2020 Vol. 1, N 2 Special Issue
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How Democratic Is Jazz?
Accepted Manuscript Version Version of Record Published in Finding Democracy in Music, ed. Robert Adlington and Esteban Buch (New York: Routledge, 2021), 58–79 How Democratic Is Jazz? BENJAMIN GIVAN uring his 2016 election campaign and early months in office, U.S. President Donald J. Trump was occasionally compared to a jazz musician. 1 His Dnotorious tendency to act without forethought reminded some press commentators of the celebrated African American art form’s characteristic spontaneity.2 This was more than a little odd. Trump? Could this corrupt, capricious, megalomaniacal racist really be the Coltrane of contemporary American politics?3 True, the leader of the free world, if no jazz lover himself, fully appreciated music’s enormous global appeal,4 and had even been known in his youth to express his musical opinions in a manner redolent of great jazz musicians such as Charles Mingus and Miles Davis—with his fists. 5 But didn’t his reckless administration I owe many thanks to Robert Adlington, Ben Bierman, and Dana Gooley for their advice, and to the staffs of the National Museum of American History’s Smithsonian Archives Center and the New York Public Library’s Schomburg Center for Research in Black Culture. Copyright © 2020 by Benjamin Givan. 1 David Hajdu, “Trump the Improviser? This Candidate Operates in a Jazz-Like Fashion, But All He Makes is Unexpected Noise,” The Nation, January 21, 2016 (https://www.thenation.com/article/tr ump-the-improviser/ [accessed May 14, 2019]). 2 Lawrence Rosenthal, “Trump: The Roots of Improvisation,” Huffington Post, September 9, 2016 (https://www.huffpost.com/entry/trump-the-roots-of-improv_b_11739016 [accessed May 14, 2019]); Michael D. -
2006 TATTERSALLS JULY MIXED SALE to Be Conducted by Tattersalls on July 16, 2006 at the Meadowlands in East Rutherford, NJ
2006 July Mixed Sale Conducted by The Lexington Trots Breeders Association, LLC at The Meadowlands in East Rutherford, NJ starting at 1:00p.m. Sunday, July 16 Broodmares 1 - 3 2-Year-Olds 5 - 21 3-Year-Olds 23 - 73 4-Year-Olds & Older 75 - 105 Since 1892 Tattersalls - New York Office P.O. Box 2200, Briarcliff Manor, NY 10510 (914) 773-7777 • Fax (914) 773-1633 Website - www.tattersallsredmile.com e-mail - [email protected] Sale Day Only - 201-935-8500 Tattersalls - Kentucky Office P.O. Box 420, Lexington, KY 40588 (859) 422-7253 • (859) 422-SALE Fax (859) 422-7254 Cover photo: Michael Lisa / Lisa Photo Cover illustration: Suzy Hall 1 Change of Address Form Please use this form to send us a change of address so you’ll never miss your Tattersalls Sales Catalog. Information: Name: Bus. Phone (w/Area Code): Home Phone (w/Area Code): Fax Phone (w/Area Code): Cell Phone (w/Area Code): e-Mail Address: Old Address: Address or P.O. Box: City: State or Province: Zip or Postal Code: Country: New Address: Address or P.O. Box: City: State or Province: Zip or Postal Code: Country: Fax this form to our NY office at 914-773-1633 or mail this form to: Tattersalls P.O. Box 420 Lexington, KY 40588 You can fill out our on-line form at www.tattersallsredmile.com/tsalls/changeofaddress.html 2 LAST YEAR WE INTRODUCED 20,000 PEOPLE TO THE SPORT! SUPPORT OUR EFFORTS TO BRING NEW FANS AND OWNERS INTO THE WORLD OF HARNESS RACING! WHO? WHY? TO PROTECT AND ENCOURAGE HARNESS RACING’S SPECIAL MEMORIES AND EXCITING TIMES. -
La Périchole, Jacques Offenbach
