DOCSLIB.ORG

Open Dissertation Holt Format Final

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Open Dissertation Holt Format Final The Pennsylvania State University The Graduate School School of Visual Arts USER EXPERIENCE WITH ARCHIVES AND FEMINIST TEACHING CONVERSATIONS WITH THE JUDY CHICAGO ART EDUCATION COLLECTION A Dissertation in Art Education by Ann E. Holt © 2015 Ann E. Holt Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2015 The dissertation of Ann E. Holt was reviewed and approved* by the following: Karen Keifer-Boyd Professor of Art Education and Women’s, Gender and Sexuality Studies Dissertation Co-Advisor Dissertation Co-Chair Patricia Amburgy Associate Professor Emerita of Art Education Dissertation Co-Advisor Dissertation Co-Chair Wanda B. Knight Associate Professor of Art Education and Women’s, Gender and Sexuality Studies Grace Hampton Professor Emerita of Art, Art Education, and Integrative Arts Michelle Rodino-Colocino Associate Professor of Media Studies and Women’s, Gender and Sexuality Studies Jacqueline Esposito Professor, University Archivist and Head of Records Management Services Special Member Graeme Sullivan Department Head Professor of Art Education, Director of the School of Visual Arts *Signatures are on file in the Graduate School ii ABSTRACT This is a case study of three university professors’ archival experience with the Judy Chicago Art Education Collection through their participation in feminist Teaching Conversations. The Judy Chicago Art Education Collection is a living archive of materials on feminist art pedagogy. Teaching Conversations is a feminist orientation to archives that is ongoing and involves participatory engagement and transdisciplinary dialogue to support teaching and using the collection for creating living curricula. The professors are situated in different disciplines and, differ in their teaching and research foci. Using theories of archival experience (Ellsworth, 2005; Latham, 2007; 2011), I analyze conversational interviews for the purpose of understanding archival user experiences of feminist Teaching Conversations with the Judy Chicago Art Education Collection. From conversations with the participants in this study, I present insights on dialogic, feminist, archival orientations that enhance access to archives for teaching and learning. My study reveals the use and engagement with archives as a social practice, where outreach, both on a personal and public level is vital to creating and sustaining a living archive. Through the exploration of three individual journeys with the Judy Chicago Art Education Collection, the study reveals the impact of the invitation to an archive as a sustaining and transformative force for teaching, learning, and community around collections. The participants’ accounts reflect the complexities in the way information, ideas, and ways of approaching a subject in archives can be put into practice. As the three iii participants engage and meaningfully learn about the Judy Chicago Art Education Collection in different ways, they prove that there are many ways of being in archives and many ways of using and engaging with archives. In the case of one participant (Ginny), her attraction to the Judy Chicago Art Education Collection and the feminist Teaching Conversations project is for the purposes of finding a community for feminist dialogue about teaching and intersecting disciplines to see new possibilities in teaching and in promoting social change. Her archival process is a social process as she learns about and engages with the collection through dialogue with her faculty peers and through her students. She contributes to the living archive by setting up the opportunity for students to be teachers with the materials. Another participant (Margo) comes to the collection looking for opportunities for scholarly activity with others, and to explore what feminist pedagogy is in practice. In Teaching Conversations, she seeks answers to the question of how best to apply the collection to her own practice and has difficulty finding direction. However, when she turns this process around and meaningfully applies herself to the collection from the standpoint of her own personal interests, she comes to a deep appreciation of the Judy Chicago Art Education Collection and Chicago’s feminist work. Through combined social and personal archival processes, she finds her own contribution to the living archive and the added bonus of a potential opportunity to create work with another colleague outside her discipline. The third participant (Rebecca), is a story of transformation through feminist Teaching Conversations, where she slowly finds a sense of empowerment as a teacher and renewed vision for her work. Through her experience of working on her own, to then sharing curriculum, and dialoguing with other teachers ivi also