DOCSLIB.ORG

The Steel Times the Steel Times Staff

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Steel Times the Steel Times Staff FEATURES 4 From the Editor’s Desk - Eugene Novotney 5 President’s Message - Chris Tanner 6 We Kinda Pan - Andy Narell 10 Double Seconds in Practice - Tom Miller 12 Murray Narell: Pioneering Youth Empowerment Through Steelpan in the United States - Ray Funk and Andrew Martin 18 Steelpan in Advertising - Compiled by Ray Funk and Eugene Novotney 22 Tips from Dr. Dave - Dave Gerhart 24 Four Questions with Ray Holman - Eugene Novotney Cover: Bass pans. Photo: Ryan Blake June 2018 2 THE STEEL TIMES THE STEEL TIMES STAFF Eugene Novotney - Senior Editor Dave Gerhart - Assistant Editor David Peñalosa - Layout and Design NATIONAL SOCIETY of STEEL BAND EDUCATORS President Chris Tanner Join NSSBE! NSSBE members are passionate Board of Directors about pan. Become a member today and join people across the Chris Tanner nation who love the steel band art Brandon Haskett form, and who are dedicated to its success and growth. To become a Tom Miller member, please visit the NSSBE website at: www.weteachpan.org Steering Committee Yuko Asada Patty Dee Matt Dudack Michael Greer Emily Lemmerman National Society of Steel Band Educators PO Box 181493 Eugene Novotney Fairfield, Ohio 45018 Richard Rudolph [email protected] Liam Teague Sherwin Thwaites Mike Wendeln The Steel Times is published three times a year: February, June, and October by NSSBE. COPYRIGHT © 2018 by the National Association of Steel Band Educators (NSSBE). Reproduction of any part of this publication without permission from NSSBE is prohibited by law. June 2018 3 THE STEEL TIMES I am very excited to welcome you to the second edition of the NSSBE newsletter, The Steel Times. Thank you for the overwhelmingly positive response to our first edition. It is the goal of the NSSBE to create a newsletter that is both interesting and informative, but also, practical and useful. I think that you will find this second edition all of the above, and more. This issue begins with another installment of Andy Narell’s column, We Kinda Pan. Andy’s column is right on point with an insightful discus- sion focusing on laying out a steelband score, and the choices behind assigning appropriate ranges for steelpan voices when creating a full band arrangement. As the leader of a steelband with instruments from various makers and of a variety of ranges, I have often struggled with how to best reconcile those range issues when creating a new arrangement. In this column, Andy offers his views on the topic in a practical, methodical, and under- standable way. Additionally, the issue includes a very use- Photo: Kelly Jo Brown. ful article by Tom Miller that focuses on technique a special thanks to both Andy and Jeff Narell for and practice tips specifically for the double sec- helping with the proofreading and providing all of onds. Tom brings a wealth of knowledge and ex- the excellent historic photos. This article is a must perience to his teaching, and this article provides read for any serious steelpan enthusiast. the double seconds player with a solid approach In the time since the publication of our inau- to improving their technique and developing a fluid gural newsletter, NSSBE held its first annual Con- motion. ference in Oxford, Ohio, and it was a great success. Also in this edition is a brief interview with It was nice to see many of you there, and to meet Trinidadian steelpan legend, Ray Holman. Ray new friends and make new conncections. Much has a long history of working with steelbands gratitude and appreciation to all of our presenters throughout the United States and offers his at the conference, and especially to our headliner, unique views on the development and the future Victor Provost, whose words and artistry brought of steelband education. There is also the second the conference to life. Plans are already underway installment of Dave Gerhart’s column, Tips from for our second conference, scheduled to take place Dr. Dave, where Dave shares basic warm-up ex- in Spring 2019, again in Oxford, Ohio. Please check ercises that he uses regularly in practice with his the NSSBE website for updates and start making full steelband. your plans to attend now. Very appropriately, the feature article in It is certainly an honor for me to be en- this edition of The Steel Times is a tribute to Mur- trusted to be the editor of the NSSBE journal, and ray Narell, who was a true pioneer in the advance- you have my promise that I will strive to bring you ment of steelband education in the United States. something new and something vital with each issue. Ray Funk and Andrew Martin’s article is loaded Have a wonderful summer, and please enjoy this with interesting details, and I would like to extend second edition of The Steel Times. EUGENE NOVOTNEY is a percussionist, composer, and scholar who has been involved in the steelpan movement in the United States since 1982. He is Professor of Music and Director of Percussion Studies at Humboldt State Univer- sity in Arcata, California. June 2018 4 THE STEEL TIMES Welcome to this second edition of our NSSBE newsletter, The Steel Times. As I mentioned in my opening remarks to our inaugural conference in March 2018, NSSBE began as a mere idea several years ago. Yet in recent months, organization has transi- tioned from the abstract to the concrete, due to the establishment of recognizable, tangible products. These include our website, the con- ference, and of course this very publication. Through these means, we communicate with each other, share ideas and best practices, and contribute to our mission: the advance- ment of steel band education in the United States. The NSSBE 2018 Professional Confer- ence was a tremendous success, with over fifty people in attendance, from twenty differ- ent states. Each of the sessions was enlight- ening and informative, and generated much or topics that you’d like to see covered. If so, discussion among the attendees in the hall- please reach out to us via email. We would enjoy ways, meeting rooms and vendor area. The hearing from you, and we will certainly consider energy that day was palpable. The conference your ideas and feedback as we prepare for next was a gathering of people from different walks year. of life and representing a number of diverse Beyond this, there are other opportunities teaching and performance situations, yet firmly for you to become involved in the organization. committed to a shared purpose. For instance, there may be a particular ques- Special thanks and recognition belong tion you have regarding steel band pedagogy, to our conference co-chairs, Mike Greer and that is currently not addressed on our website. If Mike Wendeln, who together oversaw the so, let us know. By suggesting issues that need planning and execution of this inaugural event. attention, you can help drive the creation of new They will return in 2019 in the same capacity, content for the organization. Or, perhaps you and our Board of Directors is working closely are interested in authoring an article yourself, for with them to make next year’s event even inclusion on our site. If so, we’re happy to receive better. The 2019 Professional Conference your proposal. Of course, we also hope you will will be held on March 9, 2019, once again on assist in the growth of our organization, and our the campus of Miami University. Specifics on discipline, by simply spreading the word that dates, registration, and hotel information will NSSBE is here. be posted on our website in the Fall. Thank you once again for your interest in One of our goals is to be as responsive and your support of NSSBE. I hope you will enjoy as possible to the needs of our members in what our contributors herein have to offer, and that programming the conference sessions. To that you will find the features in this second edition of end, you may have thoughts on session types The Steel Times informative and enlightening. CHRIS TANNER is the founder and Director of the Miami University Steel Band in Oxford, Ohio, and the Chair of the Miami University Music Department. He is the author of The Steel Band Game Plan, and serves as President and is a founding member of the National Society of Steel Band Educators (NSSBE). June 2018 5 THE STEEL TIMES WE KINDA PAN Andy Narell Hey everybody. Welcome back. Most of you are using written scores and parts with your bands, so I thought that would be a good place to start – to talk about various questions that come up when we’re scoring or interpreting an arrangement for steel band. The first thing to consider is that no two steel bands are the same – everybody has a different combination of instruments and a dif- ferent balance of pans. So when you’re writing an arrangement, you have to consider not only what kind of band you’re writing for in the im- mediate future, but also how other bands will be able to adapt the arrangement to the pans they have. If you’re writing for a large orchestra playing at Trinidad Panorama, you’re apt to have tenors, double tenors, double seconds, double guitars, triple guitars, 4-cellos, quadrophonics, tenor bass, 6-bass, and 9-bass… whereas a typi- cal band at a school in the USA might have half that many different types of instruments. Here are some thoughts about how to lay out the score. The most common format I use is an 8-line score. Tenor, double tenor, double second 1, double second 2, guitar, cello, bass, drums.