LA PÉRICHOLE JACQUES OFFENBACH 24, 27, 29 JANVIER & 1, 3, 5 ,7 FÉVRIER 09 Service des relations avec les publics > [email protected] 0328384050 Dossier réalisé avec la collaboration de Sébastien Bouvier, enseignant missionné à l’Opéra de Lille Décembre 2008 Dossier pédagogique La Périchole Opéra de Lille, décembre 2008 |1 SOMMAIRE Préparer votre venue à l’Opéra 3 LA PÉRICHOLE • Résumé 4 • Jacques Offenbach, biographie 5 • Offenbach et l’opéra bouffe 6 • Guide d’écoute 7 • Vocabulaire 22 • Pistes pédagogiques et développements 23 UNE NOUVELLE PRODUCTION DE LA PÉRICHOLE À L’OPÉRA DE LILLE • Distribution 25 • Notes d’intention 26 • Repères biographiques 28 • Les décors 29 POUR ALLER PLUS LOIN • La Voix à l’opéra 30 • Qui fait quoi à l’opéra ? 31 • L’Opéra de Lille, un lieu, une histoire 32 ANNEXES • Les instruments de l’orchestre • Le livret Dossier pédagogique La Périchole Opéra de Lille, décembre 2008 |2 PRÉPARER VOTRE VENUE Ce dossier vous aidera à préparer votre venue avec les élèves. L’équipe de l’Opéra de Lille est à votre disposition pour toute information complémentaire et pour vous aider dans votre approche pédagogique. Si le temps vous manque , nous vous conseillons, prioritairement, de : - lire la fiche résumé et, si possible, le livret - faire une écoute des extraits représentatifs de l’opéra , signalés par le sigle dans le guide d’écoute.... Recommandations Le spectacle débute à l’heure précise, 20h ou 16h le dimanche. Il est donc impératif d’arriver au moins 30 minutes à l’avance, les portes sont fermées dès le début du spectacle. -
Detective Special Agent = DET. =SA Assistant
Detective = DET. Special Agent =SA Assistant Prosecuting Attorney =APA Unknown Male One= UM1 Unknown Male Two- UM2 Unknown Female= UF Tommy Sotomayor= SOTOMAYOR Ul =Unintelligible DET. Today is Thursday, November 6, 2014 and the time is 12:10 p.m. This is Detective with the St. Louis County Police Department's Bureau of Crimes Against Persons, . I'm here in a conference room, in the Saint Louis County Prosecuting Attorney's Office, with a, Special Agent, Special Agent of the F.B.I., and also present in the room is ... Sir, would you say your name for the recorder please? DET. Okay, and it's is that correct? That's correct. DET. Okay ... and what is your date of birth, ? DET. ...and your home address? DET. And do you work at all? DET. Do not. DET. Okay ... and what is your cell phone? What is my what now? DET. Cell phone? Number? DET. Yes Sir. DET. Okay and, a, did you say an apartment number with that? DET okay. mm hmm. DET. So ... you came down here, a, to the Prosecuting Attorney's Office, because you received a Grand Jury Subpoena, is that correct? That is correct. DET Okay and you received that Grand Jury Subpoena a few days ago? Yes. DET. Okay ... and since then, you had a conversation with a, at least one of the Prosecutors here, explaining to you that they would like you to come down to the office today, is that correct? Yes. DET. Okay, uhh ... having said that, a, I think your attendance at the Grand Jury will be later on this afternoon, or, or in a little bit here. -
The Career of John Jacob Niles: a Study in the Intersection of Elite, Traditional, and Popular Musical Performance
The Kentucky Review Volume 12 Article 2 Number 1 Double Issue of v. 12, no. 1/2 Fall 1993 The aC reer of John Jacob Niles: A Study in the Intersection of Elite, Traditional, and Popular Musical Performance Ron Pen University of Kentucky, [email protected] Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the Music Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Pen, Ron (1993) "The aC reer of John Jacob Niles: A Study in the Intersection of Elite, Traditional, and Popular Musical Performance," The Kentucky Review: Vol. 12 : No. 1 , Article 2. Available at: https://uknowledge.uky.edu/kentucky-review/vol12/iss1/2 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. The Career of John Jacob Niles: a Study in the Intersection of Elite, Traditional, and Popular Musical Performance Ron Pen As a young and naive doctoral student, I approached my folklore professor with a dissertation proposal. Quivering with trepidation, I informed him that I intended to provide an initial biography and works of the composer and balladeer John Jacob Niles. The folklorist cast a bemused glance over his tortoise shell glasses and said: "He was a fraud. You realize, of course, that no folklorist would write his obituary." Years later, with the dissertation nestled securely on the library shelves, I recalled this conversation and attempted to reconcile my understanding of John Jacob Niles's career with the folklorist's accusation. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Kentucky Derby, Flamingo Stakes, Florida Derby, Blue Grass Stakes, Preakness, Queen’S Plate 3RD Belmont Stakes
