MLA at a Glance MLA Information Comes from the MLA Handbook, 6Th and 7Th Editions, and Purdue’S Online Writing Lab
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St. -
An Evening with the Duke
An Evening with the Duke The University Musical Society presents Duke Ellington and His Orchestra in a Special Benefit Concert SATURDAY EVENING, NOVEMBER 11, 1972, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN Mood Illdigo Mood ltldigo Sophisticatfd Lady Sophisticated Lady Solitllde Solitude I Lei A SOllg Go I Let A Song Go Out of My Hearl Out of My Heart DOIl't Get Around Don't Get Aroulld Milch A Ilymore Much Altymore I Got It Bad I Got It Bad Do N otMltg Til l'au Do Nothing Til You Hear From Me Hear From Me I'm Beginllillg to I'm Begilm ing to See Ihe Ligltt See the Light I'm Just A Lucky The Ann Arbor and University community I'm Just A Lucky So-alld-So welcomes Duke Ellington and his colleagues. So-and-So Just Squeeze Me Just Squeeze Me Satill Doll Their cooperation in making this evening pos Satin Doll Blac k alld Tall sible for the benefit of the University Musical Black ana Tall Fantasy Fantasy Creole Love Call Society is deeply appreciated. Creole Love Call The Mooche The Mooche Rockill' ill Rhythm Rockill' in Rhythm Warm Valley Warm Valley C Jam Bllles C Jam Blues III a Mellotone 111 a Mellotone Happy-Go-Lucky Happy-Go-Lucky Local Special Benefit Committee Local Afro-Bossa Afro-Bossa Black, Browll and Black, Brown alld Beige Sarah G. Power, Chairman Beige The Liberiall Suite Mary S. Palmer, Hazen J. Schumacher, Jr., The Liberian Suite The Perfume Suite The Perfume Suite Deep SOltth Suite Lois U. -
First Page of a Research Paper in MLA Format First Page of a List of Works Cited in MLA Format
First page of a research paper in MLA format First page of a list of works cited in MLA format Double-space ½” ½” 1” Double-space 1” Josephson 1 Josephson 15 Laura N. Josephson Works Cited Professor Bennett Brindle, Reginald Smith. “The Search Outwards: The Orient, Jazz, Archaisms.” The New 1” Humanities 2710 Music: Avant-Garde since 1945. New York: Oxford UP, 1975. 133-45. Print. 1” 8 May 2003 Burnett, James. “Ellington’s Place as a Composer.” Gammond 141-55. Print. Ellington’s Adventures in Music and Geography Duke Ellington. Estate of Mercer K. Ellington. 2002. Web. 3 June 2002. Indent ½” In studying the influence of Latin American, African and Asian music on modern Duke Ellington’s Washington. Public Broadcasting System. 2000. Web. 3 June 2002. American composers, music historians tend to discuss such figures as Aaron Copeland, Ellington, Duke. The Afro-Eurasian Eclipse. 1971. Fantasy. 1991. LP. George Gershwin, Henry Cowell, Alan Hovhaness, and John Cage (Brindle; Griffiths 104-39; ---. Black, Brown and Beige. 1965. RCA Bluebird, 1988. LP. Hitchcock 173-98). They usually overlook Duke Ellington, whom Gunther rightly calls “one ---. The Far East Suite. 1965. RCA, 1995. LP. of America’s great composers” (318), probably because they are familiar only with ---. The Latin American Suite. 1969. Fantasy. 1990. LP. Ellington’s popular pieces, like “Sophisticated Lady,” “Mood Indigo,” and “Solitude.” Still ---. The Liberian Suite. LP. Philips. 1947. LP. little known are the ambitious orchestral suites Ellington composed, several of which, such Indent ½” Gammond, Peter, ed. Duke Ellington: His Life and Music. 1958. New York: Da Capo, 1977. -
Duke Ellington
FROM: AMERICAN BALLET THEATRE 890 Broadway New York, New York 10003 (212) 477-3030 DUKE ELLINGTON Duke Ellington, born April 29, 1899 in Washington, D.C., was an American pianist who was the greatest jazz composer and bandleader of his time. One of the originators of big-band jazz, Ellington led his band for more than half a century, composed thousands of scores and created one of the most distinctive ensemble sounds in all Western music. Ellington grew up in a secure middle-class family in Washington, D.C. His family encouraged his interests in the fine arts, and he began studying piano at age seven. He became engrossed in studying art during his high-school years, and he was awarded, but did not accept, a scholarship to the Pratt Institute, Brooklyn, New York. Inspired by ragtime performers, he began to perform professionally at age 17. Ellington first played in New York City in 1923. Later that year he moved there and, in Broadway nightclubs, led a seXtet that grew in time into a 10-piece ensemble. The singular blues-based melodies; the harsh, vocalized sounds of his trumpeter, Bubber Miley (who used a plunger [“wa-wa”] mute); and the sonorities of the distinctive trombonist Joe (“Tricky Sam”) Nanton (who played muted “growl” sounds) all influenced Ellington’s early “jungle style,” as seen in such masterpieces as “East St. Louis Toodle-oo” (1926) and “Black and Tan Fantasy” (1927). Extended residencies at the Cotton Club in Harlem (1927–32, 1937–38) stimulated Ellington to enlarge his band to 14 musicians and to expand his compositional scope. -
