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Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis. -
Love of Life Orchestra Ceciltaylor
BAm BROOKLYN ACADEMY OF MUSIC LOVE OF LIFE ORCHESTRA CECIL TAYLOR / .WORLD SAXOPHONE OUARTET . ~ =~=~':i-=-. -- .~ ~ ~ @ FE S T I V A L • 8 5 'BROOKLYN ACADEMY OF MUSIC !!!!!!!!!!!!!!!! Harvey Lichtenstein, President and ChiefExecutive Officer !!!!!!!!!!!!!!! CAREY PLAYHOUSE November 29,19858:00 pm November 30, 1985 8:00 pm PETER GORDON'S LOVE OF LIFE ORCHESTRA Musical Direction: PETER GORDON AND DAVID VAN TIEGHEM Musicians: Peter Gordon Richard Landry "Blue" Gene Tyranl}Y . David Van Tieghem Lenny Pickett Linda Hudes RikAlbani Ned Sublette Tony Garnier Peter Zummo Randy Gun Rebecca Armstrong Larry Saltzman A concert of new music composed by: Peter Gordon David Van Tieghem Linda Hudes Randy Gun "Blue" Gene Tyranny Ned Sublette Sound mix: Eric'Liljestrand Lighting: Jan Kroeze NEXT WAVE FESTJVAL 1985 The NEXT WAVE Production and Touring Fund is supported by the National Endowment for the Arts, the National Endowment for the Humanities, the Rockefeller Foundation, the Ford Foundation, the Pew Memorial Trust, Remy Martin Amerique, AT&T, the William and Flora Hewlett Founda tion, WiIIiWear Ltd., Goethe House New York, the New York Council for the Humanities, the Educational Foundation of America, the Howard Gilman Foundation, the BestProducts Foundation, Mee~ the Composer, Inc., Abraham & Straus/Federated Department Stores Foundation, Inc., the CIGNA Corporation, Mary Boone,Gallery, and the BAM NEXT w.fVE Producers Council. Additional funds for the NEXT w.fVE FESJ'IVAL are proyided by ~.~.ew York State Council on the Ans~ the Mary Aagler Cary Charitable Trust, Philip Morris Incorporated, the New York Community Trust, ManufaCtu¥s Hanover, Lila Acheson Wallace, the National Institute for Music Theater, the William and Mary Greve Foundation, Inc., the Samuel I. -
An Ethnomusicological Study of the Policies and Aspirations for US
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Beyond the Blockade: An Ethnomusicological Study of the Policies and Aspirations for U.S.-Cuban Musical Interaction Timothy P. Storhoff Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BEYOND THE BLOCKADE: AN ETHNOMUSICOLOGICAL STUDY OF THE POLICIES AND ASPIRATIONS FOR U.S.-CUBAN MUSICAL INTERACTION By TIMOTHY P. STORHOFF A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2014 Timothy Storhoff defended this dissertation on April 2, 2014. The members of the supervisory committee were: Frank Gunderson Professor Directing Dissertation José Gomáriz University Representative Michael B. Bakan Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To Mom and Dad, for always encouraging me to write and perform. iii ACKNOWLEDGMENTS This dissertation was made possible through the support, assistance and encouragement of numerous individuals. I am particularly grateful to my advisor, Frank Gunderson, and my dissertation committee members, Michael Bakan, Denise Von Glahn and José Gomáriz. Along with the rest of the FSU Musicology faculty, they have helped me refine my ideas and ask the right questions while exemplifying the qualities required of outstanding educators and scholars. From the beginning of my coursework through the completion of my dissertation, I could not have asked for a finer community of colleagues, musicians and scholars than the musicologists at the Florida State University. -
Creating Salsa, Claiming Salsa: Identity, Location, and Authenticity in Global Popular Music
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2010 Creating salsa, claiming salsa: Identity, location, and authenticity in global popular music William Guthrie LeGrand University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2010 William Guthrie LeGrand Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Ethnomusicology Commons Recommended Citation LeGrand, William Guthrie, "Creating salsa, claiming salsa: Identity, location, and authenticity in global popular music" (2010). Dissertations and Theses @ UNI. 553. https://scholarworks.uni.edu/etd/553 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. CREATING SALSA, CLAIMING SALSA: IDENTITY, LOCATION, AND AUTHENTICITY IN A GLOBAL POPULAR MUSIC An Abstract of a Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music William Guthrie LeGrand University of Northern Iowa July, 2010 ABSTRACT Although Latin American ethnomusicological scholarship in the last twenty years has addressed much of the Caribbean, particularly Cuba, the popular genre salsa has often been treated as a side project of scholars with other specialties. Much of previous Latin American scholarship has favored nation-based, particularly folkloric, genres, while current trends have largely moved toward either re-engaging nation-based scholarship within postmodern critical contexts or addressing reggae ton as part of the scholarly fascination with global hip-hop culture. Salsa, which has always been created, contested, and claimed. -
