Boyer College of Music and Dance 2018-2019 Event Calendar

Total Page:16

File Type:pdf, Size:1020Kb

Boyer College of Music and Dance 2018-2019 Event Calendar 2018-2019 Event Calendar Boyer College of Music and Dance Thursday, August 30 at 4:30-6:30pm Rite of Swing Jazz Café: Scott Edmunds, piano Featuring Tim Warfield, sax/composer Temple Performing Arts Center Lobby Tuesday, September 4 at 5:30pm Dance Studies Colloquium Series: AnusHa KedHar, UC Riverside Breaking Point?: Flexibility, Pain, and tHe Calculus of Risk in Neoliberal Multiculturalism CHAT Lounge, Gladfelter Hall, 10th floor Thursday, September 6 at 4:30-6:30pm Rite of Swing Jazz Café: George Burton, piano Temple Performing Arts Center Lobby Friday, September 7 at 1:00pm Friday, September 7 at 2:15pm World Music Lecture-Performance: Irish Dance Arronson Hall Friday, September 7 at 7:30PM Master's Recital: Andrew DiGiandomenico, guitar Rock Hall Auditorium Thursday, September 13 at 4:30-6:30pm Rite of Swing Jazz Café: Bootsie Barnes & Larry McKenna, sax CD Release Event/Jazz Industry Day Temple Performing Arts Center Lobby Friday, September 14 at 7:30pm Saturday, September 15 at 7:30pm Beneath tHe Surface – Dara J. Meredith Presents An in-depth journey exploring aspects of mental illness through the lens of contemporary, athletic, African diasporic movement. Tickets $20 in advance at Brown Paper Tickets at bpt.me or 1-800-838-3006. Available at tHe door for $25, 30 minutes before each show. Conwell Dance Theater Tuesday, September 18 at 2:00pm World Music Lecture-Performance: Mohamed Abozekry & Karkadé, Egyptian instrumental ensemble Rock Hall Auditorium Tuesday, September 18 at 8:00pm Temple NigHt @ SoutH: Chris Oatts, sax Chris Oatts - sax Silas Irvine - piano Rodney Green - drums Sam Harris - bass South Jazz Kitchen, 600 N. Broad Street, Philadelphia Wednesday, September 19 at 4:30pm Jazz Master Class: Rodney WHitaker, bass Howard Gittis Student Center Wednesday, September 19 at 7:30pm Jazz @ THe Underground: Rodney WHitaker, bass Rodney WHitaker - bass Tim Warfield - sax Tim Brey - piano Byron LandHam - drums Howard Gittis Student Center Thursday, September 20 at 4:30-6:30pm Rite of Swing Jazz Café: Ben Markley, piano Temple Performing Arts Center Lobby Friday, September 21 at 1:00pm Music Studies Colloquium: Scott Miller, Ecosystemic Music and Performance Practice Presser Hall, Room 142 Friday, September 21 at 7:30pm Saturday, September 22 at 7:30pm Reflection:Response Commission Awilda Sterling-Duprey Tickets: $20 general admission, $15 students/senior citizens, $10 Temple employees, $5 Temple student with OWLcard. Available at temple.edu/boyer, 215.204.1122, in-person at the Temple Arts Box Office (Tomlinson THeater lobby, 1301 W. Norris St., Mon-Fri 12-6pm), or at the venue 45 minutes before each performance. Credit, debit and checks only. Cash not accepted. Conwell Dance Theater Saturday, September 22 at 2:00pm Music TecHnology Speaker Series: Scott Miller and Carla Rees Ecosystemic Electronic Composition Workshop Demo Rock Hall Auditorium Saturday, September 22 at 7:30pm Music TecHnology Speaker Series: Scott Miller and Carla Rees in Concert Rock Hall Auditorium Sunday, September 23 at 3:00pm Faculty Recital: Charles Abramovic, piano Piano Music from the Americas In collaboration with Las Américas en Concierto Rock Hall Auditorium Monday, September 24 at 4:00pm Lecture: Cliff Madsen, music education and music therapy Florida State University Chapel of tHe Four Chaplains, Temple Performing Arts Center Wednesday, September 26 at 12:00pm Paley Noontime Concert: Joyce Lindorff, keyboard Couperin BirtHday Celebration Paley Library Lecture Hall Wednesday, September 26 at 7:30pm ConTemplum SoundPrints I Klein Recital Hall Friday, September 28 at 7:30pm Temple University Wind SympHony Patricia Cornett, conductor STRAUSS Vienna PHilHarmonic Fanfare HOLST HammersmitH: Prelude & Scherzo, op. 52 DAUGHERTY Lost Vegas BATES Rusty Air in Carolina IVES/THURSTON The Alcotts IVES/SINCLAIR Country Band March Temple Performing Arts Center Monday, October 1 at 1:00pm* Master Class: Robert McDonald, piano Rock Hall Auditorium Tuesday, October 2 at 5:30pm Dance Studies Colloquium Series: Lester Tomé, Smith College and Five College Dance Departments Interracial CHoreo-erotics of the Cuban Revolution: Ballet, Social Taboo and the Postracial Hyperreality CHAT Lounge, Gladfelter Hall, 10th floor Thursday, October 4 at 4:30-6:30pm Rite of Swing Jazz Café: TJP featuring JoHn Swana, trumpet & Tony Miceli, vibes Temple Performing Arts Center Lobby Friday, October 5 at 1:00pm Music Studies Colloquium: Marcus DeLoacH, speaker Sticky Opera: new American works from an insider’s view Presser hall, Room 142 Friday, October 5 at 7:30pm Temple University SympHony OrcHestra Andreas Delfs, conductor Huiping Cai, piano GLINKA Overture to “Ruslan and Lyudmila” RACHMANINOFF Rhapsody on a Theme of Paganini, Op. 43 STRAVINSKY Petrushka Temple Performing Arts Center Sunday, October 7 at 2:00pm Temple University Jazz Band Terell Stafford, director Centennial Hall, The Haverford School 450 Lancaster Ave., Haverford, PA Monday, October 8 at 7:30PM Master's Recital: Hanxiao Wang, soprano Rock Hall Auditorium Tuesday, October 9 at 9:30am Lecture: Jerry Blackstone, University of MicHigan OrcHestral ReHearsals and tHe Choral Conductor Klein Recital Hall Tuesday, October 9 at 3:00pm Master Class: Jerry Blackstone, conducting HAYDN Creation Presser Hall, Room 142 Tuesday, October 9 at 7:30pm CyberSounds Rock Hall Auditorium Thursday, October 11 at 4:30-6:30pm Rite of Swing Jazz Café: Liam Werner & John DiMase, trumpet Temple Performing Arts Center Lobby Friday, October 12 at 1:00 pm Music Studies Colloquium: Kevin Korsyn, guest speaker “Imagining Fragment X: Completing Bach’s Art of Fugue” Presser hall, room 142 Friday, October 12 at 2:00pm Master Class: Darren Woods, voice Artistic Director, Seagle Music Colony “Audition 10 Commandments: What Every General Director Wants to See in an Audition” Rock Hall Auditorium Friday, October 12 at 7:30pm Saturday, October 13 at 7:30pm Dance Alumni SHowcase 2018 Featuring work by Anna Barker and Nia Shand Tickets: $20 general admission, $15 students/senior citizens, $10 Temple employees, $5 Temple student with OWLcard. Available at temple.edu/boyer, 215.204.1122, in-person at the Temple Arts Box Office (Tomlinson THeater lobby, 1301 W. Norris St., Mon-Fri 12-6pm), or at the venue 45 minutes before each performance. Credit, debit and checks only. Cash not accepted. Conwell Dance Theater Monday, October 15 at 7:30pm New Music Ensemble Jan Krzywicki, director Klein Recital Hall Monday, October 15 at 7:30pm Graduate Conductors Chorus and Recital Chorus Kreg Godfrey and SHannon Arnold, conductor MENDELSSOHN Hör mein Bitten IVES Psalm 67 LEONARDA Dixit Dominus HIGDON Somewhere I Have Never Traveled Rock Hall Auditorium Tuesday, October 16 at 5:30pm Dance Studies Colloquium Series: AntHea Kraut, UC Riverside Dance-Ins and the Production of Racialized Femininity in tHe Hollywood Musical CHAT Lounge, Gladfelter Hall, 10th floor Tuesday, October 16 at 2:00-6:00pm Open ReHearsal: PRISM Quartet Rock Hall Auditorium Tuesday, October 16 at 7:30pm Master Class: PRISM Quartet Composing for Saxophone Quartet Presser Hall, Room 101 Tuesday, October 16 at 8:00pm Temple NigHt @ SoutH: Steven Perry, drums Elliot Bild, trumpet MicHael Hudson-Casanova, saxopHone