The Montana Alumnus, July 1932
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George Avakian Interviewer
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. GEORGE AVAKIAN NEA JAZZ MASTER (2010) Interviewee: George Avakian Interviewer: Ann Sneed with recording engineer Julie Burstein Date: September 28, 1993 Repository: Archives Center, National Museum of American History Description: Transcript, 112 pp. Sneed: I’m Ann Sneed. We are in Riverdale. We’re interviewing George Avakian. There’s so many things to say about you, I’m just going to say George Avakian and ask you first, why jazz? Avakian: I think it happened because I was born abroad, and among the things that came into my consciousness as I was growing up was American popular music, and then it drifted in the direction of jazz through popular dance bands, such as the Casa Loma Orchestra, which I heard about through the guys who were hanging around the home of our neighbor at Greenwood Lake, which is where we went in the summers. We had a house on the lake. Our next-door neighbors had two daughters, one of whom was my age and very pretty, Dorothy Caulfield, who incidentally is responsible for Holden Caulfield’s last name, because J. D. Salinger got to know her and was very fond of her, named Holden after her family name. These boys came from the Teaneck area of New Jersey. So it was a short drive to Greenwood Lake on a straight line between New York and New Jersey. They had a dance band, the usual nine pieces: three brass, three saxophones, three rhythm. -
College Departments
2 THE HUNTER COLLEGE ALUl\L\, 1 NE WS Hunter Co Uege today is a n increasingly ENGLISH cO!~lplex structure. There are tw enty·two in· The winner of the Blanche Colton Williams structi onal Departments, as follows : four De· Fellowship last year was Pearl Wiesen, now partments of Langu:lges and Literatures, con· doing graduate work at Hunter. We are offer- stitut!ng the . Humanities Di vision, namely, ing the Helen Gray Cone Fellowship this ClaSSICS, .En ghs?, German, and .Romance Lan- year, an award open to all graduating seniors ?uages . (ll1cludll1g French, Itahan, and Span- or graduates under thirty. Ish ), Wlt~ Hebrew under t~e aegis o~ German, No fewer than four full-length books were and. RussI.an under the aegls-{)f ClassIcs;. seven published in 1956-1957 by members of the Social S.clence l?~partm~nts , namely, HIstory, Department: Vol. IV of Religious Trends in Economics, Pohtlcal SCience, SoclOI?gy and Poetry (Columbia) by Professor Fairchild, Anthropology, Psych.ology and ~hllosophy , Professor Robert Halsband's Life of Lady EducatIOn, and Busll1ess EducatIOn; seven Mary Wortley M ontagu (Oxford), Professor Science Departments, namely, Mathematics, Marshall Stearns' Story of Jazz (Oxford) and Physics and Astronomy, Chemistry, Biological my own Tom Paine: Freedom's A;ostle Scien.ces (in.cludin.g Botany and Zo~logy), (Crowe) . Also noteworthy was the lengthy PhysIOlogy (ll1cludll1g Health and Hygiene as profile of Professor Helaine Newstead in The well as Physiology), Geology and Geography, New Yorker of March 28, 1957_ and Home Economics; and four Departments LEO GURKO, Chairman dealing with special subjects, namely, Art, Music, Speech and Dramatics, and Physical CLASSICS Education. -
Music for the Connoisseur
DB0709_001_COVER.qxd 5/18/09 4:39 PM Page 1 DOWNBEAT 75TH ANNIVERSARY COLLECTOR’S EDITION 75TH ANNIVERSARY DownBeat.com $4.99 07 JULY 2009 JULY 0 09281 01493 5 JULY 2009 U.K. £3.50 DB0709_001b-001c_COVER.qxd 5/14/09 1:43 PM Page a2 DB0709_001b-001c_COVER.qxd 5/14/09 1:41 PM Page a3 DB0709_001_P4_COVER.qxd 5/14/09 1:47 PM Page a4 DB0709_002-005_MAST.qxd 5/14/09 1:50 PM Page 3 DB0709_002-005_MAST.qxd 5/14/09 1:51 PM Page 4 SEVENTY FIFTH ANNIVERSARY July 2009 VOLUME 76 – NUMBER 7 President Kevin Maher Publisher Frank Alkyer Editor Jason Koransky Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 800-554-7470 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Norm Harris, D.D. -
I at the Vanguard of Vinyl: a Cultural History of the Long-‐‑Playing
At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz by Darren Mueller Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Supervisor ___________________________ Paul F. Berliner ___________________________ Mark Anthony Neal ___________________________ Philip Rupprecht ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in The Graduate School of Duke University 2015 i v ABSTRACT At the Vanguard of Vinyl: A Cultural History of the Long-Playing Record in Jazz by Darren Mueller Department of Music Duke University Date:_______________________ Approved: ___________________________ Louise Meintjes, Supervisor ___________________________ Paul F. Berliner ___________________________ Mark Anthony Neal ___________________________ Philip Rupprecht ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in The Graduate School of Duke University 2015 Copyright by Darren Mueller 2015 Abstract At the Vanguard of Vinyl investigates the jazz industry’s adoption of the long-playing record (LP), 1948–1960. The technological advancements of the LP, along with the incipient use of magnetic tape recording, made it feasible to commercially issue recordings running beyond the three-minute restrictions of the 78-rpm record. LPs began to feature extended improvisations, musical mistakes, musicians’ voices, and other moments of informal music making, revolutionizing the standard recording and production methods of the previous recording era. As the visual and sonic modes of representation shifted, so too did jazz’s relationship to white mainstream culture, Western European musical aesthetics, US political structures, and streams of Afro-modernism. -
Jazz Archives in the United States
Michael Fitzgerald. Jazz Archives in the United States. A Master’s paper for the M.S. in L.S. degree. July, 2008. 177 pages. Advisor: Timothy D. Pyatt The jazz archive is a unique hybrid that combines elements of a music library, sound archives, and black studies center, as well as a traditional manuscripts collection. It has been greatly affected by both the evolution of the field of jazz studies as well as recent trends in libraries and archives. This study examines what institutional management perceives as the current challenges facing jazz archives in America and how these are being addressed. Five case studies of significant repositories in the United States (Institute of Jazz Studies at Rutgers University, Hogan Jazz Archive at Tulane University, Chicago Jazz Archive at University of Chicago, Felix E. Grant Jazz Archives at University of the District of Columbia, and Los Angeles Jazz Institute) were based on telephone interviews with the archives directors. Patrons, staff, collection development, institutional affiliation and funding, description and access, preservation, communication and outreach, and inter-institutional cooperation are addressed. Headings: Jazz music—Collections Music archives Recorded sound archives Special collections—Case studies JAZZ ARCHIVES IN THE UNITED STATES by Michael Fitzgerald A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science. Chapel Hill, North Carolina July 2008 Approved by _______________________________________ Timothy D. Pyatt 1 Outline I. Introduction II. Literature Review 1. -
View Was Provided by the National Endowment for the Arts
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. GUNTHER SCHULLER NEA Jazz Master (2008) Interviewee: Gunther Schuller (November 22, 1925 – June 21, 2015) Interviewer: Steve Schwartz with recording engineer Ken Kimery Date: June 29-30, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 87 pp. Schwartz: This is Steve Schwartz from WGBH radio in Boston. We’re at the home of Gunther Schuller on Dudley Road in Newton Centre, Massachusetts, to do an oral history for the Smithsonian Oral History Jazz Program, if that’s the right title. Close enough? Hello Gunther. Schuller: Hello. Good to see you. Schwartz: Thank you for opening your doors to us. We should start at the beginning, or as far back to the beginning as we can go. I’d love to have you talk about your childhood, your growing up in New York, and whatever memories you have – your parents, who they are, who they were – things like that to get us started. Schuller: I was born in New York. Many people think I was born in Germany, with my German name and I speak fluent German, but I was born in New York City. My parents came over from Germany in 1923. They were not married. They didn’t know each other. They just happened to leave more or less the same time, when the inflation in Germany was so crazy that a loaf of bread cost not 40, 400, 4,000, but 4-million marks. -
Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected]
August 2016 VOLUME 83 / NUMBER 8 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Sam Horn 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael -
American Movement: in the Steps of a National Style of Dance by Megan
American Movement: In the Steps of a National Style of Dance by Megan Livingston Pugh A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Bryan Wagner, Chair Greil Marcus Professor Scott Saul Professor Linda Williams Spring 2012 Copyright Megan Livingston Pugh, 2012 Abstract American Movement: In the Steps of a National Style of Dance by Megan Livingston Pugh Doctor of Philosophy in English University of California, Berkeley Professor Bryan Wagner, Chair “American Movement” is an investigation of national identity in dance. “Americanness” may be an impossible conceit, but it’s also a way people have made sense of the nation. It’s a mantle artists claim for themselves, and a quality audiences recognize. I focus on a cast of performers who have been celebrated for embodying an American style of movement, and who were ambitious enough to try to create one: tap dance virtuoso “Bojangles” Bill Robinson, silver screen idols Fred Astaire and Ginger Rogers, and ballet-to-Broadway choreographer Agnes de Mille. What made their claims of Americanness convincing? Sometimes, it was explicit: plots that dealt with national myths, stances these artists and their fans took against Europe, or publicity materials that trumpeted their patriotism. But at other times, a sense of Americanness emerged from their movements. Tracing the hidden histories of particular dance steps and styles across lines of race and class, I show how artists of wildly different cultural milieus have learned from, imitated, admired and parodied one another. -
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Chapter 1 Harlem, Cotton Club Basics, Jazz
Harlem Holiday: The Cotton Club, 1925-1940 Malcolm Womack A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Sarah Bryant-Bertail, Chair Odai Johnson Sonnet Retman Program Authorized to Offer Degree: School of Drama ©Copyright 2013 Malcolm Womack University of Washington Abstract Harlem Holiday: The Cotton Club, 1925-1940 Malcolm Womack Chair of Supervisory Committee: Dr. Sarah Bryant-Bertail School of Drama This study looks at the Cotton Club, the most famous nightclub in American history, and its position in the histories of the American urban landscape and the white imagination. The Cotton Club is remarkably both very well-known and academically unexplored, and this work both begins that exploration and revises the simple binary that positions the club as either a place of segregated racial misery or unencumbered Jazz Age joy. The floorshows at the club from 1925-1940 both reinscribed a white, heteronormative dominance but these performances also made inroads into subverting that dominance. The shows allowed expression from some of the most highly regarded African American performers of the 1920s and 1930s, as well as specialty acts (dancers, comedians, vocalists) and the chorus line of ―copper-colored gals.‖ My dissertation is arranged in a temporally linear fashion, giving a history of the club that has been wholly ignored by academia, and using touristic theory, I investigate how white audiences viewed an evening at the club, a trip to Harlem in the twenties and thirties, and the spectacle of black bodies on stage. Acknowledgements To Barry Witham, who started me on this process.