Load more

Recommended publications
  • Steel Band II, Panamerican Steel Band, and Ray Holman
    Ensemble and Guest Artist Concert: 2007-05-05 -- Steel Band II, PanAmerican Steel Band, and Ray Holman Audio Playlist Access to audio and video playlists restricted to current faculty, staff, and students. If you have questions, please contact the Rita Benton Music Library at [email protected]. Scroll to see Program PDF Concert Series No. 111, 2006-2007 Season b. THE lJNJYERSr!Y OF lOWA. C0UEcE OF UBEaAL ARTS & SC1ENCES sctt~~;.t:"1_6 usrc ___QWA EERCUSSIQN res Steel Band II N PanAmerican Steel Band C and special guest Ray Holman res ~ res res> ....,I.. >< UJ C ·-0 Dan Moore, Di rector Saturday, May 5, 2007, 3:00 p.m. Clapp Recital Hall Composer, arranger, and steel drum performer from Trinidad, Ray Holman has arranged and recorded with steel bands and artists in the U.S., Canada, Latin America, Japan, and Europe, including televised performances with the German National Orchestra which showcased his compositions. He composed the highly acclaimed score for Black Orpheus staged by Crossroads Theatre Company in New Jersey in 1991, and has been a featured performer in film, television, and venues such as Madison Square Garden, the Super Bowl, and the St. Lucia Jazz Festival. A University of the West Indies graduate and former high school teacher, he has conducted workshops at West Virginia University and was a Commissioned Composer in the California State University Summer Arts Program. During 1998-2000 he was a distinguished Visiting Artist in the Ethnomusicology Program at the University of Washington, Seattle. He regularly attends the biannual steel band tuning and arranging workshop at Humboldt State University in Arcata, California, and has made presentations for the Percussive Arts Society.
    [Show full text]
  • Women and Steel Bands in Trinidad
    Women and Steel Bands in Trinidad A thesis submitted to the Miami University Honors Program in partial fulfillment of the requirements for University Honors by Rachel Renée Helbing May 2004 Oxford, OH ABSTRACT WOMEN AND STEEL BANDS IN TRINIDAD by Rachel Renée Helbing Steel bands were developed in Trinidad during the 1940s and 1950s. Since then, they have become popular both in Trinidad and around the world. At the time of their development, steel bands were exclusively male. Since the 1970s, women have increased their participation in this musical idiom. This paper examines two possible reasons for women’s historically limited participation in steel bands. First, early steel bands’ association with violence and outcasts of society may have discouraged women from participating because of fear of personal injury or social stigma. Second, Trinidad’s patriarchal culture has prevented women from participating in steel bands. This has occurred in several ways. First, women have been discouraged through the perpetuation of the idea that women belong in the home. Second, women have been discouraged by violence and harassment. Third, women have been discouraged by discrimination they have faced in the workplace. As the violent image of women in steel bands has decreased, women have increased their participation. Also, as women have achieved increasing rights and status in Trinidad, they have also increased their involvement in steel bands. The paper also outlines the current status of women’s involvement in steel bands in Trinidad. iii iv Women and Steel Bands in Trinidad by Rachel Renée Helbing Approved by: ______________________, Advisor Dr. Christopher Tanner ______________________, Reader Dr.
    [Show full text]
  • Dave Longfellow Bio 2016
    Dave Longfellow Bio 2016 Accomplished musician, clinician, and educator, Dave Longfellow, is distinguished by success as a performer, composer, and arranger of steel band music. Recognized for his hard work and dedication to the art form by his colleagues, he is an exceptional teacher and mentor. Longfellow began playing steel pans at the age of ten in his hometown of Morgantown, West Virginia and went on to perform with some of the most visible personalities in the steel drum world including: Andy Narell, Ken “Professor” Philmore, Ray Holman, Robert Greenidge, Liam Teague, Duvonne Stewart, Jit Samaroo, and many others. He traveled to Trinidad and Tobago to play with the world famous BP Renegades Steel Orchestra at 16 years-old during the 2000 carnival season and returned in 2004 to study abroad at the University of the West Indies and perform with the Renegades again. Longfellow recently returned from Trinidad where he performed with birdsong and Renegades steel orchestras for the 2013 and 2015 Panorama seasons. In 2001, Longfellow started his own quintet focused on the performance of progressive Latin jazz. His group, The Dave Longfellow Ensemble (also known as The DLE), is dedicated to creating new musical expressions involving steel pans, and to spreading the beauty and versatility of these instruments to new audiences. The DLE has recorded two CD’s, The DLE: Vol. 1 (2005) and their self-titled release, The Dave Longfellow Ensemble (2009). As a composer and clinician, Longfellow travels throughout the country for events at various high schools, universities, and festivals. He was recently commissioned for two premier steel band compositions at Lone Star College (Just In Time) and San Jacinto State College (The History of the Steel Pan) in 2015.
    [Show full text]
  • NSSBE Program 21 FINAL
    2021 Professional Conference February 27, 2021 Virtual Event Schedule SATURDAY, February 27 11:30 A.M. (All times EST) Welcome: Dr. Chris Tanner, NSSBE President Introduction and Video 11:40 A.M. Thinking Outside the Grooves: What’s next for North American Pan? Presenters: Mat Britain and Dan Moore This session aims to promote and inspire creative thinking and to open a dialogue about how to take steel pan ensembles and repertoire to the next step on its evolutionary journey. The Britian Moore Duo, who—in the 1980s—became the first touring steel pan/marimba duo, will discuss creative de- velopments past, present, and future, and along the way share their insight and ideas about how we might begin to think “outside the grooves” of the steel pan. 12:30 P.M. Cultural Heritage and Tradition in Our Panyards: A Roundtable Discussion Panelists: Yuko Asada, Wayne Bernard, Amanda Duncan, Mia Gormandy-Benjamin, Kayleen Justus, Janine Tiffe The theme of this roundtable-and-discussion session centers on one of the four main objectives of the National Society of Steel Band Educators: “To honor the cultural heritage and traditions of steel pans and steel bands.” The session panel is composed of steel band directors who will share examples of their own effective approaches to doing this in a variety of educational contexts. After the initial presen- tations, the session will open to further discussion about engaging cultural heritage and tradition in pan pedagogies and in our professional organization. 1:30 P.M. Including Afro-Cuban Percussion Instruments and Rhythms in your steel band Presenter: Joseph Galvin Joe specializes in teaching folkloric and popular Afro-Cuban music as well as steelpan at IU’s Jacobs School of Music, giving him a unique laboratory to combine these two wonderful cultures of music.
    [Show full text]
  • The Brooklyn Panorama Competition: a Historical Account by Joshua Ray
    The Brooklyn Panorama Competition: A Historical Account By Joshua Ray Frans, BM, MM A Document In Percussion Performance Submitted to the Graduate Faculty Of Texas Tech University in Partial Fulfillment of The Requirements for The Degree of DOCTOR OF MUSICAL ARTS Approved Dr. Lisa Rogers Chairperson of the Committee Mr. Alan Shinn Dr. Kevin Wass Mark Sheridan Dean of the Graduate School August 2019 Copyright 2019, Joshua Ray Frans Texas Tech University, Joshua Ray Frans, August 2019 ACKNOWLEDGEMENTS My wholehearted and sincerest gratitude to my advisors, Dr. Lisa Rogers and Mr. Alan Shinn for their guidance and mentorship throughout my time at Texas Tech University. Both of them have been monumental in shaping me into the musician and person that I am today. Thank you to Dr. Kevin Wass for serving on my committee for the past three years and all your help with this document. I would like to thank Kristin Murrell for facilitating initial contact with many of the interviews I was able to garner. Because of your kindness and willingness to help, I was able to speak with many important figures involved with the Brooklyn Panorama. To the individuals who were willing to take the time out of their schedules and speak with me about their personal accounts in the steelband community, I would like to thank Tom Berich, Krisitian Paradis, Kendall Williams, Yohan Popwell, Wayne Bernard, Marc Brooks, Emily Lemmerman, Martin Douglas, and Andrew Martin. I would like to thank Dr. Jesse Willis for forcing me to join the Indiana University Steelpan Program while I was a student there.
    [Show full text]
  • The Development, Music, and Arrangers of Panorama
    REDISCOVERING THE ROOTS OF PAN: A 1950s Steel Band. A retouched steel band postcard, courtesy of Joseph Abdo Sabga’s postcard collection, from A Journey of Memories by J.A. Sabga. Paria Publishing, Cascade, Trinidad: 2000. THE DEVELOPMENT, MUSIC, AND ARRANGERS OF PANORAMA BY DR. KENYON WILLIAMS Sound Enhanced Hear audio recordings of selected musical examples from this article online in the Members Only section of the PAS Website at www.pas.org. PERCUSSIVE NOTES 6 JUNE 2005 ver the past 20 years, the curriculum of the Western an arrangement by rote and have never experienced the thrill percussion university program has undergone an of working with an arranger as a composition comes to life for Oearthshaking evolution. The field of non-Western mu- the very first time. sical studies was defaulted by many administrators in the The insertion of this extra link in the chain—the link of mu- 1970s into the nebulous world of percussion education, where sical notation—has essentially severed the connection be- it was seized upon by a new generation of percussionists. tween pannists in North America and pannists in Trinidad. A Since then, it has become one of the driving forces behind the North American pan rehearsal reflects the values of the cul- growth of our ever-expanding field. ture: organization, efficiency, and a constant emphasis on the Today, many forms of non-Western music are a vital part of individual and his or her relation to the score. In Trinidad, the percussion programs across the nation. African ensembles, lack of notated music causes the focus of a rehearsal to be salsa bands, taiko groups, and even Indonesian gamelans have quite different.
    [Show full text]
  • U·M·I University Microfilms International a Bell & Howell Information Comoany 300 North Zeeb Road
    A historical background of Trinidad and Panorama competitions with an analysis of Ray Holman's 1989 Panorama arrangement of "Life's Too Short". Item Type text; Dissertation-Reproduction (electronic) Authors Remy, Jeannine Irene Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 03:57:36 Link to Item http://hdl.handle.net/10150/185401 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fal.e, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at :he upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Andy Narell by Lauren Vogel Weiss P Hoto
    2017 Hall of Fame Andy Narell By Lauren Vogel Weiss P HOTO BY D IMITRI T OLSTOI From jazz to calypso, steel band, and world music, Andy Narell has made the steel pan his life’s calling. As a performer, composer, and educator, he brings the music of the pan to people all over the world. PERCUSSIVE NOTES 12 NOVEMBER 2017 PERCUSSIVE NOTES 13 NOVEMBER 2017 was very moved,” he says my dad launched a steel band program. In a an entirely classical music competition,” says about receiving the news that short period of time, they had 20 steel bands Narell. “I had already seen the Pan Am North he was being inducted into the rehearsing on two sets of pans. Then they Stars when they performed at Carnegie PAS Hall of Fame. “This is the brought it to other settlement houses and Hall in New York in 1964. The festival was an greatest“I“I honor I’ve been given in my life.” community centers on the Lower East Side. amazing experience, and I consider it a high Although some have called him a child By 1962, he’d organized the first steel band point in the history of steel band music.” prodigy—he performed on The Ed Sullivan festival in America.” This was the same year that the Steel Bandits Show with the Steel Bandits in 1967 at age Andy, who began taking piano lessons at released a self-titled recording on Decca, 12—Narell shuns that description. “I was just the age of six, was introduced to these new which included Andy’s first recorded original the little kid who was being featured in front instruments a year later.
    [Show full text]
  • Art Music by Caribbean Composers: Trinidad and Tobago
    BIBLIOGRAPHY Art Music by Caribbean Composers: Trinidad and Tobago Christine Gangelhoff The College of The Bahamas1 Cathleen LeGrand Royal Thimphu College, Bhutan INTRODUCTION Tobago achieved independence in 1962 and Trinidad and Tobago are the southernmost of became a republic in 1974 (McDaniel, 1998). the Caribbean islands, reaching almost to the Musical traditions derived from the East Indian coast of Venezuela (Dudley, 2005). Trinidad roots of the population include tan singing and was originally colonized by Spain, but Spanish chutney (Manuel, 2008). However, Trinidad “settlement on the island was never extensive” and Tobago is most famous for its indigenous (Brown, 1990, p. 83). In the 18th century, musical traditions, calypso and soca, and, of Trinidad welcomed a large number of settlers course, as the birthplace of its national from the French West Indian colonies. instrument, the steelpan. Steelbands are Trinidad also received a number of refugees widely popular among other Caribbean nations following the French and Haitian Revolutions. as well as in Caribbean-diaspora communities, “These influxes immediately infused the island but the steelpan originates from Trinidad with the morals, customs, and language of the (Dudley, 2013). A wealth of steelpan ‘French Creoles’” (Munro, 2005). The annual competitions exist, including the national carnival is one such cultural tradition derived events “Panorama” and “Pan Is Beautiful”. from the island’s French influence (Munro, Music of all genres, from classical to popular, 2005). are arranged for steelbands and performed at European colonists established plantations, these events (McDaniel, 1998). manned first by African slaves, and later, after The island of Tobago is home to tambrin the abolition, by East Indian indentured (derived from the word “tambourine”), a labourers.
    [Show full text]
  • Wilson Anthony I 2020 Phd.Pdf (8.653Mb)
    PAN, STILL ON THE MOVE: AN EXPLORATORY STUDY OF THE STEELPAN’S UNCHARTED GROWTH AND DEVELOPMENT IN NORTH AMERICA, AND WHAT IMPACT THIS PUTS ON THE PAN MOVEMENT IN ITS PLACE OF ORIGIN, THE CARIBBEAN ANTHONY IRVINE WILSON A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO NOVEMBER 2020 © ANTHONY IRVINE WILSON 2020 ii ABSTRACT This study examines the growth and development of the steelpan in its place of origin, Trinidad and the Caribbean, and its diffusion into North American cities in Canada and the USA. This topic is based on a personal interest in the progressive development of the steelpan including the concerns and the implications for the future of the people, places, and institutions that are affected. Steelpan development, in its simplest form, is very broad when considering the varied aspects of cultural, social, academic, and economic scenarios. This dissertation offers a comparative analysis of the various aspects of steelpan development, based on the information focusing on two specific areas: academic and community development. Certain areas have begun the industrialized manufacturing of the instrument. The study is restricted to some of the major cities in Canada and the USA which have been heavily involved in some aspect of steelpan development. The rationale behind the study is to observe and determine the pros and cons in areas of development and to provide information that may be shared and further assist in steelpan developmental strategies. Findings of the research are determined through the examination of related books on the steelpan culture, government documents, newspaper articles, interviews, participant observation, and my personal direct and continuous involvement with the pan culture for over fifty years.
    [Show full text]
  • Signature Awards for Pan Composers
    Spotlight— Signature awards for pan composers By TERRY JOSEPH HE composers of music specially designed for the Tsteelband were brought into public glare last Monday evening, when the Exodus Steel Orches- tra and The Signature Collection presented them with the 1999 Glitterwood Awards. For the second year running, the awards function, titled Cele- brating the Composers, took place at the Exodus Pan Theatre. Pat Bishop, herself the celebrated musical director of The Lydians and a friend of the steelband, delivered an address at the func- tion. Bishop described the initiative by pan music composers as "an example of great importance for nation- al development". She said that with increas- ing social and economic difficulties, "urgent national need is to look to ourselves, our envi- ronment and our ways to do things, as new • Jf bases for productive - effort. ."And if we pur- ^ sue these paths dili- •i' gently, we shall find ~} the tired and jaded world out there f& relieved to hear the new songs which we,, can offer and morev^\n that, they would be happy to pay us for ^ them. • (K "The steelband VN movement, the devel- "x opment of its drums, its refinements in the r^ design and tuning of \e instruments, the continued experiments with racks and mobili- ^ ty, are all part of our '• way of-doing things-," • she said. "It is only log- \l that music which \s specifically to \ the particular qualities ^ of the steel drum , SJ should also emerge. ^\n other words," ' Bishop said, "Bopgsie ~ Sharpe and Pelham xj^ Goddard have begun a' Ci certain process by ^ j electing to play then- XJ ! own melodies which is^ essentially the only\^l.
    [Show full text]