Liner Notes, Visit Our Web Site
Resonance, Decisions, Freedom: The Music of Peter Zummo With accuracy and humor, Peter Zummo (born 1948) often describes his unique music as “minimalism plus a whole lot more.” He is an important exponent of the American contemporary classical tradition whose compositions explore the methodologies of not just minimalism, but also jazz, world music, and rock, while seeking to create freedom in ensemble situations. Zummo’s realization of the contemporary urge to make music that behaves like “Nature in its manner of operation” (John Cage) is to encourage spontaneous, individual decisions within a self-structuring, self-negotiating group of performers. His scores provide unique strategies (such as a “matrix of overlapping systems,” freely modulating repetition rates, etc.) and materials for achieving that aim. Zummo has also designed new instrumental techniques for the trombone, valve trombone, dijeridu, euphonium, electronic instruments, and voice, and performed and recorded his work and that of others worldwide. The origin and nature of these ensemble freedoms and instrumental techniques form the subjects of this essay. (The composer’s comments, in quotes below, are from an interview on August 24, 2006, in New York City.) Instruments (1980) Following his early classical music studies and graduation from Wesleyan University, Zummo moved to New York City in 1975. “At the time, I was aware of the Fluxus movement, the Grand Union [a New York-based ‘anarchistic democratic theater collective’ (Steve Paxton) of avant-garde dancers formed in 1970] and that generation of free-thinking artists. I respected them a lot. I considered myself half a generation behind them but shared their mindset of free-ranging exploration. -
Louis Moreau Gottschalk (1829-1869): the Role of Early Exposure to African-Derived Musics in Shaping an American Musical Pioneer from New Orleans
LOUIS MOREAU GOTTSCHALK (1829-1869): THE ROLE OF EARLY EXPOSURE TO AFRICAN-DERIVED MUSICS IN SHAPING AN AMERICAN MUSICAL PIONEER FROM NEW ORLEANS A dissertation submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Amy Elizabeth Unruh December, 2009 © Amy Elizabeth Unruh, 2009 Dissertation written by Amy Elizabeth Unruh B.A., Bowling Green State University, 1998 B.F.A., Bowling Green State University, 1998 M.M., Bowling Green State University, 2000 Ph.D., Kent State University, 2009 Approved by ________________________ , Co-Chair, Doctoral Dissertation Committee Terry E. Miller ________________________ , Co-Chair, Doctoral Dissertation Committee John M. Lee ________________________ , Members, Doctoral Dissertation Committee Richard O. Devore ________________________ , Richard Feinberg Accepted by ________________________ , Interim Director, School of Music Denise A. Seachrist ________________________ , Interim Dean, College of the Arts John Crawford ii TABLE OF CONTENTS TABLE OF CONTENTS ................................................................................................... iii LIST OF FIGURES ........................................................................................................... vi PREFACE ........................................................................................................................ viii CHAPTER I. INTRODUCTION .............................................................................................1 -
TR-50546-14 NEH Application Cover Sheet America's Media Makers
TR-50546-14 NEH Application Cover Sheet America's Media Makers PROJECT DIRECTOR Mr. R. Andrew Higgins Wyndham E-mail:[email protected] Director, VFH Media Programs Phone(W): 434-924-6894 145 Ednam Drive Phone(H): Charlottesville, VA 22903-4629 Fax: 434-296-4714 UNITED STATES Field of Expertise: Literature: British Literature INSTITUTION Rector and Visitors of University of Virginia Charlottesville, VA UNITED STATES APPLICATION INFORMATION Title: BackStory with the American History Guys--Finding the American Way (series) Grant Period: From 5/2014 to 4/2016 Field of Project: History: U.S. History Description of Project: BackStory with the American History Guys, a national, weekly one-hour broadcast show and podcast???-a program of the Virginia Foundation for the Humanities (VFH) at the University of Virginia--requests an America???s Media Makers grant of $234,868. Funds will be used to produce a special series of 22 radio programs that will ultimately comprise three mini-series. Under the banner "Finding the American Way," the grant-funded episodes will be paired with lesson plans and packaged for educational purposes. Partners include the National Council for History Education, the Gilder Lehrman Institute of American History, and HISTORY (History Channel). BUDGET Outright Request $234,868.00 Cost Sharing $1,131,617.00 Matching Request Total Budget $1,366,485.00 Total NEH $234,868.00 GRANT ADMINISTRATOR Mr. Robert M. Merhige E-mail:[email protected] Director, Grants and Contracts Phone(W): 434-924-4270 1001 North Emmett Street Fax: 434-982-3096 PO Box 400195 Charlottesville, VA 22904-4195 UNITED STATES BackStory with the American History Guys TABLE OF CONTENTS 1. -