interested in the collection, she discovers her own potential—that her work is a valuable contribution to teaching the Judy Chicago Art Education Collection, and a valuable contribution to the teaching profession that even transcends her own discipline. Overall, this study broadens understanding about using art education archival records for transdisciplinary purposes and demonstrates the value of art education archives. It also contributes to current archival scholarship that seeks to expand on notions of art education archival materials as forms of information and things to experience (Latham, 2007; 2011), and archives as spaces for experiential pedagogy (Ellsworth, 2005), feminist scholarship, and activism (Eichorn, 2010; 2013). Based on the participants’ individual perspectives of the living archive, I suggest emerging qualities of a feminist archival orientation and a feminist archival sensibility. A feminist archival orientation involves flexible, iterative, dialogic, comprehensive, user-centered, and inviting methods, and frames the archive as living, participatory, and transdisciplinary. Feminist archival sensibilities conceptualize the archive as social, inclusive, democratic, and living. ii v TABLE OF CONTENTS LIST OF FIGURES xi ACKNOWLEDGEMENTS xii Chapter One: Archival Experience Case Study Introduction 1 Statement of the Problem 2 Significance of the Study 4 Structure of the Dissertation 6 Chapter Two: The Conceptual and Historical Framework for this Study 9 Research Question: Experiencing the Judy Chicago Art Education and Teaching Conversations 9 Theoretical Frame 10 Archives and Pedagogy: The Experience of the Learning Self 11 What are Archives? 14 Contemporary Perspectives on Archives 15 Relevance to Art Education: Understanding Archival Experiences 18 Informing the Field of Art Education: The Use of Art-Related Archives 21 Feminist Perspectives on Archives 23 Feminist Archives as Social Sites for Activism and Pedagogy 25 Feminist Archives as Living Archival Practice 27 Chapter Three: Judy Chicago and the Judy Chicago Art Education Collection 30 vi Background Context 31 Judy Chicago: a Biographical Summary 32 Contents of the Judy Chicago Art Education Collection 36 The Judy Chicago Art Education Collection: A Feminist Living Archive 41 What does it Mean for an Archive to Live? 43 Enhanced Curation: Capturing Living Processes 43 The Judy Chicago Art Education Collection: A Living Curriculum 47 Feminist Teaching Conversations 48 Feminist Teaching Conversations: Towards a Transdisciplinary Practice 49 Chapter Four: Methodology 53 Qualitative Research 53 Role of the Researcher: Mixed Methods 55 Strategy of Inquiry 55 Research Site 57 Identifying Study Participants: Rebecca, Ginny, and Margo 58 Ethical Standards 60 Data Collection 61 Managing the Data 63 Methodological Issues Encountered in the Study 65 The Research Process: Personal Perspectives 66 Expanding my own Perspectives on Using Archives 69 Flexibility in Methodology 71 Conversation as Method 72 vii Data Analysis 73 Specific Methodological Applications in this Study: Coding and Mapping 74 Coding 74 Mapping 79 Chapter Five: Findings 84 Conversations with Participants 84 Rebecca 85 Ginny 89 Margo 91 Participant Conversations: What the Content Map Revealed 93 Participant Conversations: What the Coding Revealed 95 Themes within Dialogue: Archives, Teaching and Social 96 Chapter Six: Dialogue about Archives 97 Situating the Self within an Archive 97 Engaging with Archives 98 Engaging with the Judy Chicago Art Education Collection 102 Processes of Understanding an Archive through Feminist Teaching Conversations 103 An Archive as a Living Curriculum 106 Chapter Seven: Dialogue about Teaching 109 Self as Teacher 110 Archives in the Classroom 112 viii Archives as Feminist Pedagogy 116 Breaking Boundaries in Creating Spaces for Pedagogy 119 Feminist Teaching Conversations Transforming Teaching 124 Chapter Eight: Dialogue about Social Interaction 126 Feminist Teaching Conversations as an Invitation to the Archive 126 Feminist Teaching Conversations: Community and Dialogue in the Archive 127 Feminist Teaching Conversations: As a Site for Feminist Pedagogy 129 Feminist Teaching Conversations and Archival Experience 131 Meaningful Inquiry as a Way of Being in the Archive through Feminist Teaching Conversations 134 Dialogue as a Way of Using the Archive through Feminist Teaching Conversations 135 Speculation as a Way of Using the Archive through Feminist Teaching Conversations 137 Feminist Teaching Conversations Transforming the Archive 140 Living Curriculum through Feminist Teaching Conversations 142 Chapter Nine: Conclusions and Implications for Art Education and Archives for Feminist Teaching Conversations with the Judy Chicago Art Education 144 Dialogue
Load more

Recommended publications
  • Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings.
