October 2019 Issue
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A Study of Jazz Piano Pedagogy in Malaysia and Taiwan
Graduate School of Music National Taichung University of Education Master’s Thesis Advisor: Professor Jessie H. S. Chen A Study of Jazz Piano Pedagogy in Malaysia and Taiwan Graduate Student: Low Ee Kee May 2014 ACKNOWLEDGEMENTS This research had been a real growth experiences and the resulting study was my greatest achievement and something of which I was very proud of during the two and a half year study life in Taiwan. First of all, I would like to thank Prof. Jessie Chen for her guidance and insight. She had always pointed me into the right direction and my study wouldn’t have been completed without her. Second, I would like to thank my parents for their wonderful upbringing that shaped me into who I am today. To my four lovely siblings and in-laws for being there for me and went through all the hardship with me, being supportive and care. Tanny, thanks for pampering me. Third, I would like to thank my classmate, Double, Winnie, Tzu Yun, Jenny, Rosanne, Lucy and Win for assisting me all along. Knowing them was the happiest moment of my entire study life in Taiwan. To all of the influential music teachers that I have ever had in my life, Cher Siang, Justin, Juan, Alex, Adil for introducing me the joy of playing jazz music. I will never forget the piano jury and the crazy modern band exam. Finally, to PohSoon, thank you. Your love sustained me. I could not have seen this through without you. 摘要 近年來的爵士音樂之地位在學術界中逐漸受到重視,因此對音樂教育者來 說,深入了解爵士音樂教育亦成為一個重要的課題。雖然許多爵士音樂教育家和 音樂家對現今的爵士音樂教育提供了個人的批判和哲學概念的反思,但仍少有人 能針對其爵士音樂不同的教學模式及方法作進一步的探究。 相較於美國,爵士音樂在馬來西亞及臺灣並非主流音樂。而馬來西亞及臺灣 -
Starten Met Jazz
Themalijst Starten met Jazz Inleiding De Openbare Bibliotheek Kortrijk heeft een zeer uitgebreide jazzcollectie een paar duizend cd’s en een paar duizend vinylelpees) waardoor het voor een leek moeilijk is het bos door de bomen te zien. Ik zie voor de leek die iets meer wil weten ver jazzmuziek drie opties: 1. Je komt naar de Bib en grasduint wat in onze fantastische collectie. Grote kans dat je de ‘verkeerde’ cd’s meeneemt en voorgoed de jazz afzweert. Wat jammer zou zijn.. 2. Je neemt enkel verzamel-cd’s mee, bijvoorbeeld de Klara cd’s 3. Ok, dan heb je een staalkaart van het beste wat er ooit verschenen is en wil je misschien nog iets dieper gaan, meer exploreren, meer voelen wat échte jazz is.. Dan lees je 4. De beknopte lijst hieronder die chronologisch in enkele tientallen cd’s je wegwijs maakt in de verschillende subgenres van de jazz. Verwacht geen uitgebreide biografieën of discografieën maar een kort situeren van de belangrijkste stromingen met haar prominentste vertegenwoordigers. Dit is alleen maar een kennismaking, een aanzet. Maar dit document probeert een chronologisch overzicht te geven met de belangrijkste namen per sub genre. Als je van al deze artiesten één cd beluisterd hebt, kan je al wat meepraten voor jazz. Het is belangrijk op te merken dat al die sub genres soms zeer lang blijven en zelfs heropleven. Uiteraard overlappen ze elkaar in de tijd. En weinig muzikanten beperken zich echt tot één stijl. Jazzrecensent Mark Van den Hoof stelt dat na de jaren ‘60 niets nieuws meer gebeurde in de jazz en dat men zich beperkt tot het spelen in de stijlen van de vorige eeuw. -
Bright Moments!
Volume 46 • Issue 6 JUNE 2018 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. On stage at NJPAC performing Rahsaan Roland Kirk’s “Bright Moments” to close the tribute to Dorthaan Kirk on April 28 are (from left) Steve Turre, Mark Gross, musical director Don Braden, Antoinette Montague and Freddy Cole. Photo by Tony Graves. SNEAKING INTO SAN DIEGO BRIGHT MOMENTS! Pianist Donald Vega’s long, sometimes “Dorthaan At 80” Celebrating Newark’s “First harrowing journey from war-torn Nicaragua Lady of Jazz” Dorthaan Kirk with a star-filled gala to a spot in Ron Carter’s Quintet. Schaen concert and tribute at the New Jersey Performing Arts Fox’s interview begins on page 14. Center. Story and Tony Graves’s photos on page 24. New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Jazz Trivia . 4 Prez sez Editor’s Pick/Deadlines/NJJS Info . 6 Change of Address/Support NJJS/ By Cydney Halpin President, NJJS Volunteer/Join NJJs . 43 Crow’s Nest . 44 t is with great delight that I announce Don commitment to jazz, and for keeping the music New/Renewed Members . 45 IBraden has joined the NJJS Board of Directors playing. (Information: www.arborsrecords.com) in an advisory capacity. As well as being a jazz storIes n The April Social at Shanghai Jazz showcased musician of the highest caliber on saxophone and Dorthaan at 80 . cover three generations of musicians, jazz guitar Big Band in the Sky . 8 flute, Don is an award-winning recording artist, virtuosi Gene Bertoncini and Roni Ben-Hur and Memories of Bob Dorough . -
Neuerwerbungen Musik-Cds Zur Ausleihe Juni 2020
NEUERWERBUNGEN MUSIK-CDS ZUR AUSLEIHE JUNI 2020 NEUERWERBUNGEN MUSIK-CDS ZUR AUSLEIHE JUNI 2020 Inhalt Vokalmusik: Gesang für Einzelstimmen .................................................................... 3 Vokalmusik: Chorgesang .......................................................................................... 3 Vokalmusik: Porträts ................................................................................................. 3 Bühnenwerke. Dramatische Musik ............................................................................ 4 Instrumentalmusik: Einzelinstrumente ...................................................................... 4 Instrumentalmusik: Kammermusik ........................................................................... 4 Instrumentalmusik: Werke für Soloinstrumente und Orchester ................................. 5 Instrumentalmusik: Orchesterwerke ......................................................................... 5 Instrumentalmusik: Porträts ...................................................................................... 5 Außereuropäische Volks- und Kunstmusik. Europäische Volksmusik ......................... 6 Jazz ........................................................................................................................... 6 Rockmusik. Popmusik ............................................................................................... 8 Folkmusic. Song. Chanson ...................................................................................... 12 Thematische -
Land of Music Festivals
Following tradition Azerbaijan – land of music festivals Lala HUSEYNOVA PhD in Arts THE LAND OF FIRE… AZERBAIJAN HAS BEEN KNOWN AS SUCH FROM TIME IMMEMORIAL, AND THERE ARE MANY REASONS FOR THAT. BUT WE WILL TALK ABOUT A COMPLETELY DIFFERENT FAME THAT THIS DEVELOPING AND FASCINATING LAND IS GRADUALLY EARNING ITSELF. THE LAND OF MUSIC FESTIVALS – tHIS IS HOW AZERBAIJAn’S CURRENT MUSICAL AND CUL- TURAL REALITIES CAN BE DESCRIBED IF WE WERE TO PARAPHRASE THE WELL-KNOWN PHRASE. least one traditional mu- sic festival is conducted in AtAzerbaijan every season. The participants and guests of the second “Space of Mugham” interna- tional festival, held over the spring holidays of Novruz (the first was held in 2009), are convinced that it was one of the most successful international projects on the traditional music of the East. This has largely been pos- sible thanks to the initiator and main sponsor of the festival, the Heydar Aliyev Foundation led by its President, the Goodwill Ambassador of UNESCO and ISESCO, Mehriban Aliyeva. As was the case during the first festival, the 34 www.irs-az.com Azerbaijan – land of music festivals capital Baku became a venue for a re- The festival was joined by vocalists the energy of life, but also the blos- cord number of music events for the and instrumentalists from Azerbaijan som of art and creative inspiration. eight days (14-21 March) of the festi- and foreign countries, including the The upcoming summer season is val. Art enthusiasts had the opportu- USA, Canada, France, Peru, Ecuador, promising to be no less interesting in nity to see the world’s first Mugham Turkey, Uzbekistan, Iran, Iraq, Egypt, terms of music events. -
Arhai's Balkan Folktronica: Serbian Ethno Music Reimagined for British
Ivana Medić Arhai’s Balkan Folktronica... DOI: 10.2298/MUZ1416105M UDK: 78.031.4 78.071.1:929 Бацковић Ј. Arhai’s Balkan Folktronica: Serbian Ethno Music Reimagined for British Market* Ivana Medić1 Institute of Musicology SASA (Belgrade) Abstract This article focuses on Serbian composer Jovana Backović and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backović moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. Keywords Arhai, Jovana Backović, world music, ethno, Balkan Folktronica Although Serbian composer, singer and multi-instrumentalist Jovana Backović is only 34 years old, the band Arhai can already be considered her lifetime project. The Greek word ‘Arhai’ meaning ‘beginning’ or ‘ancient’ it is aptly chosen to summarise Backović’s artistic mission: rethinking tradition in contemporary context. Нer interest in traditional music was sparked by her father, himself a professional musician and performer of both traditional and popular folk music (Medić 2013). Backović founded Arhai in Belgrade in 1998, while still a pupil at music school Slavenski, and continued to perform with the band while receiving instruction in classical composition and orchestration at the Belgrade Faculty of Music. In its first, Belgrade ‘incarnation’, Arhai was a ten-piece band that developed a fusion of traditional music from the Balkans with am bient sounds and jazz-influenced improvisation, using both acoustic and electric instruments and a quartet of fe male vocalists. -
Table of Contents
1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas. -
L'ethno-Jazz: Considerazioni Sulla Contaminazione Artistica
1 L’Ethno-Jazz: considerazioni sulla contaminazione artistica di Emanuele Raganato Uno dei temi di questa nuova edizione di “Veglie in Jazz” (dal 27 al 29 Giugno 2008) è la contaminazione tra i generi musicali. Non è un caso che, per inaugurare la nuova stagione della manifestazione che ormai è giunta con grande soddisfazione alla terza edizione, sia stato scelto il gruppo musicale che, attualmente, meglio rappresenta, in questo senso, la scena musicale salentina ed il tema della contaminazione: la Banda Adriatica (l’intervista dedicata è stata pubblicata sul numero scorso di Musicaround.net). Parliamo di questa band come una delle migliori esponenti locali di un genere che è venuto alla ribalta, in Italia, solo in questi ultimi anni. Non che prima non vi fosse nulla di analogo, ma possiamo unanimemente concordare come il poderoso revival del folk locale, grazie al mega-evento che fino a qualche anno fa era la Notte della Taranta a Melpignano (Le), sia stato un incentivo fondamentale per questa tendenza. In Italia il cosiddetto Ethno-Jazz è arrivato effettivamente tardi e non si tratta, in definitiva, che di una necessaria classificazione che il mercato discografico ha dovuto operare per incasellare i propri artisti nell’apposito scaffale dei cd da vendere. Sebbene l’operazione possa sembrare, a prima vista, mera speculazione (sia intellettuale sia economica) discernendo attentamente tra le considerazioni qui proposte, sono sicuro che si possa arrivare a definire come alcune operazioni che si sostanziano per necessità economiche, assumano nel tempo, una valenza fortemente sociale. Ma cos’è questo Ethno-Jazz e che significa contaminazione musicale oggi, in un mondo dove disastri d’ogni genere non fanno che caricare di significati negativi queste parole che di per sé non ne avrebbero? Possiamo considerare l’Ethno Jazz come una branca della musica etnica che viene contaminate dal jazz (o viceversa), come qualcosa di affine alla World Music1 o come il suo derivato più vicino. -
JAZZ EDUCATION in ISRAEL by LEE CAPLAN a Thesis Submitted to The
JAZZ EDUCATION IN ISRAEL by LEE CAPLAN A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research written under the direction of Dr. Henry Martin and approved by ___________________________________ ___________________________________ Newark, New Jersey May,2017 ©2017 Lee Caplan ALL RIGHTS RESERVED ABSTRACT OF THE THESIS JAZZ EDUCATION IN ISRAEL By LEE CAPLAN Thesis Director Dr. Henry Martin Jazz Education in Israel is indebted to three key figures – Zvi Keren, Arnie Lawrence, and Mel Keller. This thesis explores how Jazz developed in Israel and the role education played. Jazz Education in Israel discusses the origin of educational programs such as the Rimon School of Jazz and Contemporary Music (1985) and the New School Jazz Program (1986). One question that was imperative to this study was attempting to discover exactly how Jazz became a cultural import and export within Israel. Through interviews included in this thesis, this study uncovers just that. The interviews include figures such as Tal Ronen, Dr. Arnon Palty, Dr. Alona Sagee, and Keren Yair Dagan. As technology gets more advanced and the world gets smaller, Jazz finds itself playing a larger role in humanity as a whole. iii Preface The idea for this thesis came to me when I was traveling abroad during the summer of 2015. I was enjoying sightseeing throughout the streets of Ben Yehuda Jerusalem contemplating topics when all of a sudden I came across a jam session. I went over to listen to the music and was extremely surprised to find musicians from all parts of Europe coming together in a small Jazz venue in Israel playing bebop standards at break-neck speeds. -
Recordings by Women Table of Contents
'• ••':.•.• %*__*& -• '*r-f ":# fc** Si* o. •_ V -;r>"".y:'>^. f/i Anniversary Editi Recordings By Women table of contents Ordering Information 2 Reggae * Calypso 44 Order Blank 3 Rock 45 About Ladyslipper 4 Punk * NewWave 47 Musical Month Club 5 Soul * R&B * Rap * Dance 49 Donor Discount Club 5 Gospel 50 Gift Order Blank 6 Country 50 Gift Certificates 6 Folk * Traditional 52 Free Gifts 7 Blues 58 Be A Slipper Supporter 7 Jazz ; 60 Ladyslipper Especially Recommends 8 Classical 62 Women's Spirituality * New Age 9 Spoken 64 Recovery 22 Children's 65 Women's Music * Feminist Music 23 "Mehn's Music". 70 Comedy 35 Videos 71 Holiday 35 Kids'Videos 75 International: African 37 Songbooks, Books, Posters 76 Arabic * Middle Eastern 38 Calendars, Cards, T-shirts, Grab-bag 77 Asian 39 Jewelry 78 European 40 Ladyslipper Mailing List 79 Latin American 40 Ladyslipper's Top 40 79 Native American 42 Resources 80 Jewish 43 Readers' Comments 86 Artist Index 86 MAIL: Ladyslipper, PO Box 3124-R, Durham, NC 27715 ORDERS: 800-634-6044 M-F 9-6 INQUIRIES: 919-683-1570 M-F 9-6 ordering information FAX: 919-682-5601 Anytime! PAYMENT: Orders can be prepaid or charged (we BACK ORDERS AND ALTERNATIVES: If we are tem CATALOG EXPIRATION AND PRICES: We will honor don't bill or ship C.O.D. except to stores, libraries and porarily out of stock on a title, we will automatically prices in this catalog (except in cases of dramatic schools). Make check or money order payable to back-order it unless you include alternatives (should increase) until September. -
Instructions for Authors
Journal of Science and Arts Supplement at No. 2(13), pp. 131-140, 2010 TONAL AND RHYTHMIC STUDIES IN THE INTERNATIONAL JAZZ CULTURE CONSTANTIN RIPA “Gh. Dima” Academy of Music, Musicology Department, 400079, Cluj-Napoca, Romania Abstract. Jazz musicology mostly dealt with the history of its evolution, forgetting the musical process which generated it. Born by the interference of the folkloric African- American modal with the cultured Western tonal and rhythmic system, the jazz process developed empirically and amateurish at first. Then it became professional by musically training composers and performers in higher education, jazz reaching thus nowadays high standards, comparable with those of the contemporary, cultured music. Keywords: Jazz, tonal, rhythm 1. INTRODUCTION Jazz music was shaped in a process that has been going on for about a century, in the course of which the music of the African American community, oligochordal and pentatonic in nature and having a supple and diverse rhythm, suffered the “aggression” of Western European tonal-functional music. The phenomenon started at the end of the 19th century, when African Americans started to play European instruments (i.e. the trumpet, trombone, tuba, clarinet, guitar, banjo, piano) and also assumed the European repertoire (military marches, quadrilles, polkas, and so on) and the tonal-functional harmony. Formed in this fashion, the orchestras (marching- bands) would play this repertoire at various folk events [1]. Certainly, the African Americans’ playing technique, which was acquired in an amateurish fashion, as well timbre and rhythm, “leaned” slightly towards the spirit of African music. The merging of African music (work songs, Negro spirituals, blues) with the tonal- functional music and harmony took place in the first third of the 20th century (1890-1930) in the styles ragtime, New Orleans, Dixieland, and Chicago. -
An Old Story
Mugham Jazz About a half dozen articles on jazz, delivered to each floor of the fourteen-story home of the official Soviet Azerbaijani press, all went directly to the waste basket – not read. In the early eighties, now viewed as the final years of the cold war and the beginning of the thawing of the socialist regime, censorship on two levels, official and self-asserted, continued to render jazz as an ambivalent and thus avoidable subject. During the same months that my other articles on music, theater, and the arts were published in various papers and journals, my attempts to offer or promote anything written on jazz met with friendly dismissal or cautious advice. Until one day the editor of the sports section of the major komsomol (Young Communist League) paper Youth of Azerbaijan, himself a jazz fan, proposed a scheme. Substituting for the main editor during a two-day business trip, my fellow conspirator was in charge of daily issues. Upon his call, I left with the secretary, who knew me, a jazz article with, according to our plan, an attached note –“Solicited by the editor – urgent”– the ambiguity of the message simultaneously explaining and excusing the inclusion of the article in that day’s issue. Running to the newsstand the following morning and finding a three-column article in the fresh-smelling newspaper, I, a twenty- five-year-old classically trained pianist and, as a hobby, a free-lance cultural observer, returned home to read simultaneously from several copies, indulging myself with Turkish coffee. Within a few minutes, the phone rang and an official voice stated that in an hour I was expected at the office of the Secretary of the Azerbaijan Young Communist League.