The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More Information
Cambridge University Press 978-0-521-88119-7 - The Cambridge Companion to Duke Ellington Edited by Edward Green Frontmatter More information The Cambridge Companion to Duke Ellington Duke Ellington is widely held to be the greatest jazz composer and one of the most significant cultural icons of the twentieth century. This comprehensive and accessible Companion is the first collection of essays to survey, in-depth, Ellington’s career, music, and place in popular culture. An international cast of authors includes renowned scholars, critics, composers, and jazz musicians. Organized in three parts, the Companion first sets Ellington’s life and work in context, providing new information about his formative years, method of composing, interactions with other musicians, and activities abroad; its second part gives a complete artistic biography of Ellington; and the final section is a series of specific musical studies, including chapters on Ellington and songwriting, the jazz piano, descriptive music, and the blues. Featuring a chronology of the composer’s life and major recordings, this book is essential reading for anyone with an interest in Ellington’s enduring artistic legacy. edward green is a professor at Manhattan School of Music, where since 1984 he has taught jazz, music history, composition, and ethnomusicology. He is also on the faculty of the Aesthetic Realism Foundation, and studied with the renowned philosopher Eli Siegel, the founder of Aesthetic Realism. Dr. Green serves on the editorial boards of The International Review of the Aesthetics and Sociology of Music, Haydn (the journal of the Haydn Society of North America), and Проблемы Музыкальной Науки (Music Scholarship), which is published by a consortium of major Russian conservatories, and is editor of China and the West: The Birth of a New Music (2009). -
Development of Materials for a One Year Course in African Music for the General Undergraduate Student
DOCUMENT RESUME ED 045 042 24 HE 001 879 AUTHOR Butcher, Vada E.; And Others TITLE Development of Materials for a One Year Course in African Music for the General Undergraduate Student. Final Report. INSTITUTION Howard Univ., Washington, D.C. SPONS AGENCY Office of Education (DHEW) , Washington, D.C. Bureau of Research. BUREAU NO PR-6-1779 PUB DATE Sep 70 CONTRACT OEC0-8-061779-2821 NOTE 242p. FDRS PRICE. 7rRs Price MF-$1.00 HC-$12.20 DESCRIPTORS. *African American Studies, *A.Erican Culture, *Curriculum Development, Curriculum Guides, *Higher Education, Instructional Materials; *Music, Music Education, Undergraduate Study IDENTIFIERS *Africa ABSTRACT The major objective of the Project in African Music at Howard University was to develop materials for a course in African music designed for General Education curricula in institutions of higher education. The project was expanded to include the development of materials on African-derived music and to make the materials adaptable for use in secondary schools. The report includes background!of the study, methods of collecting and developing materials, workshops and pilot courses, and results of the educational evaluation report sent to all workshop participants. Appendix A lists the collection of African traditional instruments gathered from Nigeria, Ghana, and Uganda. Appendix B includes materials developed by the project. The workshop program, auestionnaires, questionnaire recipients, and a press release conclude the report. (AF) 1,e e- 77(7 e,9 2_ id FINAL REPORT Project No. 6-1779 Contract No. 0-8-061779-2821 DEVELOPMENT OF MATERIALS FOR A ONE YEAR COURSE IN AFRICAN MUSIC FOR THE GENERAL UNDERGRADUATE STUDENT (PROJECT IN AFRICAN MUSIC) by Veda E. -