    [Show full text]
  • WDR 3 Jazz & World, 14. Feb. 2017
    WDR 3 Jazz & World, 14. Feb. 2017 Stratusphunk – Der Komponist und Pianist George Russell 22:04-24:00 E-Mail: [email protected] WDR JazzRadio: http://www.wdr.de/radio/jazz Moderation: Hans-Jürgen Schaal Redaktion: Bernd Hoffmann Laufplan 1. Stratusphunk K: Russell 6:07 GEORGE RUSSELL SEXTET Riverside 00422 8824173; LC: 10651 CD: Stratusphunk + The Stratus Seekers 2. War Gewesen K: Baker 6:19 GEORGE RUSSELL SEXTET Jazz Collectors JC 422; LC: 23809 CD: In K.C. 3. Cubano Be K: Russell-Gillespie-Pozo 2:39 DIZZY GILLESPIE ORCHESTRA RCA Bluebird ND 82177; LC: 00316 CD: V.A.: The Bebop Revolution 4. A Bird In Igor’s Yard K: Russell 4:18 BUDDY DeFRANCO ORCHESTRA Musica Jazz MJCD 1167; LC: ?? CD: George Russell: Jazz-thetic 5. Ezz-Thetic K: Russell 2:51 LEE KONITZ SEXTET Prestige 0025218172622; LC: 15025 CD: Davis, Getz, Konitz a.o.: Conception 6. Odjenar K: Russell 2:51 LEE KONITZ SEXTET wie Titel 5 7. Jack’s Blues K: Russell 3:44 GEORGE RUSSELL SMALLTET RCA ND 86467; LC: 00316 CD: Jazz Workshop 8. Ye Hypocrite, Ye Beelzebub K: Russell 3:49 GEORGE RUSSELL SMALTET wie Titel 7 9. All About Rosie K/T: Russell 10:41 GEORGE RUSSELL ORCHESTRA Columbia CK 64929; LC: 00162 CD: The Birth Of The Stream 10. Waltz From Outer Space K/T: Russell 6:59 GEORGE RUSSELL ORCHESTRA GRP 18262; LC: 06713 CD: Jazz In The Space Age Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 1 WDR 3 Jazz & World, 14.
    [Show full text]
  • 25 Years of the London Jazz Festival
    MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay Published in Great Britain in 2017 by University of East Anglia, Norwich NR4 7TJ, UK as part of the Impact of Festivals project, funded by the Arts and Humanities Research Council, under the Connected Communities programme. impactoffestivals.wordpress.com ACKNOWLEDGEMENTS This book is an output of the Arts and Humanities Research Council collaborative project The Impact of Festivals (2015-16), funded under the Connected Communities Programme. The authors are grateful for the research council’s support. At the University of East Anglia, thanks to project administrators CONTENTS Rachel Daniel and Jess Knights, for organising events, picture 1 FOREWORD 50 CHAPTER 4. research, travel and liaison, and really just making it all happen JOHN CUMMING OBE, THE BBC YEARS: smoothly. Thanks to Rhythm Changes and CHIME European jazz DIRECTOR, EFG LONDON 2001-2012 research project teams for, once again, keeping it real. JAZZ FESTIVAL 50 2001: BBC RADIO 3 Some of the ideas were discussed at jazz and improvised music 3 INTRODUCTION 54 2002-2003: THE MUSIC OF TOMORROW festivals and conferences in London, Birmingham, Cheltenham, 6 CHAPTER 1. 59 2004-2007: THE Edinburgh, San Sebastian, Europe Jazz Network Wroclaw and THE EARLY YEARS OF JAZZ FESTIVAL GROWS Ljubljana, and Amsterdam. Some of the ideas and interview AND FESTIVAL IN LONDON 63 2008-2011: PAST, material have been published in the proceedings of the first 7 ANTI-JAZZ PRESENT, FUTURE Continental Drifts conference, Edinburgh, July 2016, in a paper 8 EARLY JAZZ FESTIVALS 69 2012: FROM FEAST called ‘The role of the festival producer in the development of jazz (CULTURAL OLYMPIAD) in Europe’ by Emma Webster.
    [Show full text]
  • A Room of One's Own, Revisited: an Existential-Hermeneutic Study of Female Solitude (Doctoral Dissertation, Duquesne University)
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 2013 A room of one's own, revisited: An existential- hermeneutic study of female solitude Karin Arndt Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Arndt, K. (2013). A room of one's own, revisited: An existential-hermeneutic study of female solitude (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/287 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. A ROOM OF ONE’S OWN, REVISITED: AN EXISTENTIAL-HERMENEUTIC STUDY OF FEMALE SOLITUDE A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Karin Leah Arndt December 2013 Copyright by Karin Leah Arndt 2013 A ROOM OF ONE’S OWN, REVISITED: AN EXISTENTIAL-HERMENEUTIC STUDY OF FEMALE SOLITUDE By Karin Leah Arndt Approved November 8, 2013 ________________________________ ________________________________ Eva Simms, Ph.D. Will Adams, Ph.D. Professor of Psychology Associate Professor of Psychology (Committee Chair) (Committee Member) ________________________________ ________________________________ Anthony Barton, Ph.D. Leswin Laubscher, Ph.D. Professor of Psychology Chair, Psychology Department (Committee Member) Associate Professor of Psychology ________________________________ James C. Swindal, Ph.D. Dean, McAnulty College and Graduate School of Liberal Arts iii ABSTRACT A ROOM OF ONE’S OWN, REVISITED: AN EXISTENTIAL-HERMENEUTIC STUDY OF FEMALE SOLITUDE By Karin Leah Arndt December 2013 Dissertation supervised by Eva Simms, Ph.D.
    [Show full text]
  • 267 X. George Russell Although Gunther Schuller Was Also One of George Russell's Greatest Fans and Boosters, and in Fact Was I
    X. George Russell Although Gunther Schuller was also one of George Russell’s greatest fans and boosters, and in fact was instrumental in finally getting him a job teaching the Lydian Chromatic Concept, he and millions of other writers and critics have somehow missed the fact that Russell was one of America’s greatest composers and, in fact, one of the most important in the fusion of jazz and classical music. Perhaps this is because he, like so many artists who worked in jazz, was largely self-taught, although in the early 1950s he studied briefly with Stefan Wolpe at the recommenda- tion of Miles Davis. Perhaps it is because he was something of a loner, considered by some a “difficult” personality; or perhaps it is because, as we shall see in this chapter, Russell had by far the widest range of compositional styles and not all of them appealed to listeners who wanted jazz to be fun or enjoyable. I will say at the outset that I myself am not convinced by everything he wrote. I don’t respond particularly well to his most abstract works, nor to most of those using funk or rock as their basis (like the Electronic Sonata for Souls Loved by Nature), but even within the range of those works I do like—and there are many—I also admit that Russell’s mu- sic, like that of Schoenberg, Webern and Wolpe, sometimes tended to be cerebral and not always appealing from an emotional standpoint. That being said, as a composer and as a musical theorist I believe he deserves to be recognized not just nationally but internationally as one of the most important musical thinkers of all time, regardless of genre.