Lawrence, T (2007) Liminalities 3 (3).Pdf
University of East London Institutional Repository: http://roar.uel.ac.uk This paper is made available online in accordance with publisher policies. Please scroll down to view the document itself. Please refer to the repository record for this item and our policy information available from the repository home page for further information. To see the final version of this paper please visit the publisher’s website. Access to the published version may require a subscription. Author(s): Lawrence, Tim Article title: Connecting with the Cosmic: Arthur Russell, Rhizomatic Musicianship, and the Downtown Music Scene, 1973-92 Year of publication: 2007 Citation: Lawrence, T. (2007) ‘Connecting with the Cosmic: Arthur Russell, Rhizomatic Musicianship, and the Downtown Music Scene, 1973-92’ Liminalities: A Journal of Performance Studies 3 (3) Link to published version: http://liminalities.net/3-3/russell.htm Liminalities: A Journal of Performance Studies Vol. 3, No. 3, November 2007 a liminalities monograph Connecting with the Cosmic: Arthur Russell, Rhizomatic Musicianship, and the Downtown Music Scene, 1973-92 Tim Lawrence During the 1970s and early 1980s, a diverse group of artists, musicians, sculptors, video filmmakers and writers congregated in downtown New York and forged a radical creative network. Distinguished by its level of interactivity, the network discarded established practices in order to generate new, often-interdisciplinary forms of art that melded aesthetics and community. “All these artists were living and working in an urban geographical space that was not more than twenty-by-twenty square blocks,” notes Marvin J. Taylor, editor of The Downtown Book. “Rarely has there been such a condensed and diverse group of artists in one place at one time, all 1 sharing many of the same assumptions about how to make new art.” Tim Lawrence runs the Music Culture programme in the School of Social Sciences, Media and Cultural Studies at the University of East London, where he's a senior lecturer. -
THE POWER Projecf the RETURN of the NATIVE
BROOKLYN ACADEMY OF MUSIC THE POWER PROJECf THE RETURN OF THE NATIVE BROOKLYN ACADEMY OF·MUSIC Harvey Lichtenstein, President and Executive Producer , presents BAM Opera House November 3-5, 1988 THE RETURN OF THE NATIVE A performance of music and video by Peter Gordon and Kit Fitzgerald Video by Kit Fitigerald Music by Peter Gordon Libretto extracted from the table of contents of The Return ofthe Native by Thomas Hardy with additional lyrics by Edwin Gordon Music performed by Catherine Fiasca (soprano) Steve Elson (woodwinds) Peter Gordon (woodwinds) Peter Ecklund (trumpet) Peter Zummo (trombone) Kenny Kosek (violin) Ronald Robboy (cello) Dennis Masuzzo (double bass) "Blue" Gene lYranny (piano) Ned Sublette (guitar) Bill Ruyle (percussion) Mustafa Ahmed (percussion) Conducted by Peter Gordon Players in the landscape choreographed and performed by Bill T. Jones and Arnie Zane Production Design Script Direction Sound Design Michael Nishball Virlana Tkacz Eric Liljestrand Associate Lighting Designer Video Engineer Video Consultant Karl E., Haas Joseph Napodano Eric Spiegel These performances are made possible, in part, by grants from THE HENRY LUCE FOUNDATION, INC. and MEET THE COMPOSER, INC. B o 0 K YN A C- A 0 MY o MUS c F E s T v A L 9 8 8 S P 0 N S 0 RED PHLI M 0 R I OMPANIES Ie'. The ,.NEXT WAVE Festival is spoiBnd by PHILIP MORRIS COMPANIES INC. The NEXT WAVE ProU:tion and TOII'ing l11li is ........,.. NATIONAL ENDOWMENT FOR THE ARTS. THE ROCKEFELLER'FOUNDATION. THE FORD FOIIIDATION. THE HErilY LUCE RJUmA.. TlON.INC•• PEW CHARITABLE TRUSTS. THE WILLIAM AND FLORA HEWLm FOUNDATION, the W. -
Arthur Russell, Rhizomatic Musicianship, and the Downtown Music Scene, 1973-92