Northern Dancer 90th May 2, 1964 THE WINNER’S PEDIGREE AND CAREER HIGHLIGHTS Pharos Nearco Nogara Nearctic *Lady Angela Hyperion NORTHERN DANCER Sister Sarah Polynesian Bay Colt Native Dancer Geisha Natalma Almahmoud *Mahmoud Arbitrator YEAR AGE STS. 1ST 2ND 3RD EARNINGS 1963 2 9 7 2 0 $ 90,635 1964 3 9 7 0 2 $490,012 TOTALS 18 14 2 2 $580,647 At 2 Years WON Summer Stakes, Coronation Futurity, Carleton Stakes, Remsen Stakes 2ND Vandal Stakes, Cup and Saucer Stakes At 3 Years WON Kentucky Derby, Flamingo Stakes, Florida Derby, Blue Grass Stakes, Preakness, Queen’s Plate 3RD Belmont Stakes Horse Eq. Wt. PP 1/4 1/2 3/4 MILE STR. FIN. Jockey Owner Odds To $1 Northern Dancer b 126 7 7 2-1/2 6 hd 6 2 1 hd 1 2 1 nk W. Hartack Windfields Farm 3.40 Hill Rise 126 11 6 1-1/2 7 2-1/2 8 hd 4 hd 2 1-1/2 2 3-1/4 W. Shoemaker El Peco Ranch 1.40 The Scoundrel b 126 6 3 1/2 4 hd 3 1 2 1 3 2 3 no M. Ycaza R. C. Ellsworth 6.00 Roman Brother 126 12 9 2 9 1/2 9 2 6 2 4 1/2 4 nk W. Chambers Harbor View Farm 30.60 Quadrangle b 126 2 5 1 5 1-1/2 4 hd 5 1-1/2 5 1 5 3 R. Ussery Rokeby Stables 5.30 Mr. Brick 126 1 2 3 1 1/2 1 1/2 3 1 6 3 6 3/4 I. -
Constructing the Witch in Contemporary American Popular Culture
"SOMETHING WICKED THIS WAY COMES": CONSTRUCTING THE WITCH IN CONTEMPORARY AMERICAN POPULAR CULTURE Catherine Armetta Shufelt A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2007 Committee: Dr. Angela Nelson, Advisor Dr. Andrew M. Schocket Graduate Faculty Representative Dr. Donald McQuarie Dr. Esther Clinton © 2007 Catherine A. Shufelt All Rights Reserved iii ABSTRACT Dr. Angela Nelson, Advisor What is a Witch? Traditional mainstream media images of Witches tell us they are evil “devil worshipping baby killers,” green-skinned hags who fly on brooms, or flaky tree huggers who dance naked in the woods. A variety of mainstream media has worked to support these notions as well as develop new ones. Contemporary American popular culture shows us images of Witches on television shows and in films vanquishing demons, traveling back and forth in time and from one reality to another, speaking with dead relatives, and attending private schools, among other things. None of these mainstream images acknowledge the very real beliefs and traditions of modern Witches and Pagans, or speak to the depth and variety of social, cultural, political, and environmental work being undertaken by Pagan and Wiccan groups and individuals around the world. Utilizing social construction theory, this study examines the “historical process” of the construction of stereotypes surrounding Witches in mainstream American society as well as how groups and individuals who call themselves Pagan and/or Wiccan have utilized the only media technology available to them, the internet, to resist and re- construct these images in order to present more positive images of themselves as well as build community between and among Pagans and nonPagans. -
Sam Phillips: Producing the Sounds of a Changing South Overview
SAM PHILLIPS: PRODUCING THE SOUNDS OF A CHANGING SOUTH OVERVIEW ESSENTIAL QUESTION How did the recordings Sam Phillips produced at Sun Records, including Elvis Presley’s early work, reflect trends of urbanization and integration in the 1950s American South? OVERVIEW As the U.S. recording industry grew in the first half of the 20th century, so too did the roles of those involved in producing recordings. A “producer” became one or more of many things: talent scout, studio owner, record label owner, repertoire selector, sound engineer, arranger, coach and more. Throughout the 1950s, producer Sam Phillips embodied several of these roles, choosing which artists to record at his Memphis studio