    [Show full text]
  • Brazil Comes to the Future: Living Time and Space in the International Order of Competition
    Brazil Comes to the Future: Living Time and Space in the International Order of Competition Francine Rossone de Paula Dissertation submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In Social, Political, Ethical, and Cultural Thought François Debrix, Chair Aaron Ansell Patricia M. Nickel Timothy W. Luke May 3, 2016 Blacksburg, VA Keywords: Brazil, Emerging Powers, International Relations, Time, Space, Future, Progress Brazil Comes to the Future: Living Time and Space in the International Order of Competition Francine Rossone de Paula ABSTRACT The rise of Brazil as an economic power in the last decade has been celebrated by politicians and analysts as an opportunity for the country to take advantage of its visibility and bargaining power in order to effectively advocate for and promote an institutional and normative reform of the international order toward a less asymmetric and exclusionary space for politics. This dissertation aims to examine the spatial and temporal assumptions in these recent discourses about Brazil’s emergence to the global stage and Brazil’s disposition towards the future. Departing from an understanding that there are scripts governing the realm of the possible and the visible in international politics, this dissertation proposes an analysis of what defines the conditions of possibility for Brazil’s emergence to the global stage. By looking at discourses about Brazil’s position and positioning in international politics, this study explores implicit and explicit rules defining the possibilities for one to be seen as a ‘legitimate presence in the future’ and what these spatiotemporal constructs reveal about what is allowed as repetition and as change in the world.
    [Show full text]
  • Howard Johnson September 18, 2019 • Merkin Hall, Nyc
    A TRIBUTE TO HOWARD JOHNSON SEPTEMBER 18, 2019 • MERKIN HALL, NYC A TRIBUTE TO HOWARD JOHNSON 1 SEPTEMBER 18, 2019 • MERKIN HALL 1 Letter from the Executive Director Dear ISO Community: I would like to thank everyone who has come together to support the InterSchool Orchestra of New York for the Tribute to Howard Johnson. I would especially like to thank the Board of Trustees and the ISO Event Committee: Frederick L. Barnfield, Terence Coppinger, Stephen Metivier, Anna Snider, William W. Suk, and Naomi Itami Zimmerman. All the proceeds from the concert are going to support scholarships and financial aid for our students. Each year, the Board of Trustees raises nearly $250,000 to support our students and their musical endeavors. We are a community youth orchestra organization that teaches students how to play in an orchestral setting in service to others by providing community concerts. This year, we are fortunate to be partnering with great New York City community organizations, world renowned American artists and the great Orchestra of St. Lukes at the DiMenna Center. I met Howard Johnson in my early 20s performing in a recital at Carnegie Hall. Howard has been an inspiration for me and many other tuba players over the decades. He embodies the idea that “anything is possible.” Howard literally can play anything on the tuba. It is with great pride that we offer this Tribute to him which is being spearheaded by two other great artists, Earl McIntyre and Joseph Daley. I am grateful that they, along with all the other musicians presented here, are offering their services for free to help us raise money to teach our students, that indeed, “anything is possible” in your life if you work hard.
    [Show full text]
  • January 2006 AAJ-NY.Qxd
    NEW YORK January 2006 | No. 45 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com YUSEF LATEEF Roots & Routes Annie Ross • Ken Vandermark • ArtistShare • Enzo’s Jazz • Event Calendar piano by WORLD’S FINEST JAZZ CLUB & RESTAURANT • 131 W 3RD ST NYC • 212 475-8592 • WWW.BLUENOTEJAZZ.COM MONDAY NIGHTS • 8 & 10:30PM LATE NIGHT GROOVE SERIES • 12:30AM SUNDAY JAZZ BRUNCH • 12:30&2:30PM DEBORAH DAVIS Jan 2 REGGIE WASHINGTON 4TET Fri Jan 6 DANA LEONG QUINTET Fri Jan 20 YUKIJURUSHI Jan 1 BENEFIT FOR LEUKEMIA SOCIETY EISHIN NOSE TRIO Jan 8 ALTER EGOS Sat Jan 7 DANIEL SADOWNICK Sat Jan 21 RONDI CHARLESTON Jan 9 'EnJ' - EIJIRO NAKAGAWA & JIM PUGH Jan 15 ROLAND GUERIN Jan 16 QUEEN AAMINAH Fri Jan 13 JONATHAN MARON Fri Jan 27 AYAKO SHIRASAKI TRIO Jan 22 NEW SOUND OF SOUL JAZZ SERIES ANGELA JOHNSON Jan 30 LICORICE Sat Jan 14 THE SQUARE EGG Sat Jan 28 TRIO RICOCHET Jan 29 NEW YORK MILAN TOKYO OSAKA NAGOYA 4]`@SaS`dObW]\a /ZZaV]ea BcSAc\%(!'(!^[ #&'#'# e(!^[aSb4`WAOb BcSAObOTbS`V]c`aaSb eeeXOZQ]`U C>AB/@BA 4`SRS`WQY>@]aS6OZZ ;]\ROga%(!'(!^[ 6][S]T8OhhOb:W\Q]Z\1S\bS` 0`]OReOgOb$bVAb`SSb#bVÀ]]` 8O\cO`g% ;O`Y=¸1]\\]` BO^G]c`7\\S`8Ohh 6]bAeW\U e@]PS`bO5O[PO`W\W6]eO`R/ZRS\ 0`gO\Acbb]\8]\0c`` /4B3@6=C@A(5`SbQVS\>O`ZOb]1] 8O\cO`g!& 8O\cO`g " ' 8]Sg2S4`O\QSaQ]B`W] ;cZU`Se;WZZS` /4B3@6=C@A(>O^O8]V\2S4`O\QSaQ]B`W] O\REW\Ua^O\ 8O\cO`g# eAbSdS<SZa]\2cO\S3cPO\YaAbSdSEWZa]\ 7dO\BOgZ]`@]R\Sg5`SS\ BVS;caWQ]T /4B3@6=C@A(5S]`US1]ZZWUO\B`W] B][[g4ZO\OUO\ 8O\cO`g!4SP`cO`g# O\R;WZb8OQYa]\ e:SeWa<OaV@S\SS@]a\SaAbSdS<SZa]\ AVORSa]T8ORS >SbS`EOaVW\Ub]\ e;O`Y8]V\a]\8]S:]dO\]3ZWO\S3ZWOa8]Sg0O`]\ /4B3@6=C@A(7/83/eO`REW\\S`a /4B3@6=C@A(<ObVOZWSR4O[WZgeWbV;O`Q1O`g NEW YORK So after turkey overload during Thanksgiving and the exhausting festivity of the holiday season (made extra special by our transit strike), most of us can hope to New York@Night take it easy during January.
    [Show full text]
  • Recorded Jazz in the Early 21St Century
    Recorded Jazz in the Early 21st Century: A Consumer Guide by Tom Hull Copyright © 2016 Tom Hull. Table of Contents Introduction................................................................................................................................................1 The Consumer Guide: People....................................................................................................................7 The Consumer Guide: Groups................................................................................................................119 Reissues and Vault Music.......................................................................................................................139 Introduction: 1 Introduction This book exists because Robert Christgau asked me to write a Jazz Consumer Guide column for the Village Voice. As Music Editor for the Voice, he had come up with the Consumer Guide format back in 1969. His original format was twenty records, each accorded a single-paragraph review ending with a letter grade. His domain was rock and roll, but his taste and interests ranged widely, so his CGs regularly featured country, blues, folk, reggae, jazz, and later world (especially African), hip-hop, and electronica. Aside from two years off working for Newsday (when his Consumer Guide was published monthly in Creem), the Voice published his columns more-or-less monthly up to 2006, when new owners purged most of the Senior Editors. Since then he's continued writing in the format for a series of Webzines -- MSN Music, Medium,
    [Show full text]
  • George Russell: a Lydian Odyssey
    George Russell: A Lydian Odyssey The Music Division of The Library of Congress commissioned this essay for inclusion in the program for George Russell’s May 1999 concert in the Library’s historic Coolidge Auditorium in Washington DC. It is reprinted here with their kind permission. Thanks to Anne McLean, Concert Producer. George Russell is a singular figure in American music. He is a rarity among major jazz composers, as he is not an influential instrumentalist. Only the likes of Duke Ellington and Charles Mingus possessed a comparable ability to write orchestral music that conveys the spark of improvisation. Yet, what truly sets Russell apart is his half-century application of a single radical compositional principle, which he has evolved through the creation of such American masterworks as “Cubano Be/Cubano Bop,” “All About Rosie,” and “Electronic Sonata for Souls Loved by Nature.” It is impossible to discuss the music of George Russell without placing his treatise, The Lydian Chromatic Concept of Tonal Organization (1953) at the center of the discussion. Often cited as the great American jazz theory, the Lydian concept has received surprisingly little detailed commentary in jazz publications over the decades, as it defies the reductivist impulses of jazz critics. Composer Toru Takemitsu has stated that the Lydian Concept “is not simply a musical method -- we might call it a philosophy of music, or we might call it poetry.” Therein lies the reason that the Lydian Concept can not be transmogrified into a few buzzwords. Unlike the rules of serialism or minimalism, the Lydian Concept does not determine the emotional projection of a composition, or even its stylistic orientation; rather, it effectively encompasses everything from pure diatonicism to extreme chromaticism.