Liminalities: A Journal of Performance Studies Vol. 3, No. 3, November 2007 a liminalities monograph Connecting with the Cosmic: Arthur Russell, Rhizomatic Musicianship, and the Downtown Music Scene, 1973-92 Tim Lawrence During the 1970s and early 1980s, a diverse group of artists, musicians, sculptors, video filmmakers and writers congregated in downtown New York and forged a radical creative network. Distinguished by its level of interactivity, the network discarded established practices in order to generate new, often-interdisciplinary forms of art that melded aesthetics and community. “All these artists were living and working in an urban geographical space that was not more than twenty-by-twenty square blocks,” notes Marvin J. Taylor, editor of The Downtown Book. “Rarely has there been such a condensed and diverse group of artists in one place at one time, all 1 sharing many of the same assumptions about how to make new art.” Tim Lawrence runs the Music Culture programme in the School of Social Sciences, Media and Cultural Studies at the University of East London, where he's a senior lecturer. He is author of Love Saves the Day: A History of American Dance Music Culture, 1970-79 (Duke University Press, 2004), and is completing a biography of Arthur Russell that is due to be published by Duke. He maintains a website at www.timlawrence.info. Author note: Many thanks to Enrica Balestra, Andrew Blake, Jeremy Gilbert, Maggie Humm and Michael LeVan for valuable comments on an earlier draft, as well as Steve Knutson, Audika Records and the Estate of Arthur Russell for granting permission to use clips from Calling Out of Context, First Thought Best Thought, and World of Echo. -
AFRO-CUBAN PERCUSSION, ITS ROOTS and ROLE in POPULAR CUBAN MUSIC by BRIAN KEITH ANDERSON B.M.E., Kansas State University, 2009 B
AFRO-CUBAN PERCUSSION, ITS ROOTS AND ROLE IN POPULAR CUBAN MUSIC by BRIAN KEITH ANDERSON B.M.E., Kansas State University, 2009 B.S., Kansas State University, 2009 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2016 Approved by: Major Professor Dr. Craig B. Parker Copyright BRIAN KEITH ANDERSON 2016 Abstract This Master’s Report will address questions about Afro-Cuban music, focusing on Afro- Cuban percussion and music in the late 1800s and early 1900s. The first two chapters will address congas and timbales, which are two Afro-Cuban percussion instruments at the center of Cuban culture and music. The next three chapters will address danzón, rumba, and son. These chapters will provide analysis into the influences that shaped the music as well as analysis of the music itself. Chapter 6 of this report addresses Cuba’s impact on culture outside Cuba, relating but not limited to music, with emphasis on the 1930s into the beginning of World War II. Throughout this report videos have been created to help explain topics of Afro-Cuban music to readers in a more interactive way. The purpose of these videos is to demonstrate how the instruments sound as well as what the instruments look like, how notation included in the report is realized, and generally to make the page come to life in ways that technology today now allows. Table of Contents List of Figures ............................................................................................................................... vii Acknowledgements ...................................................................................................................... viii Chapter 1 - A History of the Conga Drum ..................................................................................... -
Who's Not Who in the Downtown Crowd
Who’s Not Who IN the Downtown Crowd or: Don’t Forget About Me by tim Lawrence It’s becoming commonplace to note that New York City in the 1970s and the first half of the 1980s was a place of remarkable musical in- novation across a range of sounds. During this period, hip hop evolved in the boroughs and then made inroads into the city; punk, new wave, and no wave transformed the aesthetics and culture of rock; the jazz loft scene that unfolded in venues such as Ali’s Alley consolidated the sound of free jazz; the minimalist music/new music of La Monte Young, Steve Reich, and Philip Glass, who were also based in the city, mounted a concerted challenge to the serial and post-serial music establishment; and contemporary dance culture was forged in private parties and pub- lic discotheques. I made my first trip to New York City in 1993, aged twenty-six, and had a great time. But just to think: if I had been old enough to visit twenty years earlier. Inasmuch as they’ve been written about, New York’s music scenes of the 1970s and 1980s have for the most part been characterized as be- ing segmented, with punk, disco, orchestral music, and so on unfolding in discreet isolation. But during the last couple of years more attention has been paid to the actual location in which these sounds have devel- oped that location being downtown New York. Exploring downtown as a territory in which music was developed between as well as within a series of aesthetically inventive scenes, Bernard Gendron detailed 90 91 the rock-compositional exchange that took place between some of the key players at the Kitchen and the Mudd Club in Between Montmartre and the Mudd Club, which was published in 2002.