and often helping select the material they would play. Phillips released some of the recordings on his Sun Records label, and sold other recordings to labels such as Chess in Chicago. Though Memphis was segregated in the 1950s, Phillips’ studio was not. He was enamored with black music and, as he states in Soundbreaking Episode One, wished to work specifically with black musicians. Phillips attributed his attitude, which was progressive for the time, to his parents’ strong feelings about the need for racial equality and the years he spent working alongside African Americans at a North Alabama farm. Phillips quickly established his studio as a hub of Southern African-American Blues, recording and producing albums for artists such as Howlin’ Wolf and B.B. King and releasing what many consider the first ever Rock and Roll single, “Rocket 88” by Jackie Breston and His Delta Cats. But Phillips was aware of the obstacles African-American artists of the 1950’s faced; regardless of his enthusiasm for their music, he knew those recordings would likely never “crossover” and be heard or bought by most white listeners. -
Shadows in the Field Second Edition This Page Intentionally Left Blank Shadows in the Field
Shadows in the Field Second Edition This page intentionally left blank Shadows in the Field New Perspectives for Fieldwork in Ethnomusicology Second Edition Edited by Gregory Barz & Timothy J. Cooley 1 2008 1 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright # 2008 by Oxford University Press Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Shadows in the field : new perspectives for fieldwork in ethnomusicology / edited by Gregory Barz & Timothy J. Cooley. — 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-19-532495-2; 978-0-19-532496-9 (pbk.) 1. Ethnomusicology—Fieldwork. I. Barz, Gregory F., 1960– II. Cooley, Timothy J., 1962– ML3799.S5 2008 780.89—dc22 2008023530 135798642 Printed in the United States of America on acid-free paper bruno nettl Foreword Fieldworker’s Progress Shadows in the Field, in its first edition a varied collection of interesting, insightful essays about fieldwork, has now been significantly expanded and revised, becoming the first comprehensive book about fieldwork in ethnomusicology. -
Wizard of Oz Red 2Bused.Fdx
The Wizard of OZ __________________________ a LINX adaptation RED CAST LINX 141 LINDEN ST. WELLESLEY, MA 01746 (781) 235-3210 [email protected] PROLOGUE [ALL] GLINDA GREETS THE AUDIENCE CURTAIN OPENS. Behind the curtain is GLINDA. She looks at the audience with wonder.] GLINDA_PP What a wonderful audience. So many excited and eager faces. Are we all ready for an adventure? Watch one another’s back now. Things do sneak up on you in Oz. Fortunately, they can be very nice things... (points to back of house) Like that... 1ST SONG - FIREWORK ACT I, SCENE 1 [PP] IN WHICH DOROTHY IS CALLED BEFORE THE WIZARD. CHARACTERS: WIZARD, DOROTHY, SCARECROW, LION, TIN MAN [Head of Wizard hovers before audience. Below, Dorothy, Scarecrow, Lion and Tin Man tremble in terror. Mid-runner curtain is closed behind them. Also onstage is a booth with a hanging curtain. Thick ducts branch out from the booth.] WIZARD I am the great and powerful OZ! Who dares approach me? [Scarecrow, Lion and Tin Man shove Dorothy forward. Dorothy looks back at them.] SCARECROW_PP You got this. LION_PP We’re right behind you. [Dorothy turns toward Wizard. Scarecrow, Lion and Tin Man shuffle backwards. Dorothy turns to them, noticing the increased distance.] TIN MAN_PP Right behind you! 2. WIZARD (to Dorothy) Who are you? DOROTHY_PP My name is Dorothy. Dorothy Gale. WIZARD And where do you come from, “Dorothy Gale”? DOROTHY_PP Kansas. WIZARD Kansas? (long pause) What is Kansas? DOROTHY_PP It’s a place. My home - and I so want to return. A tornado picked up my home, picked up me and my little dog - only, he’s not so little anymore. -
John Cage's Entanglement with the Ideas Of
JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums.