History of the US Marine Corps in WWII Vol V
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TOSHIKO AKIYOSHI NEA Jazz Master (2007)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOSHIKO AKIYOSHI NEA Jazz Master (2007) Interviewee: Toshiko Akiyoshi 穐吉敏子 (December 12, 1929 - ) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Dates: June 29, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript 97 pp. Brown: Today is June 29th, 2008, and this is the oral history interview conducted with Toshiko Akiyoshi in her house on 38 W. 94th Street in Manhattan, New York. Good afternoon, Toshiko-san! Akiyoshi: Good afternoon! Brown: At long last, I‟m so honored to be able to conduct this oral history interview with you. It‟s been about ten years since we last saw each other—we had a chance to talk at the Monterey Jazz Festival—but this interview we want you to tell your life history, so we want to start at the very beginning, starting [with] as much information as you can tell us about your family. First, if you can give us your birth name, your complete birth name. Akiyoshi: To-shi-ko. Brown: Akiyoshi. Akiyoshi: Just the way you pronounced. Brown: Oh, okay [laughs]. So, Toshiko Akiyoshi. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Akiyoshi: Yes. Brown: And does “Toshiko” mean anything special in Japanese? Akiyoshi: Well, I think,…all names, as you know, Japanese names depends on the kanji [Chinese ideographs]. Different kanji means different [things], pronounce it the same way. And mine is “Toshiko,” [which means] something like “sensitive,” “susceptible,” something to do with a dark sort of nature. -
4-28-18 Jazz Ensemble
Williams Jazz Ensemble Kris Allen, director Program Long Yellow Road – Toshiko Akiyoshi I Ain’t Gonna Ask No More – Toshiko Akiyoshi Kogun – Toshiko Akiyoshi Mobile – Toshiko Akiyoshi Mount Harissa – Duke Ellington Haitian Fight Song – Charles Mingus, arr. Sy Johnson Leilani’s Mirror – Geoff Keezer Bad Dream – Earl Macdonald Williams Jazz Ensemble Jonah Levy ’18, alto and soprano saxophone Jimmy Miotto ’18, trumpet Richard Jin ’18, alto saxophone Daniel Fisher ’18, trumpet David Azzara ’19, tenor and alto saxophone Stuart Mack, trumpet Jeff Pullano ’19, tenor and soprano saxophone Jared Berger ’21, trumpet Kris Allen, director, baritone saxophone Vijay Kadiyala ’20, trumpet Ananth Shastri ’21, flute Will Doyle ’19, trombone and tuba Andrew Aramini ’19, piano Jared Bathen ’20, trombone Peter Duke ’21, piano Kiersten Campbell ’21, trombone Jeff Pearson ’20, guitar Andrew Rule ’21, trombone Rachel Porter ’20, bass Sammy Rososky ’19, trombone Josh Greenzeig ’20, drumset Nick Patino ’21, drumset Saturday, April 28, 2018 8:00 p.m. Chapin Hall Williamstown, Massachusetts Please turn off cell phones. No photography or recording is permitted. See music.williams.edu for full details and additional happenings as well as to sign up for the weekly e- newsletters. Upcoming Events Kurt Pfrommer ’18, tenor Sun Apr 29 | Brooks-Rogers Recital Hall | 3:00 PM | free Calvin Ludwig ’18, flute Sun Apr 29 | Brooks-Rogers Recital Hall | 5:00 PM | free Violin Studio Recital Sun Apr 29 | Brooks-Rogers Recital Hall | 7:00 PM | free Sitar and Tabla Studio Recital -
IX. Surviving Free Jazz 1962-1974
IX. Surviving Free Jazz (1962-1974) And so it came to pass that, when jazz finally reached a level of complexity on a par with classical music, many people were unhappy—not only listeners in the audience, but record com- panies who couldn’t sell the stuff and musicians who either didn’t get it or didn’t want to play it if they did. It was just too bizarre to them, yet the jazz critics almost universally fell over them- selves promoting it and, by the mid-1960s, jazz as an art form was thriving (sort of) while jazz as a commercial music was all but dead. Theodor Adorno, teaching his elitist bile out in California, was probably ecstatic. Classical music, which had also entered a new and even more convoluted phrase of development as well, was similarly struggling to find audiences, but in this case the decision-making was relatively easy. The Boards of Directors of major symphonies and opera houses simply enforced a policy of allowing only a small number of contemporary works (and, in their judgment, “contemporary” went back to Schoenberg’s and Stravinsky’s work of the 1910s) per year on their programs. You either played the accepted standard repertoire, which they would now expand to include Gustav Mahler (who had formerly been verboten), or your contract would be nullified and a new music director would be hired. From this point on, I will unfortunately have to point out the weaknesses in the aesthetics of certain musicians in certain styles in order to elucidate the forward growth of the music. -
The Penguin Book of Zen Poetry Received the Islands and Continents Translation Award and the Society of Midland Authors Poetry Award
INTERLUDE BOOKS 3 : PENGUIN POETS The Penguin Book ofZen Poetry Lucien Stryk's most recent of eight books of verse are Selected Poems (1976), The Duckpond (1978) and Zen Poems (1980). His Encounter with Zen: Writings on Poetry and Zen is forthcoming, as is a recording of Zen poems (original poems and translations) from Folkways Records. He has received awards for poetry, held a National Endowment for the Arts Poetry Fellowship and a National Translation Center Grant, along with Takashi Ikemoto, to work on Zen poetry. He is editor of World of the Buddha and the anthologies Heartland: Poets of the Midwest (I and II), and translator, with Takashi Ikemoto, of, among other volumes, Afterimages: Zen Poems of Shinkichi Takahashi and Zen Poems of China and Japan The Crane's Bill. In 1978 The Penguin Book of Zen Poetry received the Islands and Continents Translation Award and the Society of Midland Authors Poetry Award. He has given poetry readings and lectured throughout the United States and England and held a Fulbright Lectureship in Iran and a Fulbright Travel/ Research grant and two visiting lectureships in Japan. He teaches Oriental literature and poetry at Northern Illinois University. Takashi Ikemoto, educated in English Literature at Kyushu Univer- sity, was Emeritus Professor of Yamaguchi University and taught English literature at Otemongakuin University in Ibaraki City. He was a Zen follower of long standing and co-translator into Japan- ese of a volume of Thomas Merton's essays on Zen and Enomiya- Lasalle's Zen: Weg iur Erleuchtung. His major concern was for many years the introduction of Zen literature to the West, and he collaborated with Lucien Stryk on a number of Zen works. -
Airwaves (1980-08)
AIRW\VES A Service of Continuing Education and Extension - l5il University of Minnesota , Duluth VOL. 2 NUMBER 2 AUGUST 1980 • calendaP of events The UMD Theatre makes your summer Minnesola Bluegrass & Old Time EXHIBITION SCHEDULE The Whole Food Co-op will be Music Associalion Feslival, Augusl8, 9, entertaining with four great plays sponsoring a benefil dance .on Friday, & IO al Wildwood Campgrounds in showing through August 16th. "The August 8lh al lhe Park Point School Taylor Falls, Minnesota. Fealuring THE TWEED MUSEUM OF ART Workers Wife", "South Pacific", Gymnasium (24lh and Minnesola Ave ) Spectrum from Lexinglon, Kentucky. "Arsenic and Old Lace" , and "A Funny from 9-12 p .m. Irish and American Plus some of lhe finesl bands in lhe Thing Happened On The Way To The music by the Corona Twins. The dance Upper Midwesl. To order lickels and July 29-Sept. 7 Forum". For informalion call 726-8561 . is direclly sponsored by lhe Muriel for further informalion conlacl Selections from the permanent Engstrom Library and Boo1< Exchange. collection. Sludio Gallery. M.B.O.T.M.A., Box 9782, Minneapolis, TAKE BACK THE NIGHT SPEAK All proceeds will direct! y benefi l lhe co- MN. 55440 or call (612)633-9473. op library. Admission at lhe door is one in HibbingAugust2al OUT-MARCH good boo)s or a $2 donation. For more Aug. 1-27 7:30 p .m.. The women of Northern informalion call lhe Co-op al 723-1687. Contemporary Japanese Prints - Main Minnesota gather 10 peacefully Fiddle Contesl Mower County Gallery Fairgrounds, Sunday, Augusl 10, 1980 demonstrate and publicly denounce at 12:00 p.m. -