    [Show full text]
  • Cowboy Songs and Other Frontier Ballads
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln University of Nebraska Studies in Language, Literature, and Criticism English, Department of January 1911 Cowboy Songs and Other Frontier Ballads John A. Lomax M.A. University of Texas Follow this and additional works at: https://digitalcommons.unl.edu/englishunsllc Part of the English Language and Literature Commons Lomax, John A. M.A., "Cowboy Songs and Other Frontier Ballads" (1911). University of Nebraska Studies in Language, Literature, and Criticism. 12. https://digitalcommons.unl.edu/englishunsllc/12 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in University of Nebraska Studies in Language, Literature, and Criticism by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. COWBOY SONGS AND OTHER FRONTIER BALLADS COLLECTED BY * * * What keeps the herd from running, JOHN A. LOMAX, M. A. THE UNIVERSITY OF TEXAS Stampeding far and wide? SHELDON FELLOW FOR THE INVESTIGATION 1)F AMERICAN BALLADS, The cowboy's long, low whistle, HARVARD UNIVERSITY And singing by their side. * * * WITH AN INTRODUCTION BY BARRETT WENDELL 'Aew moth STURGIS & WALTON COMPANY I9Il All rights reserved Copyright 1910 <to By STURGIS & WALTON COMPANY MR. THEODORE ROOSEVELT Set up lUld electrotyped. Published November, 1910 WHO WHILE PRESIDENT wAs NOT TOO BUSY TO Reprinted April, 1911 TURN ASIDE-CHEERFULLY AND EFFECTIVELY­ AND AID WORKERS IN THE FIELD OF AMERICAN BALLADRY, THIS VOLUME IS GRATEFULLY DEDICATED ~~~,. < dti ~ -&n ~7 e~ 0(" ~ ,_-..~'t'-~-L(? ~;r-w« u-~~' ,~' l~) ~ 'f" "UJ ":-'~_cr l:"0 ~fI."-.'~ CONTENTS ::(,.c.........04.._ ......_~·~C&-.
    [Show full text]
  • Download the PDF Concert Program
    Smithsonian American Art Museum presents 21st CENTURY CONSORT December 17, 2016 Nan Tucker McEvoy Auditorium Smithsonian American Art Museum Smithsonian American Art Museum 21st Century Consort presents Christopher Kendall, Artistic Director Pre-Concert Discussion Boyd Sarratt, Manager Christopher Kendall, Lida Davis, Jon Deak Rick Barber, double bass Program Paul Cigan, clarinet Museum Music Lisa Emenheiser, piano These two works celebrate the reopening of the Smithsonian American Art Dan Foster, viola Museum’s Folk and Self-Taught Art Gallery, and the opening of the Na- Lee Hinkle, percussion tional Museum of African American History and Culture, respectively. Laurel Ohlson, French horn Their movements will be interspersed in performance: Alexandra Osborne, violin Folk Songs for Piccolo, Harp and Percussion, Hannah Lash Susan Robinson, harp in Four Movements William Sharp, baritone Sara Stern, flute Mr. Hinkle, Ms. Robinson, Ms. Stern Jane Stewart, violin Rachel Young, cello Heritage: A Tribute to Great Clarinetists David Baker Mark Huffman, recording engineer Mr. Barber, Mr. Cigan, Ms. