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National Endowment for the Arts Annual Report 1990
National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................ -
Too Many Notes: Complexity and Culture in Voyager Lewis, George E
Too Many Notes: Complexity and Culture in Voyager Lewis, George E. Leonardo Music Journal, Volume 10, 2000, pp. 33-39 (Article) Published by The MIT Press For additional information about this article http://muse.jhu.edu/journals/lmj/summary/v010/10.1lewis.html Access Provided by University of California @ Santa Cruz at 09/27/11 9:42PM GMT W A Y S WAYS & MEANS & M E A Too Many Notes: Computers, N S Complexity and Culture in Voyager ABSTRACT The author discusses his computer music composition, Voyager, which employs a com- George E. Lewis puter-driven, interactive “virtual improvising orchestra” that ana- lyzes an improvisor’s performance in real time, generating both com- plex responses to the musician’s playing and independent behavior arising from the program’s own in- oyager [1,2] is a nonhierarchical, interactive mu- pears to stand practically alone in ternal processes. The author con- V the trenchancy and thoroughness tends that notions about the na- sical environment that privileges improvisation. In Voyager, improvisors engage in dialogue with a computer-driven, inter- of its analysis of these issues with ture and function of music are active “virtual improvising orchestra.” A computer program respect to computer music. This embedded in the structure of soft- ware-based music systems and analyzes aspects of a human improvisor’s performance in real viewpoint contrasts markedly that interactions with these sys- time, using that analysis to guide an automatic composition with Catherine M. Cameron’s [7] tems tend to reveal characteris- (or, if you will, improvisation) program that generates both rather celebratory ethnography- tics of the community of thought complex responses to the musician’s playing and indepen- at-a-distance of what she terms and culture that produced them. -
Ecuador and Peru
Grab your passport and join ArtStart artists on an unforgettable adventure to Ecuador and Peru through the arts! The astounding diversity and rich heritage of these two countries provide a wonderful springboard for art inspired by traditional art forms—from music to dance to storytelling and visual arts. Classes for pre-school, school-age, and teens. PASSPORT TO Ecuador and Peru THROUGH THE ARTS Ecuador JULY 6-10, 2020 Journey to Ecuador, a country straddling the equator on South America’s west coast. Its diverse landscape encompasses Amazon jungle, Andean highlands and the wildlife-rich Galápagos Islands. You learn about the three distinct ecosystems and the wildlife that inhabit them. In the afternoon you shift your emphasis from nature to learn about community life and how customs and traditions of the ancient Incas, the indigenous people of Ecuador, live on through art, music and dance. Peru JULY 13-17, 2020 Head south to Peru, a country that borders Ecuador. Here you visit the Andes, one of the highest mountain ranges in the world running the length of Peru. The valleys and mountains for the Andes are home to the ancient culture of the Incas and their modern day relatives, the Quechua, or “the people”. Working with artists, you learn about the Inca way of life and how the Spanish influenced the art and culture of the indigenous people of Peru. Each day you create art work inspired by the land and animals, the people and culture. BOOK YOUR ARTS EXCURSION TO ECUADOR & PERU NOW! WEEK ONE JULY 6-10, 2020 The Ecology of Ecuador MORNING CLASSES 8:30 -11:45 AM 401 Drawing and Painting Wildlife of the Galapagos Islands Ecuador is the first country in the world to adopt the Rights of Nature as part of its Constitution. -
Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago Adam Zanolini The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1617 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SACRED FREEDOM: SUSTAINING AFROCENTRIC SPIRITUAL JAZZ IN 21ST CENTURY CHICAGO by ADAM ZANOLINI A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 ADAM ZANOLINI All Rights Reserved ii Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _________________ __________________________________________ DATE David Grubbs Chair of Examining Committee _________________ __________________________________________ DATE Norman Carey Executive Officer Supervisory Committee: _________________ __________________________________________ DATE Jeffrey Taylor _________________ __________________________________________ DATE Fred Moten _________________ __________________________________________ DATE Michele Wallace iii ABSTRACT Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini Advisor: Jeffrey Taylor This dissertation explores the historical and ideological headwaters of a certain form of Great Black Music that I call Afrocentric spiritual jazz in Chicago. However, that label is quickly expended as the work begins by examining the resistance of these Black musicians to any label. -
Anthony Braxton's Synaesthetic Ideal and Notations for Improvisers
Critical Studies in Improvisation / Études critiques en improvisation, Vol 4, No 1 (2008) “What I Call a Sound”: Anthony Braxton’s Synaesthetic Ideal and Notations for Improvisers Graham Lock “See deeply enough, and you see musically.” Thomas Carlyle (qtd. in Palmer 27) “Tuned to its grandest level, music, like light, reminds us that everything that matters, even in this world, is reducible to spirit.” Al Young (132) Flick through the pages of Anthony Braxton’s Composition Notes and you’ll soon encounter some striking visual imagery. In Composition #32, for example, “Giant dark chords are stacked together in an abyss of darkness” (CN-B 375); Composition #75 will take you “’from one room to the next’—as if in a hall of mirrors (‘with lights in the mirrors’)” (CN-D 118); in Composition #77D slap tongue dynamics “can be viewed [as] sound ‘sparks’ that dance ‘in the wind’ of the music” (189); enter the “universe” of Composition #101 and you’ll discover “a field of tall long trees (of glass)” (CN-E 142).1 While it is not unusual for composers to employ visual images when discussing their work, Braxton’s descriptions are clearly not illustrative in the sense of, say, Vivaldi’s poems for La Quattro Stagioni or Ellington’s droll explanations of his song titles. Rather than describe scenes that the music supposedly evokes, Braxton appears instead to offer extremely personal visualisations of the musical events and processes that are taking place in his compositions. Further evidence of this highly individual perspective can be found throughout his work. -
ISIM 2010 Program
I N T E R N AT I O N A L S O C I E T Y F O R I M P R O V I S E D MUSIC FIFTH ANNUAL FESTIVAL/CONFERENCE Improvisation and Cross-Cultural Creativity: Fostering Connections Through Spontaneous Musical Art December 2-5, 2010 Rackham Buliding The University of Michigan, Ann Arbor, Michigan USA Keynote artists and performers: Mei Han (China), Wonil (Korea), Song Jung Min (Korea), Pak Bom Tae (Korea), Douglas Ewart (USA), Zim Ngqawana (South Africa), with University of Michigan Jazz Faculty and Creative Arts Orchestra And 60 other artists presenting concerts, panels, talks and workshops www.isimprov.org President’ s Welcome Ed Sarath It is with great pleasure that I welcome everyone to Ann Arbor and the University of Michigan for ISIM’s 5th annual festival/conference. It seems like just yesterday when many of us convened here in 2006 for the organization’s inaugural event, and I very much look forward to reuniting with those of you have been regular attendees as well as meeting those who are joining us for the first time. I am confident that this year’s event will live up to the levels of innovation, camaraderie, excitement, and joy that we have achieved in past festivals. Of particular note this year is our international presence, and I am honored to welcome guest artists Wonil Song Jung Min, Pak Bom Tae from Korea, Mei Han from China and Canada, and Zim Ngqawana from South Africa to enrich us with their music. With Douglas Ewart from the US, in addition to the wide array of performances, workshops, panel discussions, and papers by many of you, we are clearly in store for another memorable and educational experience. -
George Lewis/Changing with the Times
GEORGE LEWIS New World Records 80434 Changing With the Times In the ontological systems of both Africa and Europe, creation begins with the word in its various oral and gestural manifestations. Music, as an expressive modality, is clearly an extension of word exemplified by ancient African griots, the communal historians whose rhythmic chants opened the path to jazz improvisation, where we witness the alchemical effect of speaking in tongues that leads to a process of creative invention. It was more than fifteen years ago that I first encountered George E. Lewis. He had recently returned home to Chicago, fresh out of the pristine environs of Yale University, and was now, in a duo performance, insinuating the voice of his trombone into the inventive vocabulary of Anthony Braxton. Instead of the big-brass verbosity I had anticipated, Lewis revealed a mellifluous, whispery-staccato voice on the instrument, its minimal amplitude seeming more like vocal utterances, the "signifyin'" voice of a storyteller who uses the vernacular art of word-play to alter the semantic relations of literal or fixed expectations. In literary canon, the oral and gestural insinuation of voice is a signifier of the power of collective culture to inform personal style. The voice of Lewis has benefited greatly from being nurtured within the Association for the Advancement of Creative Musicians (AACM), a Chicago- based jazz collective that for a quarter of a century has incubated the voices of such innovative musicians as the Art Ensemble of Chicago, Muhal Richard Abrams, Anthony Braxton, and Henry Threadgill. Implicit in the Lewis voice is a cross-cultural consciousness that responds to vernacular nuances in the African American oral tradition. -
We Are Proud to Present the Results of the 67Th Annual Downbeat
We are proud to present the results of the 67th Annual DownBeat International Critics Poll, which includes Jazz Album of the Year (page 40) and Historical Album of the Year (page 44). Nina Simone ........................... 122 Anthony Braxton ...................... 88 Pharoah Sanders ..................... 71 Charles Lloyd ........................... 69 Kenny Barron ........................... 64 Tomasz Stanko......................... 58 Paul Bley .................................. 57 Jack DeJohnette ...................... 56 Jimmy Giuffre ........................... 54 Jimmy Heath ............................ 50 John McLaughlin ..................... 47 Shirley Horn ............................. 46 Jaki Byard ................................ 41 Oliver Nelson ............................38 Yusef Lateef ............................. 37 Bobby Hutcherson ...................36 Hank Mobley ............................ 34 Grant Green.............................. 32 Carmen McRae ........................ 32 Gunther Schuller ...................... 31 Kenny Burrell ............................30 Miguel Zenón, winner of the Alto Saxophone category Kenny Barron ........................... 30 Fred Hersch Trio, Sullivan Fortner, Scott LaFaro ..........................67% JD Allen .................................... 28 Live In Europe (Palmetto) ......... 44 Moments Preserved (Impulse!) .. 22 Joe Williams ...........................67% Julian Lage ............................... 28 Charles Lloyd & The Marvels + Lionel Loueke, (Note: Artists must receive -
Jazz in Jamaica, at Home and Abroad Le Jazz Jamaïcain, Sur L'île Et À L'étranger
Volume ! La revue des musiques populaires 13 : 2 | 2017 Inna Jamaican Stylee Jazz in Jamaica, at Home and Abroad Le jazz jamaïcain, sur l'île et à l'étranger Herbie Miller and Roberto Moore Electronic version URL: http://journals.openedition.org/volume/5313 DOI: 10.4000/volume.5313 ISSN: 1950-568X Publisher Association Mélanie Seteun Printed version Date of publication: 21 April 2017 ISBN: 978-2-913169-42-5 ISSN: 1634-5495 Electronic reference Herbie Miller and Roberto Moore, “Jazz in Jamaica, at Home and Abroad”, Volume ! [Online], 13 : 2 | 2017, Online since 21 April 2017, connection on 08 January 2021. URL: http:// journals.openedition.org/volume/5313 ; DOI: https://doi.org/10.4000/volume.5313 L'auteur & les Éd. Mélanie Seteun 147 Jazz Jamaica at Home and Abroad by Herbie Miller (Jamaica Music Museum, Institute of Jamaica) Roberto Moore (independent researcher) Abstract: Jazz is not the first genre to come to Résumé : Le jazz n’est pas le genre musical le plus mind when one thinks of Jamaican music. However, immédiatement associé à la Jamaïque. Pourtant, already quite lively in the 1920s, jazz gathered a lim- vivace dès les années 1920, il réunit un groupe ited but brilliant group of musicians, especially after – limité mais brillant – d’instrumentistes jamaï- the war. Tese Jamaican jazzmen, such as Ernest cains, notamment dans l’après-guerre. Ces jazzmen Ranglin, Monty Alexander or Douglas Ewart, will jamaïcains, tels Ernest Ranglin, Monty Alexander play their role in the first steps of their island’s ou Douglas Ewart, participeront aux premiers pas de music, and will bring their irreducible Jamaican la musique de l’île, et apporteront une touche irré- feeling to the sounds and evolutions of jazz, in the ductiblement jamaïcaine aux sonorités et aux évolu- United Kingdom or in the United States. -
Experimental Music in Black and White: the AACM in New York, 1970-1985*
Experimental Music in Black and White: The AACM in New York, 1970-1985* By George E. Lewis Introduction Since its founding on the virtually all-black South Side of Chicago in 1965, the Mrican American musicians' collective known as the Association for the Advancement of Creative Musicians (AACM) has played an unusu ally prominent role in the development of American experimental music. The composite output of AACM members explores a wide range of methodologies, processes, and media. AACM musicians have developed new ideas about timbre, sound, collectivity, extended technique and in strumentation, performance practice, intermedia, the relationship of im provisation to composition, form, scores, computer music technologies, invented acoustic instruments, installations, and kinetic sculptures.! In a 1973 article, two early AACM members, trumpeter John