony. As the entry on ‘melody’ of the Music Copyright Infringement Resource (Columbia Law School and USC Gould School of Law 2014) has it: [ext] Melody is overwhelmingly the single most important feature of a musical work in evaluating the merits of copyright infringement claims. The entire corpus of judicial opinions in the area of music copyright infringement dwells on melody as the single most idiosyncratic element of the works in question, and almost entirely the locus of the economic worth of a song.1 [txt] The corresponding entry on harmony only describes the phenomenon in musical terms; its value and relevance in adjudicating copyright infringement claims is not even considered. Indeed, a judgment in a case between the estates of Duke Ellington and Billy Strayhorn (very close to the matters discussed here) argues that ‘[h]armony 1 http://mcir.usc.edu/glossary/M-R/Pages/Melody.html, accessed 14 September 2014. is a derivative creation almost by definition. A composer generally creates a harmony to accompany a particular melody, as opposed to developing harmony in the abstract.’2 Although this confident pronouncement is only true of a very narrow selection of musical styles (whereas in many others melody largely arises from harmony or is inextricably bound up with it), there are fairly sound reasons for privileging melody over harmony in this way: harmony is often relatively anonymous; note, for instance, the importance of stock harmonic progressions such as I–vi–IV–V in popular music (Moore 2004: 334–35), to say nothing of even more ubiquitous progressions such as in the Blues. -
Glenn Miller Archives
Glenn Miller Archives ARTIE SHAW INDEX Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Updated December 11, 2020 Table of Contents 2.1 Recording Sessions 3 2.2 Broadcasts (Recordings) 4 2.3 Additional Broadcasts (Data Only) 8 2.4 Personal Appearances 13 2.5 Music Library 16 2.6 On The Record 82 2.6.1 Analog Media 83 2.6.2 Digital Media 143 2.7 Glenn Miller Archives 162 2.7.1 Analog Media 163 RTR Edward Burke Collection 163 2.7.2 Digital Media 164 EHD Columbia Broadcasting System (CBS) 164 EHD Mutual Broadcasting System (MBS) 165 EHD National Broadcasting Company (NBC) 165 2.8 Star Spangled Radio Hour 167 Cover: Artie Shaw 1940 Paramount Publicity Photo P-2744-6 (Glenn Miller Archives) 2 2.1 Recording Sessions 38-07-24 Bluebird Recording Session, Victor Studio #2, New York 38-09-27 Bluebird Recording Session, Victor Studio #2, New York 38-11-17 Bluebird Recording Session, Victor Studio #2, New York 38-11-28 Vitaphone Melody Master (Film), Warner Brothers, New York 38-12-19 Bluebird Recording Session, Victor Studio #2, New York 39-01-17 Bluebird Recording Session, Victor Studio #2, New York 39-01-23 Bluebird Recording Session, Victor Studio #2, New York 39-01-31 Bluebird Recording Session, Victor Studio #2, New York 39-03-00 Vitaphone Melody Master (Film), Warner Brothers, New York 39-03-12 Bluebird Recording Session, Victor Studio #2, New York 39-03-17 Bluebird Recording Session, Victor Studio #2, New York 39-03-19 Bluebird Recording Session, Victor Studio #2, New York 39-06-05 Bluebird Recording Session, Victor Studio, Hollywood 39-06-12 Bluebird Recording Session, Victor Studio, Hollywood 39-06-22 Bluebird Recording Session, Victor Studio, Hollywood 39-06-00 Paramount Headliner (Film), Paramount Studios, Hollywood 39-07-15 MGM Prerecording Session, MGM Studio, Culver City, Cal.