Manu Katché Playground
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
An Anthropological Perspective on Eastern and Western Folk Music
An Anthropological Perspective on Eastern and Western Folk Music Item Type text; Electronic Thesis Authors Gurczak, Adam Stanley 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 28/09/2021 21:02:58 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/625002 AN ANTHROPOLOGICAL PERSPECTIVE ON EASTERN AND WESTERN FOLK MUSIC By ADAM STANLEY GURCZAK ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors Degree With Honors in Music Performance THE UNIVERSITY OF ARIZONA MAY 2017 Approved by: _________________________ Dr. Philip Alejo Department of Music EASTERN AND WESTERN FOLK MUSIC 1 TABLE OF CONTENTS ABSTRACT 2 ARTIST’S STATEMENT 2 INTRODUCTION 3 ARGENTINE TANGO 4 PRE-TANGO HISTORY: RISE OF THE GAUCHOS 5 A BORDELLO UPBRINGING 5 THE ROOTS AND RHYTHMS OF TANGO 8 A WORLDWIDE SENSATION 9 THE FOREFATHERS OF TANGO 11 CHINESE TRADITIONAL MUSIC 13 THE PHILOSOPHY OF MUSIC 14 INSTRUMENTS OF THE EARTH 16 THE SOUND OF SCHOLARS 18 KOREAN GUGAK 21 GUGAK: A NATIONAL IDENTITY 22 SHAMANS, SINAWI, AND SANJO 24 NOBLE COURTS AND FARMYARDS 28 AMERICAN BLUEGRASS 30 GRASSROOTS, BLUEGRASS, AND BLUES 30 THE POLYNATION OF BLUEGRASS 33 CONCLUSION 36 BIBLIOGRAPHY 37 EASTERN AND WESTERN FOLK MUSIC 2 ABSTRACT The birth of folk music has always depended on the social, political, and cultural conditions of a particular country and its people. -
Discourses of Decay and Purity in a Globalised Jazz World
1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp. -
Aesthetic Space: the Visible and the Invisible in Urban Agency
Aesthetic Space: The Visible and the Invisible in Urban Agency THÈSE NO 6445 (2017) PRÉSENTÉE LE 16 MAI 2017 À LA FACULTÉ DE L'ENVIRONNEMENT NATUREL, ARCHITECTURAL ET CONSTRUIT LABORATOIRE CHÔROS PROGRAMME DOCTORAL EN ARCHITECTURE ET SCIENCES DE LA VILLE ÉCOLE POLYTECHNIQUE FÉDÉRALE DE LAUSANNE POUR L'OBTENTION DU GRADE DE DOCTEUR ÈS SCIENCES PAR Mirza TURSIĆ acceptée sur proposition du jury: Prof. B. Marchand, président du jury Prof. J. Lévy, directeur de thèse Prof. M. Jakob, rapporteur Prof. L. Matthey, rapporteur Dr L. Pattaroni, rapporteur Suisse 2017 Acknowledgements First, I would like to express my deepest gratitude to my advisor Prof. Jacques Lévy for his continuous support, motivation and thoroughness. His incisiveness and intellectual acuity were fundamental throughout the research and writing phases of this thesis. I thank him for teaching me that one should not find their way, but invent it. Additional thanks go to Prof. Bruno Marchand, Prof. Michael Jakob, Prof. Laurent Matthey and Dr. Luca Pattaroni for their participation on my thesis committee. Their feedback and ideas remain an invaluable inspiration for my future scientific activities. My sincere thanks also go to Prof. Ognjenka Finci, Prof. Lemja Chabbouh Akšamija and Prof. Adnan Pašić for their crucial support at the very beginning of my academic odyssee. I recognize that this research would not have been possible without the Swiss government, from which I received a three-year excellence scholarship through the Federal Commission for Scholarships for Foreign Students (FCS). I am particularly grateful to Karin Delavy-Juillerat and Nathalie Miazza for their unfailing support from my very first day at the EPFL. -
The Nineteenth Century Wasteland: the Void in the Works of Byron, Baudelaire, and Melville