Tim Brey, piano Justin Sekelewski, bass Steven Perry, drums South Jazz Kitchen, 600 N. Broad Street, PHiladelpHia Wednesday, October 17 at 2:00pm Screening & Discussion: I Am The Institute on Disabilities at Temple University and The Institute of Dance ScHolarsHip co-present a Mini-Series Event, featuring a screening of the documentary I Am and a discussion on the topic: "WHat role do universities have in dance provision for people with disabilities?" Conwell Dance Theater Thursday, October 18 at 4:30-6:30pm Rite of Swing Jazz Café: RasHawn Ross, trumpet & Jeff Coffin, sax Temple Performing Arts Center Lobby Thursday, October 18 at 7:30pm Temple University Concert OrcHestra André RapHel, conductor Temple Performing Arts Center Friday, October 19 at 1:00pm Music Studies Colloquium: Noriko Manabe, speaker Previews for SMT and AMS Presser Hall, Room 142 Friday, October 19 at 7:30pm Mosaic Concert This fast-paced concert will feature back-to-back performances by Boyer student soloists and ensembles, including the TU Jazz Band, Wind Symphony, Choirs, Dance and chamber ensembles. This annual concert is part of Temple’s Homecoming weekend. Free and open to the public. Temple Performing Arts Center Saturday, October 20 at 4:45pm Music Prep: Student Recital TUCC 122 Saturday, October 20 at 7:30pm Owlcappella A Cappella Rock Hall Auditorium Sunday, October 21 at 4:30pm Singchronize a cappella Klein Recital Hall Tuesday, October 23 at 12:00pm Paley Noontime Concert: Zach Brock, Boyer Artist-in-Residence, jazz violin Couperin BirtHday Celebration Paley Library Lecture Hall Wednesday, October 24 at 4:30pm Jazz Master Class: René Marie, vocals Howard Gittis Student Center Wednesday, October 24 at 7:30pm Jazz @ THe Underground: René Marie, vocals Howard Gittis Student Center Thursday, October 25 at 4:30-6:30pm Rite of Swing Jazz Café: Najwa Parkins, vocals Temple Performing Arts Center Lobby Thursday, October 25 at 7:30pm Temple University Chamber Winds Patricia Cornett, conductor DUKAS Fanfare pour prédécer “La Péri” MILHAUD La création du monde SCHMITT Lied et ScHerzo, op. 54 BERNARD Divertissement in F Major, op. 36 Temple Performing Arts Center Friday, October 26 at 1:00pm∆ Master Class: Ignat Solzhenitsyn, piano Rock Hall Auditorium Friday, October 26 at 1:00pm Music Studies Colloquium: Colin
Recommended publications
  • Adapting the Language of Charlie Parker to the Cello Through Solo
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2007 Yardbird cello: adapting the language of Charlie Parker to the cello through solo transcription and analysis Kristin Isaacson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Isaacson, Kristin, "Yardbird cello: adapting the language of Charlie Parker to the cello through solo transcription and analysis" (2007). LSU Doctoral Dissertations. 3038. https://digitalcommons.lsu.edu/gradschool_dissertations/3038 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. YARDBIRD CELLO: ADAPTING THE LANGUAGE OF CHARLIE PARKER TO THE CELLO THROUGH SOLO TRANSCRIPTION AND ANALYSIS A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In Partial fulfillment of the Requirements for the Degree of Doctor of Musical Arts In The School of Music By Kristin Isaacson B.M. Indiana University, 1998 M.M. Louisiana State University, 2000 December 2007 ACKNOWLEDGMENTS This document is dedicated to the memory of my grandmother, Virginia Rylands, a remarkable woman and jazz pianist who came of age in the Kansas City of Charlie Parker’s youth. She inspired my interest in this music. I would like to extend special thanks to my parents, Mary Lou and Phillip, and to my brother and musical colleague, Peter Isaacson for his encouragement along the way.
    [Show full text]
  • 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 ................................................................................
    [Show full text]
  • Press Kit 2017
    BIOGRAPHY BIOGRAPHY One of his generation’s extraordinary talents, Scott Tixier has made a name for himself as a violinist-composer of wide- ranging ambition, individuality and drive — “the future of jazz violin” in the words of Downbeat Magazine and “A remarkable improviser and a cunning jazz composer” in those of NPR. The New York City-based Tixier, born in 1986 in Montreuil, France has performed with some of the leading lights in jazz and music legends from Stevie Wonder to NEA jazz master Kenny Barron; as a leader as well. Tixier’s acclaimed Sunnyside album “Cosmic Adventure” saw the violinist performing with a all star band “taking the jazz world by storm” as the All About Jazz Journal put it. The Village Voice called the album “Poignant and Reflective” while The New York Times declared “Mr. Tixier is a violinist whose sonic palette, like his range of interests, runs open and wide; on his new album, “Cosmic Adventure,” he traces a line through chamber music, Afro-Cuban groove and modern jazz.” When JazzTimes said"Tixier has a remarkably vocal tone, and he employs it with considerable suspense. Cosmic Adventure is a fresh, thoroughly enjoyable recording!" Tixier studied classical violin at the conservatory in Paris. Following that, he studied improvisation as a self-educated jazz musician. He has been living in New York for over a decade where he performed and recorded with a wide range of artists, including, Stevie Wonder, Kenny Barron, John Legend, Ed Sheeran, Charnett Moffett, Cassandra Wilson, Chris Potter, Christina Aguilera, Common, Anthony Braxton, Joss Stone, Gladys Knight, Natalie Cole, Ariana Grande, Wayne Brady, Gerald Cleaver,Tigran Hamasyan and many more He played in all the major venues across the United States at Carnegie Hall, the Radio City Music Hall, Madison Square Garden, Barclays Center, Jazz at Lincoln Center, the Blue Note Jazz Club, the Apollo Theater, the Smalls Jazz Club, The Stone, Roulette, Joe's Pub, Prudential Center and the United States Capitol.
    [Show full text]
  • Yamit Lemoine on Jazz Violin & New Album Ain't Misbehavin'
    Yamit Lemoine on Jazz Violin & New Album Ain’t Misbehavin’ By Grant Albert | September 24, 2019 ​ ​ We are in an era of nostalgia: vinyl records are poised to outsell CD’s for the first time since 1986, baggy clothes that resemble 90s fashion are back with aplomb, and appreciation for the jazz masters’ like Miles Davis are hitting a new high. It only makes sense that artist like Yamit Lemoine are spurring nostalgic sentiment. The Israeli born, Toronto raised, Miami resident formed Yamit and The Vinyl Blvd—a classical jazz ensemble that brings funk, groove, and melody into harmonious overtures all over Miami. Yamit plays both the violin and sings the great classics from the 1920’s through the 1960’s. Yamit’s debut album ​Ain’t Misbehavin’​ is a delightful passage through time. The 12-track album brings swaying sounds that combine with Yamit’s delicate, but forceful voice which transports the listener through the great jazz ages from humble beginnings to the inspiring heights of the 1960’s. In a society where new information is thrown onto us in seconds, it never hurts to take a step back and listen to the classics sung by a new voice. You recently released your debut, Ain’t Misbehavin’ can you explain the process and your thoughts about the album? Yamit Lemoine: For me, the process of producing an album is a bit like cooking. When you have great ingredients and know how to put them together – it’s bound to be good. The musicians on the album are incredible, and the tunes are from the Great American Songbook – how can you go wrong? I chose a selection of tunes that we usually played at the gigs – recording them was the natural progression for those tunes because they’ve already taken their organic shape on the stage.
    [Show full text]
  • Birth of the Cool
    Mateusz Smoczynski, Violin David Balakrishnan, Violin, Baritone Violin Benjamin von Gutzeit, Viola Mark Summer, Cello Birth of the Cool Reaching for lyricism and gentler textures as a reaction to the fiery sounds of bebop, the renowned musicians who performed on the seminal recording, Birth of the Cool, consider it a tipping point towards the style that became known as “Cool Jazz.” The living embodiment of cool, Miles Davis, and his colleagues, Gil Evans, Gerry Mulligan, Lee Konitz, etc., set the table for a slew of legendary groups that shared their vision. From the Modern Jazz Quartet and Gunther Schuller of third stream music, to the west coast sounds of the Dave Brubeck Quartet with Paul Desmond, to the iconoclastic melodic lines of pianist Lennie Tristano, their particular brand of innovative genius echoed into the myriad jazz fusion blends of the seventies and eighties. Ultimately, this created the perfect conditions for an audacious group of four string players equally grounded in jazz improvisation and classical technique, to split the Eurocentric string quartet atom. In addition to employing their signature groove-based rhythmic techniques to transform classic selections from the recording of Birth of the Cool such as Israel, Venus De Milo, and Jeru into jazz string quartet masterpieces, the two time GRAMMY® winning Turtle Island Quartet will take a wide swath through the many other avenues traversed by these intrepid explorers of cool. Perennial favorites such as Dave Brubeck’s Blue Rondo A La Turk and Gerry Mulligan’s Bernie’s Tune conjoin with Miles Davis’s dreamy Miles Ahead, and the Modern Jazz Quartet’s darker Django.
    [Show full text]
  • History of Jazz Violin, OLLI, Berkeley – Winter 2019 - Jan
    History of Jazz Violin, OLLI, Berkeley – Winter 2019 - Jan. 28 - Mar. 11, 10 am – 12 pm, University Hall Room 41B Mr. J. Kit Eakle – presenter, email: [email protected] Class Description: Though sometimes considered an anomaly in jazz, violinists have been central to creating some of its most exciting, innovative music. Discover the reasons for this disconnect, the influential jazz violinists of the past century, and how their music reflects the social, racial, technological, and musical influences of their times. We will trace the violin’s influence from the eras of African prehistory, slavery, and “pre-jazz,” to the birth of the blues, swing, be-bop, and beyond through vintage recordings and live demonstrations. CLASS 1: (Mon., Jan. 28) – 1700 and before – 1900: Pre-History to Pre-Jazz: Violin/Fiddle in Africa, slavery in the “New World,” to Will Marion Cook, Anton Dvorak and the beginnings of Jazz CLASS 2 (Mon., Feb. 4) – 1900- 1925: The Birth of Jazz in NEW ORLEANS Uptown/Downtown and the Territory Bands - Violinists as the first Jazz Band Leaders to James Reese Europe, WW I and the ‘New Negro.’ CLASS 3 (Mon., Feb. 11) – 1925 – 1950: Moving Up to Chicago - Violin Stars of SWING: Joe Venuti, Eddie South, Stéphane Grappelli, Claude Williams, to Stuff Smith, Harry Lookoffsky and the beginnings of BeBop CLASS 4 (Mon., Feb. 25): 1950 – 1975: Modern Jazz, The Birth of the ‘Cool’ and Third Stream to Free Jazz and Fusion CLASS 5 (Mon., Mar. 4): No Instrument OR Genre Is An Island: Influences of (and on) classical, country, blues, bluegrass, latin, and popular musical genres and developing sound and recording technologies CLASS 6 (Mon., Mar 11): The Post-Modern (Post-Racial???) Generation: 1975 to the present.
    [Show full text]
  • Nomination Form International Memory of the World Register
    Nomination form International Memory of the World Register THE MONTREUX JAZZ FESTIVAL, CLAUDE NOBS’ LEGACY (Switzerland) 2012-15 1.0 Summary (max 200 words) « It’s the most important testimonial to the history of music, covering jazz, blues and rock ». These are the words that Quincy Jones pronounced to present the preservation and restoration project of one of the musical monuments from the 20th century, the Montreux Jazz Festival Archives. From Aretha Franklin or Ray Charles to David Bowie or Prince, more than 5,000 hours of concerts have been recorded both in audio and video, since the creation of the Montreux Jazz Festival in 1967, by the visionary Claude Nobs. This collection contains many of the greatest names in middle and mainstream Jazz, including Errol Garner, Count Basie, Lionel Hampton, Dizzy Gillespie, Oscar Peterson to Herbie Hancock. Most of them composed great number of improvised jam sessions extremely rare. Miles Davis played his last performance, conducted by Quincy Jones in 1991. Many artists, like Marvin Gaye, recorded their first and only performance for television in Montreux. This collection of “live” music recordings, ranging from 1967-2012, with universal significance and intercultural dimensions has no direct equal in the world. This musical library traces a timeline of stylistic influences from the early styles of jazz to the present day. In 2007, Swiss Federal Institute of Technology in Lausanne (EPFL) and the Montreux Jazz Festival have decided to join forces to create a unique and first of a kind, high resolution digital archive of the Festival. 2.0 Nominator 2.1 Name of nominator (person or organization) THIERRY AMSALLEM (MONTREUX JAZZ FESTIVAL FOUNDATION) 2.2 Relationship to the nominated documentary heritage MEMBER OF THE MONTREUX JAZZ FESTIVAL FOUNDATION BOARD & OWNER AND CURATOR OF THE MONTREUX JAZZ FESTIVAL AUDIOVISUAL LIBRARY 2.3 Contact person(s) (to provide information on nomination) M.
    [Show full text]
  • Regina Carter
    d Interview REGINA CARTER December, 2010 Jazz violinist Regina Carter ranks as one of Oakland Uni­ versity’s most talented and justly famous alumni. Her Re­ verse Thread was chosen by NPR as one of the top 50 albums of 2010. Her touring schedule covers America, Europe and Japan. TOJ interviewed Regina in December of 2010, and we reconstructed the conversa­ tion. Ms. Carter kindly and thoroughly edited the result so that it represents her thoughts and her voice. Among the ben­ efits of interviewing her instead of researching her in the na­ tional media, is that we could ask about her experience as a student here. As a consequence, readers will find that Regina Carter did not merely attend OU, she found a rich and stimu­ lating experience here. She is one of us. TOJ: Reverse Thread, a great CD with wonderful new African sounds, also seems to offer things from all over the world. What influences led you to develop this sound? 47 RC: Detroit was such an ethnically diverse city. I was exposed to other cultures and their music at an early age without having to travel. Some of the sounds I heard were very “foreign” to my ear but were extremely beautiful and captivating. I bought al­ bums with strings from different parts of the planet and started imitating the sounds I heard. TOJ: You have made several successful major label CDs in your recording career, and they too are wonderful. But one can no­ tice that they are in a different category. Reverse Thread is more distinctively world music.
    [Show full text]
  • Jazz for String Players a Bibliography by Renata Bratt and Paula Zeitlin for the IAJE String Caucus
    Jazz for String Players A bibliography by Renata Bratt and Paula Zeitlin for the IAJE String Caucus Contents Jazz History ..................................................................................................................................... 1 Jazz Strings Instruction Books ........................................................................................................ 1 Other Useful Methods and Jazz Studies, non-string specific.......................................................... 3 Until you find a band: play-along recordings ................................................................................... 4 Standard Equipment: Fakebooks .................................................................................................... 5 Arrangements for Jazz String Ensembles by Publisher .................................................................. 5 Here is the format used for an individual The Smithsonian Collection of Classic Jazz entry: Smithsonian 2100 title currently distributed by Rounder Records, author(s) Cambridge publisher comment Jazz Strings Instruction Books A New and Innovative System for Learning Jazz History to Improvise for Strings Mark Chung's Jazz Strings website contains by David N. Baker a fine bibliography, discography, and a Jamey Aebersold Jazz Inc., 1211 Aebersold wealth of historical information. You can Drive, New Albany, IN 47150 find it at: 1-800-456-1388 http://shoko.calarts.edu/~chung/jazzviolin.html A method for all strings by a master jazz educator. In addition to
    [Show full text]
  • Violin, I the Instrument, Its Technique and Its Repertory in Oxford Music Online
    14.3.2011 Violin, §I: The instrument, its techniq… Oxford Music Online Grove Music Online Violin, §I: The instrument, its technique and its repertory article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/41161pg1 Violin, §I: The instrument, its technique and its repertory I. The instrument, its technique and its repertory 1. Introduction. The violin is one of the most perfect instruments acoustically and has extraordinary musical versatility. In beauty and emotional appeal its tone rivals that of its model, the human voice, but at the same time the violin is capable of particular agility and brilliant figuration, making possible in one instrument the expression of moods and effects that may range, depending on the will and skill of the player, from the lyric and tender to the brilliant and dramatic. Its capacity for sustained tone is remarkable, and scarcely another instrument can produce so many nuances of expression and intensity. The violin can play all the chromatic semitones or even microtones over a four-octave range, and, to a limited extent, the playing of chords is within its powers. In short, the violin represents one of the greatest triumphs of instrument making. From its earliest development in Italy the violin was adopted in all kinds of music and by all strata of society, and has since been disseminated to many cultures across the globe (see §II below). Composers, inspired by its potential, have written extensively for it as a solo instrument, accompanied and unaccompanied, and also in connection with the genres of orchestral and chamber music. Possibly no other instrument can boast a larger and musically more distinguished repertory, if one takes into account all forms of solo and ensemble music in which the violin has been assigned a part.
    [Show full text]
  • New Perspectives on Classical Music Through the Work of Mark Oâ
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2005 Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck Louanne Marie Iannaccone University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Commons Recommended Citation Iannaccone, Louanne Marie, "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck. " Master's Thesis, University of Tennessee, 2005. https://trace.tennessee.edu/utk_gradthes/2014 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Louanne Marie Iannaccone entitled "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Dr. Leslie C. Gay, Jr., Major Professor We have read this thesis and recommend its acceptance: Dr. Wesley Baldwin, Dr. Rachel Golden Carlson Accepted for the Council: Carolyn R.
    [Show full text]
  • Montana Fiddle Camp Course There Are Many Different Ways to Achieve This, but It Is Ex- Tremely Important to Grab a Listener’S Attention Right Off the Bat
    If you recall from my first column, to give your phrases over the 16th Annual! A minor chord a jazzier sound, you play the G sharp note instead of a G natural. This particular solo starts right off with the G sharp note, instantly setting up tension and drawing the listener in. Of Montana Fiddle Camp course there are many different ways to achieve this, but it is ex- tremely important to grab a listener’s attention right off the bat. June 5-10 & June 12-17, 2011 The second half of this phrase includes a series of double stops that weave around the D minor. One way to practice incorporating Week One Fiddle Instructors: Erynn Marshall, Paul double stops into your solos is to take a phrase you like, make that & Claudia Anastasio, Bethany Dick, Kelly Wells. your top note of the double stop, then add a third below each of Week Two Fiddle Instructors: Katie Glassman, those notes. Also, practice your basic scales in thirds and sixths in Hank Bradley, Cathie Whitesides, Natalie Padilla, order to get those double stops under your fingers. James Schlender. Example #2 – Lick 2 (numbers refer to optional 3rd position Guitar: Mike Dowling, Taylor Buckley, Britt Smith. fingerings) Mandolin: Evan Marshall. Clawhammer banjo: E7 David Reed. Bluegrass banjo: Warrie Means. œ nœ www.montanafiddlers.org œ œ ‰ œ J ‰ ‰ œ œ & œ 4 œ#œ 3 J2 œ 4 For up-to-date 1 2 information, please visit our website or Notice how the next two bars (example #2 above) contain a call Fred Buckley rhythmic motif, which as I indicated in previous columns is an at (406) 323-1198 extremely important concept for building interesting and fluid so- los.
    [Show full text]