Concert: Toshiko Akiyoshi Jazz Orchestra & Lew Tabackin
Ithaca College Digital Commons IC All Concert & Recital Programs Concert & Recital Programs 9-15-1996 Concert: Toshiko Akiyoshi Jazz Orchestra & Lew Tabackin Toshiko Akiyoshi Lew Tabackin Toshiko Akiyoshi Jazz Orchestra Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Akiyoshi, Toshiko; Tabackin, Lew; and Toshiko Akiyoshi Jazz Orchestra, "Concert: Toshiko Akiyoshi Jazz Orchestra & Lew Tabackin" (1996). All Concert & Recital Programs. 7545. https://digitalcommons.ithaca.edu/music_programs/7545 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons IC. ITHACA COLLEGE CONCERTS 1996-97 TOSHIKO AKIYOSHI JAZZ ORCHESTRA FEATURING LEW TABACKIN TOSHIKO AKIYOSHI, conductor, composer, arranger LEW TABACKIN, tenor saxophone and flute 13aru2 Toshiko Akiyoshi 1.tm Doug Weiss* Drums Terry Clarke ~ Dave Pietro* Lew Tabackin Jim Snidero Walt Weiskopf Scott Robinson Trumpet Mike Ponella* John Eckert Scott Wendhodt Joe Magnelli Trombone Scott Whitfield* Steve Amour Luis Bonilla Tim Newman Percussion Valtinho Road Manager George Whitington Ford Hall Auditorium Sunday, September 15, 1996 8:15 p.m. • section leader Management: The Berkeley Agency, 2608 Ninth Street, Berkeley, CA 94710 TOSHIKO AKIYOSHI Toshiko Akiyoshi was born in Manchuria, China, and was considering a career in medicine when her family returned to live in Japan. She already had some training as a classical pianist, when she got a job playing in a dance hall in Beppu. Her family wasn't thrilled with the idea, but they finally agreed that she could play until the school year began. -
27Th World Conference of the International Society for Music Education 16-21 July, 2006 Kuala Lumpur, Malaysia Sentuhan
Established in 1953 PROCEEDINGS 27th World Conference of the International Society for Music Education 16-21 July, 2006 Kuala Lumpur, Malaysia Sentuhan Editors: Dr. Wendy L. Sims Dr. Ramona Tahir, Ph.D. Proceedings 27th World Conference of the International Society for Music Education Sentuhan 16-21 July, 2006 Kuala Lumpur, Malaysia All presentations for the 27th International Society for Music Education (ISME) World Conference were selected through peer review by a committee of international experts and authorities in music education. The Editors and Editorial Board who compiled the Conference Proceedings comprise members of the Publications Committee of the International Society for Music Education, the ISME Board of Directors, and the 2006 World Conference Organizing Committee. All hold senior academic appointments at major universities, as listed below. Editors Dr. Wendy L. Sims Professor and Director of Music Education University of Missouri-Columbia U.S.A. Dr. Ramona Tahir, Ph.D. Head of the Department of Music Education Universiti Teknologi MARA Malaysia Editorial Board Dr. Chan Cheong Jan Senior Lecturer, Music Department Universiti Putra Malaysia Dr. C. Victor Fung Professor and Coordinator of Ph.D. Program in Music Education University of South Florida U.S.A. Dr. Minette Mans Associate Professor, Performing Arts Department University of Namibia Namibia Dr. Valerie Ross Senior Lecturer, Music Education University Teknology MARA Malaysia Shahanum Mohd Shah Associate Professor of Music Education and Coordinator of the Masters Program Universiti Teknologi MARA Malaysia Dr. Patricia Martin Shand Professor, Music Education Division University of Toronto Canada ISBN 0-9752063-6-2 © 2006 - International Society for Music Education, Perth, Western Australia. -
Transnational Bataan Memories
TRANSNATIONAL BATAAN MEMORIES: TEXT, FILM, MONUMENT, AND COMMEMORATION A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN AMERICAN STUDIES DECEMBER 2012 By Miguel B. Llora Dissertation Committee: Robert Perkinson, Chairperson Vernadette Gonzalez William Chapman Kathy Ferguson Yuma Totani Keywords: Bataan Death March, Public History, text, film, monuments, commemoration ii Copyright by Miguel B. Llora 2012 iii ACKNOWLEDGEMENTS I wish to thank all my committee members for helping me navigate through the complex yet pleasurable process of undertaking research and writing a dissertation. My PhD experience provided me the context to gain a more profound insight into the world in which I live. In the process of writing this manuscript, I also developed a deeper understanding of myself. I also deeply appreciate the assistance of several colleagues, friends, and family who are too numerous to list. I appreciate their constant support and will forever be in their debt. Thanks and peace. iv ABSTRACT This dissertation is a study of the politics of historical commemoration relating to the Bataan Death March. I began by looking for abandonment but instead I found struggles for visibility. To explain this diverse set of moves, this dissertation deploys a theoretical framework and a range of research methods that enables analysis of disparate subjects such as war memoirs, films, memorials, and commemorative events. Therefore, each chapter in this dissertation looks at a different yet interrelated struggle for visibility. This dissertation is unique because it gives voice to competing publics, it looks at the stakes they have in creating monuments of historical remembrance, and it acknowledges their competing reasons for producing their version of history. -
Teaching Portfolio
TEACHING PORTFOLIO Dr. Nishlyn Ramanna Music Department, Rhodes University BackGround I began teaching in higher education 22 years ago, shortly after graduating with a BMus (cum laude) in jazz studies from the former University of Natal. Between 1994 and 1999 I taught an average of ten periods a week as a graduate assistant and/or part-time junior lecturer at the former universities of Natal and Durban- Westville. Courses and modules taught included jazz piano, general aural perception, jazz composition, and jazz topics in music theory and history. Since July 1999 I have taught an average of fifteen undergraduate periods a week as a lecturer in jazz studies at Rhodes, Wits, UKZN and Rhodes again. This has included undergraduate courses and modules in jazz piano, jazz ensembles, aural perception, jazz composition and jazz topics in music theory and history. I also supervised performance and composition work at honours level as well as extended essays addressing topics in popular music, film music, western art music, and jazz. Former masters supervisees have been awarded MMus degrees in jazz composition, jazz performance/composition and jazz performance/research. My current postgraduate cohort comprises two honours, four masters and two PhD students. In summary I do two main kinds of undergraduate teaching: In my jazz history courses I aim to develop students’ propositional knowledge about jazz. Students learn how to appraise and critically engage with scholarly writings about jazz, so that they can in turn write about jazz in ways that evince appropriate levels of academic literacy. In my jazz theory and piano lessons I aim to equip students with the procedural knowledge to compose and/or perform the music. -
RCA Victor Consolidated Series
RCA Discography Part 17 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor Consolidated Series In 1972, RCA instituted a consolidated series, where all RCA releases were in the same series, including albums that were released on labels distributed by RCA. APL 1 0001/APD 1 0001 Quad/APT 1 0001 Quad tape — Love Theme From The Godfather — Hugo Montenegro [1972] Medley: Baby Elephant Walk, Moon River/Norwegian Wood/Air on the G String/Quadimondo/I Feel the Earth Move/The Godfather Waltz/Love Theme from the Godfather/Pavanne/Stutterolgy RCA Canada KPL 1 0002 — Trendsetter — George Hamilton IV [1975] Canadian LP. Bad News/The Ways Of A Country Girl/Let My Love Shine/Where Would I Be Now/The Good Side Of Tomorrow/My Canadian Maid/The Wrong Side Of Her Door/Time's Run Out On You/The Isle Of St. Jean/The Dutchman RCA Red Seal ARL 1 0002/ARD 1 0002 Quad – The Fantastic Philadelphians Volume 1 – Eugene Ormandy and Philadelphia Orchestra [1972] EspanÞa Rhapsody (Chabrier)/The Sorcerer's Apprentice (Dukas)//Danse Macabre (Saint-Sae8ns)/A Night On Bald Mountain (Moussorgsky) 0003-0007 (no information) RCA Special Products DPL 1 0008 – Toyota Jazz Parade – Various Artists [1973] Theme from Toyota – Al Hirt/Java – Al Hirt/Cotton Candy – Al Hirt/When the Saints Go Marching In – Al Hirt/At the Jazz Band Ball – Dukes of Dixieland/St. Louis Blues – Louis Armstrong/St. James Infirmary – King Oliver//Hi-Heel Sneakers – Jose Feliciano/Amos Moses – Jerry Reed/Theme from Shaft – Generation Gap/Laughing – Guess Who/Somebody to Love – Jefferson Airplane 0009-0012 (no information) APL 1 0013/APD 1 0013 Quad/APT 1 0013 Quad tape — Mancini Salutes Sousa — Henry Mancini [1972] Drum Corps/Semper Fidelis/Washington Post/Drum Corps/King Cotton/National Fencibles/The Thunderer/Drum Corps/El Capitan/The U. -
Breaking the Bonds: Balkanizing the Yugoslav War
THE NEWSPAPER OF THE LITERARY ARTS Breaking the Bonds: Balkanizing the Yugoslav War Bal.Kan, is no less a personage than the ancient Haemus.” Despite the offense to Gail Holst-Warhaft classically trained ears, by the end of the century, the Turkish term—which means “wooded Mountain”—and the phrase “Balkan Peninsular,” a geographic inaccu When the war broke out in Yugoslavia, we soon began to see a new word, or racy, became the accepted way to talk of the southeastern part of Europe or west rather an old word that had fallen into disuse, bandied about in the press as if it ernmost part of the Ottoman Empire, also referred to as “Turkey in Europe.” had a meaning we all subliminally, at least, understood. The word was “Balkans.” Nineteenth-century travelers to the Balkans from western Europe were mostly The war was not in Yugoslavia, it was in the Balkans, and that was supposed to concerned with discovering what they had brought with them in the form of a clas explain a lot. The Balkans had always been a powder keg, a place of deep ethnic sical education. Disappointed with the present inhabitants of a region they had and tribal rivalries. Didn’t the first great war begin there? The term “Balkaniza peopled with the noble classical race of their imagination, they justified their loot tion” said it all. The carving up of what Arnold Toynbee had referred to as “the ing of classical sites as a means of preserving the treasures of antiquity from the seamless fabric of the Ottoman Empire”, into small political units became a barbarians now occupying these lands. -
History of the US Marine Corps in WWII Vol IV
CHAPTER 2 Marine Aviation in the Marianas, Carolines and at Iwo Jima l THE MARIANAS2 earlier. A similar increase in aircraft strength available for FORAGER was While Marines of the 4th MAW were notable. Shore-based aircraft for the engaged in neutralizing enemy strong- invasion of the Marianas totalled 879 holds in the Marshalls, American mili- planes ; 352 belonging to the Marine tary operations in the Central Pacific Corps, 269 to the U.S. Army, and 258 were accelerating . By June of 1944, to the Navy . Marine aircraft consisted Operation FORAGER, the invasion of of 172 fighters, 36 night fighters, 72 the Marianas, had gotten under way . dive bombers, 36 torpedo bombers, and For the operation, Admiral Raymond 36 transport aircraft .3 A. Spruance, commanding the Fifth Despite the large number of Marine Fleet, had assembled more than 800 shore-based aircraft in the Gilberts and ships, a far cry from the total of 82 Marshalls, air operations in the Mari- ships that had been available for the anas were carried out largely by the Guadalcanal landings barely two years Navy carrier planes . Previous attempts by exponents of Marine aviation to have ' Unless otherwise noted, the material in this chapter is derived from : 2d MAW Hist, Ju141-Sept46 ; 4th MBDAW WarDs, Dec42- and VMF(N)-532 Hist, Apr43-May47 ; VMF Nov44 and 4th MAW WarDs, Nov44-Mar46 ; (N)-541 Hist, Feb44-Dec49 ; VMB-612 MAG-11 WarDs, Oct42-Oct44 and MAG-11 WarDs, Aug-Dec44 and VMB-612 Supp and Hist, Aug4l-Dec49 ; MAG-21 WarDs and Hist, Hist, Oct43-Aug45 ; VMR-952 WarDs and Feb43-Dec44, hereafter MAG-21 Hist ; MAG- Hist, Ju144-Ju146, hereafter VMR-952 Hist; 25 WarDs, Aug42-Jun46 ; MAG-45 OpRpt, Isely and Crowl, U.