The Woman's College of The University of North Carolina LIBRARY COLLEGE COLLECTION cq no. 636 Gift of MARY GATES BRITTAIN BRITTAIN, MARY GATES. The Nineteenth Century Wasteland: The Void In The Works Of Byron, Baudelaire, And Melville. (1969) Directed by: Dr. Arthur W. Dixon. pp. I**1* The theme of the twentieth century "wasteland" began with T. S. Eliot's influential poem, and has reached its present culmination point in the literature of the Absurd. In a wasteland or an Absurd world, man is out of harmony with his universe, with his fellow man, and even with himself. There is Nothingness in the center of the universe, and Noth- ingness in the heart or center of man as well. "God Is Dead" in the wasteland and consequently it is an Iconoclastic world without religion, and without love; a world of aesthetic and spiritual aridity and ster- ility. Most writers, critics, and students of literature are familiar with the concept of the wasteland, but many do not realize that this is not a twentieth century thematic phenomenon. The contemporary wasteland has its parallel in the early and middle nineteenth century with the Romantics; with such writers as Byron, Baudelaire, and Melville. The disillusionment of western man at the end of World War I was similar in many respects to that experienced by the Romantics at the end of the French Revolution. Furthermore, the break-up of the old order, and the disappearance of iod from the cosmos in the closing years of the eighteenth century, along with the shattering of many illusions by the discoveries of science, the loss of both religious and secular values, and the break-down in the political order in the early nineteenth century, left man alienated, isolated, homeless, and friend- less. -
Approaching the Jazz Past: MOPDTK's Blue and Jason Moran's
Journal of Jazz Studies vol. 11, no. 2, pp. 1-28 (2016) Approaching the Jazz Past: MOPDTK’s Blue and Jason Moran’s “In My Mind: Monk at Town Hall, 1959” Tracy McMullen “Polemical traditions seem to valorize the literal” -Henry Louis Gates In October 2014, the jazz group Mostly Other People Do the Killing released their seventh album, Blue, a “painstakingly realized, note-for-note” re- performance of the classic 1959 album by the Miles Davis Sextet, Kind of Blue. Some jazz critics have described this album as “ingenious and preposterous” and “important.”1 Many of my fellow jazz scholars have been intrigued, wondering just how closely these artists come to re-performing the nuances of Miles or Coltrane or Evans. I have been far less impressed or intrigued. MOPDTK’s album is the product of a long Western tradition of understanding the art object, the artist, and history. Far from preposterous, ingenious, or even new, I argue this album is a stark example of comprehending jazz via a Western epistemology that informs “classical music” rather than, as one reviewer argues, a critique of this tendency. Using the 1939 Jorge Luis Borges story the band offers as liner notes as my pivot point, I argue that MOPDTK assumes an epistemology that privileges objectivity and an obsession with naming while suspecting the subjec- tive and what cannot be named. In an obtuse reading of the Borges story, bassist and bandleader Moppa Elliott asserts that we must have a new object in order to re-read the old one. An obsession with naming (that is, locating boundaries) breeds a fascination with difference, which is then found in a predictable place: racial difference. -
ANNONSESTORLEIK OG ANNONSEPRISAR for FOLKEMUSIKK 2017 Storleik Breidd X Høgd – I Millimeter Pris Eks
LAUSSALLAUSSAL KRKR 110110,,-- TIDSSKRIFTTIDSSKRIFT FORFOR FOLKEMUSIKKFOLKEMUSIKK OGOG FOLKEDANSFOLKEDANS NUMMERNUMMER 22 •• 20172016 •• ÅRGANGÅRGANG 7675 UngdomskjeldaTalent Noreg Tema: Landskappleiken og Landsfestivalen i gammaldansmusikk Dans sommaren inn med Tinndølan! 0202 1716 INTERPRESSINTERPRESS 1130-01NOREG PSYKOANALYSE OG FOLKEMUSIKK LANDSKAPPLEIKENS HISTORIE • ZORNMERKET OG SVENSK FOLKEMUSIKK EIN DATASTYRT HARDINGFELEVERKSTAD GAMMALDANSEN ER VERDSMUSIKK • KAPPLEIKSSLÅTTAR KNUT HAMRE: STORSPELEMANN OG KOMMANDØR DANS, REKONSTRUKSJON OG KAPPLEIK • MUSIKK PÅ NORDKALOTTEN AGNES BUEN GARNÅS • VRANG • KJORSTAD-BRØRNE RETURVEKERETURVEKE 1732 VERV ABONNENTAR TIL I SOMMAR -så kan du vinne heilt vanvitige premiar! 1. premie: 5 års abonnement på Folkemusikk + CD-gåvekort kr 5000 2. premie: 2 års abonnement på Folkemusikk + CD-gåvekort kr 5000 3. premie: CD-gåvekort kr 5000 Førstepremien går til den som har verva fest nye abonnentar innan 1. september 2017. Viss det blir delte plasseringar, trekker vi rekkefølgja på vinnarane. Vi har tre gåvekort à kr 5000 hos høvesvis Etnisk Musikklubb, Ta:lik og Grappa. Vinnaren får velje først, dereter nummer to og til slut nummer tre. I tillegg blir det trekt fem gåvekort hos Grappa, kvart på kr 1000, mellom alle dei andre som vervar éin eller feire abonnentar. Namna på vinnarane blir kunngjorde på bladsleppet til Folkemusikk nr. 3/2017, som truleg vil bli halde på Riksscenen i Oslo i veke 36. Vinnarane blir i alle tilfelle annonserte seinast måndag 11. september. For meir detaljerte reglar, sjå folkemusikk.no/vervekonkurranse Kom på sit bladslepp på Folkemusikkveka! Fredag 26. og laurdag 27. mai blir det bladslepp for Folkemusikk under Folkemusikkveka på Ål i Hallingdal. Redaktør Audun Stokke Hole, alias DJ Audinho da Vitrola, speler dansbar folkemusikk og verdsmusikk på Thon Hotel Hallingdal kl. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Creativity in Jazz
Creativity in Jazz Norman Lawrence Meehan A thesis submitted to Massey University and Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy New Zealand School of Music 2014 1 Creativity in Jazz ................................................................................................................ 1 Acknowledgements .......................................................................................................... 7 Part One: Creativity and Jazz ......................................................................................... 8 Introduction ........................................................................................................................ 9 Why are these questions important? .................................................................................. 9 The central idea ....................................................................................................................... 17 Thesis Plan ................................................................................................................................ 19 Chapter One: Creativity, and its importance ......................................................... 24 Why is creativity important? ............................................................................................... 24 Creativity in Music? ................................................................................................................ 27 Defining creativity ................................................................................................................. -
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on. -
Copyright © 2013 Jefferson Forrest Calico All Rights Reserved. The
Copyright © 2013 Jefferson Forrest Calico All rights reserved. The Southern Baptist Theological Seminary has permission to reproduce and disseminate this document in any form by any means for purposes chosen by the Seminary, including, without limitation, preservation or instruction. ÁSATRÚ IN AMERICA: A NEW AMERICAN RELIGION A Dissertation Presented to the Faculty of The Southern Baptist Theological Seminary In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by Jefferson Forrest Calico May 2013 APPROVAL SHEET ÁSATRÚ IN AMERICA: A NEW AMERICAN RELIGION Jefferson Forrest Calico Read and Approved by: __________________________________________ James D. Chancellor (Chair) __________________________________________ Theodore J. Cabal Date______________________________ This work is dedicated to my beautiful wife, Cari, who worked while I read. TABLE OF CONTENTS Page PREFACE . ix Chapter 1. INTRODUCTION . 10 Chapters . 18 2. A BRIEF HISTORY . 21 1970s: The New Awakening . 22 1980s-90s: Race and Schism . 25 2000s: Current Trends . 28 Flourishing of Independent Heathen Life . 29 Current Trends . 30 Story-Telling on the West Coast . 31 Culturally Specific Heathenry on the East Coast . 33 Tribalism in the Mid-West . 35 Conclusion . 38 3. THEORETICAL AND METHODOLOGICAL CONSIDERATIONS . 39 Asatru as a Response to Changing Notions of Race . 44 Globalization and Multiculturalism . 51 Asatru as a Response to Modernity . 55 Researching a New Religious Movement . 60 Conclusion . 65 4. THE WORLDVIEW OF CONTEMPORARY ASATRU . 67 iv Chapter Page What is Reconstruction? . 68 Why Reconstruct? . 78 Heathenry Reconstructed? . 84 Cosmology: The World Tree and the Precariousness of Life . 89 Time: The Presence of the Past . 95 Sacred space . 99 Theology: The Heathen Gods . 104 Anthropology: What is a person? Orlog and Ancestors . -
Notice of Press Event - June 15Th
June 11 – 19, 2010 www.rochesterjazz.com Ninth Edition For Immediate Release June 7, 2010 Notice of Press Event - June 15th Rochester One of Only Three Cities in the World to Preview Copenhagen Jazz Festival Experience WHEN & WHERE Tuesday June 15th 5:00 – 5:30 p.m. at Max of Eastman Place Hospitality Tent, adjacent to the restaurant on Jazz Street WHAT The Xerox Rochester International Jazz Festival is pleased to welcome the Copenhagen Jazz Festival Experience to Rochester. Rochester is one of only three cities in the world – the others being Berlin and London - to be selected to give people a preview of Copenhagen Jazz Festival. Three artists from the Copenhagen Jazz Festival Experience are performing at this year’s Xerox Rochester International Jazz Festival: Palle Mikkelborg at Lutheran Church on June 17, Little Red Suitcase at Xerox Auditorium on June 18, and Ibrahim Electronic at Montage on June 19. With close to a hundred venues and close to a thousand concerts over ten days in July, the Festival transforms the Danish capital into a European jazz capital. Americans can check out the festival when it goes “on tour” in the United States with a selection of the best of the Danish jazz scene. The other cities WHO Kenneth Hansen, artistic director of Copenhagen Jazz Festival RSVP Please RSVP to Jean Dalmath at [email protected] if you plan on attending the press event. Sponsors Xerox, City of Rochester, M&T Bank, Monroe County Executive Maggie Brooks, the Democrat and Chronicle, Eastman School of Music, Rochester Plaza Hotel, Brooklyn Brewery, Michelob, Spaten Beer, Verizon Wireless, The Community Foundation, 13WHAM TV, Rochester General Health System, Visit Rochester, Mercury Print Productions, SUNY Brockport, ADMAR, Presentation Source, AirTran, DownBeat Magazine, Constellation, Max of Eastman Place, House of Guitars, MidTown Athletic Club. -
Jan Garbarek Éÿ³æ¨‚Űˆè¼¯ ĸ²È¡Œ (ĸ“Ⱦ' & Æ—¶É—´È¡¨)
Jan Garbarek 音樂專輯 串行 (专辑 & 时间表) Folk Songs https://zh.listvote.com/lists/music/albums/folk-songs-5464433/songs Witchi-Tai-To https://zh.listvote.com/lists/music/albums/witchi-tai-to-1518441/songs Officium https://zh.listvote.com/lists/music/albums/officium-2437077/songs Afric Pepperbird https://zh.listvote.com/lists/music/albums/afric-pepperbird-1759630/songs Triptykon https://zh.listvote.com/lists/music/albums/triptykon-1760751/songs Visible World https://zh.listvote.com/lists/music/albums/visible-world-3561022/songs Twelve Moons https://zh.listvote.com/lists/music/albums/twelve-moons-3542522/songs Sart https://zh.listvote.com/lists/music/albums/sart-1759671/songs Rites https://zh.listvote.com/lists/music/albums/rites-3433310/songs Rites https://zh.listvote.com/lists/music/albums/rites-3433310/songs Dansere https://zh.listvote.com/lists/music/albums/dansere-3015672/songs I Took Up the Runes https://zh.listvote.com/lists/music/albums/i-took-up-the-runes-3147141/songs Esoteric Circle https://zh.listvote.com/lists/music/albums/esoteric-circle-3058096/songs Dis https://zh.listvote.com/lists/music/albums/dis-3029757/songs Paths, Prints https://zh.listvote.com/lists/music/albums/paths%2C-prints-3368726/songs https://zh.listvote.com/lists/music/albums/legend-of-the-seven-dreams- Legend of the Seven Dreams 3229053/songs Places https://zh.listvote.com/lists/music/albums/places-3390767/songs Photo with Blue Sky, White Cloud, Wires, https://zh.listvote.com/lists/music/albums/photo-with-blue-sky%2C-white-cloud%2C- Windows and