Masterpieces by Ellington in Uncut Concert Arrangements
al 995 ms ; PHOTO: JAY MAISEL @® "Columbia", @® Marcas Reg. Printed in U.S.A. COLL MBLA P aia FIDELITY RECORDING duke ellington and ERPIE! his orchestra / mood indigo /sophisticated lady /the tattooed bride / ON solitude — oo pane Cc — Se ar co — co 1] . ee a om. page So panes co cD = co > ms LS JA L wy HK WM STEOCNC MASTERPIECES BY ELLINGTON Mood Indigo © Sophisticated Lady ¢ The Tattooed Bride e Solitude DUKE ELLINGTON-#nd hie Orchestes Exclusive trade mark : -Bxclusive trade mark of Columbia Records of Columbia Records THN Rarely in popular music does a composition earn numbers, broadening their scope as both popular Elmer Snowden’s orchestra, where he met trump- the status of a masterpiece. There is so much that music and as music with recognizable claims to eter Arthur Whetsel, drummer Sonny Greer and is ephemeral, and so much that is worthless, that serious attention. Ellington once listed George saxophonist Otto Hardwick. Next he played with the few lasting and memorable pieces shine like Gershwin, Stravinsky, Debussy and Respighi as Wilbur Sweatman’s band, and sometimes obtained the well-known stars in a singularly naughty his favorite composers, a significant group of outside engagements with a five-piece group < Duke Ellington’s contributions to this small choices to remember in listening to his music. Gersh- known as the Washingtonians, including the galaxy are among the brightest and most secure, win, the inspired melodist, also showed a masterly above-named players, with James Miley as second and four of the finest have been chosen for this preoccupation with intricate rhythms and meters. -
Dvořák & Ellington
Berkeley_Program Covers.pdf 3 9/18/18 6:49 PM SYMPHONIC III DVOŘÁK & ELLINGTON 03.24.19 | 4:00 PM ZELLERBACH HALL ANTONÍN DVOŘÁK Symphony No. 9, "From the New World" SOFIA GUBAIDULINA Concerto for Symphony Orchestra and Jazz Band DUKE ELLINGTON Black, Brown, and Beige Christopher Rountree Guest Conductor Berkeley High Jazz Ensemble and guests 18/19 Berkeley Symphony 18/19 Season 5 Message from the Board President 7 Message from the Executive & Artistic Director 9 Board of Directors & Advisory Council 11 Orchestra 15 Season Sponsors 17 Berkeley Sounds Composer Fellows 21 Tonight’s Program 23 Program Notes 41 Conductor Christopher Rountree 45 Guest Artists 47 About Berkeley Symphony 50 Music in the Schools 55 Berkeley Symphony Legacy Society 57 Annual Membership Support 64 Broadcast Dates 69 Contact 70 Ad Index: Support Businesses That Support Us Media Sponsor SEASON SPONSORS Official Wine Gertrude Allen • Laura & Paul Bennett • Margaret Dorfman • Ann & Gordon Sponsor Getty • Jill Grossman • Kathleen G. Henschel & John Dewes • Edith Jackson & Thomas W. Richardson • Sarah Coade Mandell & Peter Mandell • Rose Ray & Robert Kroll • Tricia Swift • S. Shariq Yosufzai & Brian James • Anonymous Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change. March 24, 2019 3 4 March 24, 2019 Message from the Board President elcome to Berkeley Symphony’s Wthird concert of the 2018/19 season, Symphonic III: Dvorˇák and Ellington. -
A Performer's Guide to Duke Ellington's Wordless Melodies for Soprano
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 Synchrony of the Sublime: A Performer's Guide to Duke Ellington's Wordless Melodies for Soprano Lisa M. Clark University of Kentucky, [email protected] Author ORCID Identifier: http://orcid.org/0000-0003-4737-4467 Digital Object Identifier: https://doi.org/10.13023/ETD.2017.175 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Clark, Lisa M., "Synchrony of the Sublime: A Performer's Guide to Duke Ellington's Wordless Melodies for Soprano" (2017). Theses and Dissertations--Music. 87. https://uknowledge.uky.edu/music_etds/87 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Дўðº Елинð³ñ‚Ñšð½ Ðлбуð¼ ÑÐ
Дюк Елингтън ÐÐ »Ð±ÑƒÐ¼ ÑÐ ¿Ð¸ÑÑ ŠÐº (Ð ´Ð¸ÑÐ ºÐ¾Ð³Ñ€Ð°Ñ„иÑÑ ‚а & график) https://bg.listvote.com/lists/music/albums/duke-ellington-%26-john-coltrane- Duke Ellington & John Coltrane 2473088/songs Such Sweet Thunder https://bg.listvote.com/lists/music/albums/such-sweet-thunder-833545/songs Black, Brown and Beige https://bg.listvote.com/lists/music/albums/black%2C-brown-and-beige-3640656/songs https://bg.listvote.com/lists/music/albums/duke-ellington-meets-coleman-hawkins- Duke Ellington Meets Coleman Hawkins 3716164/songs Dance to the Duke! https://bg.listvote.com/lists/music/albums/dance-to-the-duke%21-5215314/songs https://bg.listvote.com/lists/music/albums/first-time%21-the-count-meets-the-duke- First Time! The Count Meets the Duke 5453893/songs Ellington '55 https://bg.listvote.com/lists/music/albums/ellington-%2755-5365430/songs Liberian Suite https://bg.listvote.com/lists/music/albums/liberian-suite-6541181/songs Masterpieces by Ellington https://bg.listvote.com/lists/music/albums/masterpieces-by-ellington-6785409/songs Ellington '66 https://bg.listvote.com/lists/music/albums/ellington-%2766-5365407/songs It Don't Mean a Thing If It Ain't Got That https://bg.listvote.com/lists/music/albums/it-don%27t-mean-a-thing-if-it-ain%27t-got- Swing that-swing-6091720/songs Blues in Orbit https://bg.listvote.com/lists/music/albums/blues-in-orbit-886050/songs Duke Ellington Presents... https://bg.listvote.com/lists/music/albums/duke-ellington-presents...-5312769/songs The Duke Plays Ellington https://bg.listvote.com/lists/music/albums/the-duke-plays-ellington-7731175/songs Swinging Suites by Edward E. -
View on the Quest for Racial Justice in the United States and Across the African
Pride and Protest in Letters and Song: Jazz Artists and Writers during the Civil Rights Movement, 1955-1965 A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Jack R. Marchbanks May 2018 © 2018 Jack R. Marchbanks. All Rights Reserved. 2 This dissertation titled Pride and Protest in Letters and Song: Jazz Artists and Writers during the Civil Rights Movement, 1955-1965 by JACK R. MARCHBANKS has been approved for the Department of History and the College of Arts and Sciences by Kevin Mattson, PhD Professor of Contemporary History Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT MARCHBANKS JACK R., Ph.D., May 2018, History Pride and Protest in Letters and Song: Jazz Artists and Writers during the Civil Rights Movement, 1955-1965 Director of Dissertation: Kevin Mattson Pride and Protest in Letters and Song is a traditional historical narrative which examines racial justice advocacy, as expressed in artistic works by several preeminent jazz musicians and the writers who allied with them during the pivotal 1955 to 1965 span of the American Civil Rights Movement. The work interrogates milestone confrontations during the civil rights movement, such as the Little Rock Nine Crisis, the African Anticolonial Movement, and the pivotal 1963 direct action campaigns waged by Martin Luther King, Jr. and the SCLC, the NAACP and SNCC. The aim of this method of historical inquiry is to determine why and how these events motivated the profiled musicians and writers to use their gifts to express opinions on the racial tumult of the era. -
Program Notes by MARTIN BOOKSPAN
LIVE FROM LINCOLN CENTER April 7, 1999 8-10 PM on PBS "Uptown Blues; Ellington at 100" New York Philharmonic- Kurt Masur, Conductor Lincoln Center Jazz Orchestra- Wynton Marsalis, Music Director Kelley Nassief, Soprano Program: Grieg "Peer Gynt", Op. 23 Each movement performed in the original version by the New York Philharmonic, and in the Ellington/Strayhorn arrangement by the Lincoln Center Jazz Orchestra: "Morning (prelude to Act IV) "Solveig's Song" (from Acts IV and V) "Ase's Death" (from Act III) "Anitra's Dance" (from Act IV) "In the Hall of the Mountain King" (from Act II) Intermission Ellington, arr. Marsalis "Afro Bossa (Bula)" "Blues in Blueprint" "Happy Go Lucky Local" (from Deep South Suite) "A Tone Parallel to Harlem" Performed by the New York Philharmonic and the Lincoln Center Jazz Orchestra. Program Notes by MARTIN BOOKSPAN The commingling of Jazz and "Classical Music" (for want of a better term) is by now an old story. Strangely, however, the potential of jazz- an archetypal American genre- to become an enlivening element in their musical armament was expolited by European composers of "serious music" long before it was taken up in earnest by Americans. One need only remember Stravinsky's "Ragtime" of 1918 or Milhaud's "La Creation du Monde" of 1923. True, John Alden Carpenter's "Krazy Kat" Ballet music of 1921 was an early jazz-tinged score by an American composer, but it was not until the 1924 premiere of Gershwin's "Rhapsody in Blue" that jazz-influenced music by an American was officially welcomed into the staid confines of American concert halls.