Shenoy Jackson and co-founder and pianist/composer Muhal Richard Abrams, as serted that, "The AACM intends to show how the disadvantaged and the disenfranchised can come together and determine their own strategies for political and economic freedom, thereby determining their own destinies" (Abrams and Jackson 1973:72). This optimistic declaration, based on no tions of self-help as fundamental to racial uplift, cultural preservation, and spiritual rebirth, was in accord with many other challenges to traditional notions of order and authority that emerged in the wake of the Black Power Movement. The AACM's goals of individual and collective self-production and pro motion challenged racialized limitations on venues and infrastructure, serving as an example to other artists in rethinking the artist/business re lationship. A number of organizations in which Mrican American musi cians took leadership roles, including the early-twentieth-century Clef Club, the short-lived Jazz Composers Guild, the Collective Black Artists, and the Los Angeles-based Union of God's Musicians and Artists Ascension, or Underground Musicians Association (UGMAA/UGMA), preceded the AACM in attempting to pursue these self-help strategies. -
Douglas R. Ewart's Crepuscule
EDITED BY AJAY HEBLE stories of impact: douglas r. ewart’s crepuscule ajay heble | editor STORIES OF IMPACT DOUGLAS R. EWART’S Crepuscule EDITED BY AJAY HEBLE INTERNATIONAL INSTITUTE FOR CRITICAL STUDIES IN IMPROVISATION PS GUELPH ConTentS Acknowledgements v Douglas R. Ewart’s Crepuscule: Stories of Impact 1 Ajay Heble Artist Statement 3 Douglas R. Ewart Circles of Connection: Reflections onCrepuscule 5 Ed Sarath Crepuscule 2016 9 A Total Community Embrace: 17 Douglas R. Ewart in Conversation with Ajay Heble Ajay Heble and Douglas R. Ewart Crepuscule 2018 32 Crepuscule as Echolocation 39 Michael Collins Collaborative Assemblage, Activism, and 45 the Improvisation of Daily Life Jeannette Hicks and Brian Lefresne ACKNOWLEDGEMENTS THE WORK REPRESENTED HERE HAS EMERGED OUT OF A GENUINE SPIRIT | v of collaboration, and there are many individuals who have come together to create this exhibition and book. Thank you to all the authors for your insights and contributions to this volume. Thanks to the amazing staff at the International Institute for Critical Studies in Improvisation (iicsi), for their role in coordinat- ing this exhibit and for their work on this publication. I’m especially grateful to Justine Richardson (Project Manager) and Rachel Collins (Administrative Assistant) for their ongoing work on both these projects. I’m grateful, too, to have had the chance to work with several exceptional students on this exhibition, including Jeannette Hicks and Richelle Forsey, who were instrumental in the curation and cre- ation of the exhibition. Richelle, in particular, designed and built many key installation components, including the pen for the tops and the stands for the skis. -
Acknowledgments
acknowledgments This book presents a close reading of a particular, highly diversifi ed, and widely infl uential musical network/movement, rather than an overview of a received genre, or of the life and work of an individ- ual. I want to express my thanks to the University of Chicago Press, and in particular, my editor, Douglas Mitchell, for seeing the need for this kind of detailed research on post- 1965 African American musi- cal experimentalism. Since the turn of the new century, the study of post- 1965 improvised music has slowly been gathering critical mass in anglophone scholarship, as with the work of Fred Moten, and there is Eric Porter’s analysis of the writings of African American experi- mental musicians such as Anthony Braxton, Leo Smith, and Marion Brown, Canadian literary theorist Ajay Heble’s set of critical essays, Landing on the Wrong Note, and ethnomusicologist Mike Heffl ey’s book on post- 1965 European improvisation, Northern Sun, Southern Moon: Europe’s Reinvention of Jazz.1 Sociologist Herman Gray’s work has focused on Steve Coleman and other younger- generation experi- mentalists, while ethnomusicologist Deborah Wong has extensively documented histories and practices in Asian American jazz and im- provisation movements.2 Other recent and important studies are published in two no- table anthologies: Uptown Conversation: The New Jazz Studies, edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine : : xv xvi : : Acknowledgments Griffi n; and Daniel Fischlin and Ajay Heble’s The Other Side of Nowhere.3 Heble’s tireless eff orts have led directly to the recent emergence of a peer- reviewed, bi lingual, Web- based journal devoted to improvisation studies, Critical Studies in Improvisation/Études Critiques en Improvisation, which is providing a forum for new critical work by a new crop of younger schol- ars, some of whom are represented in these anthologies.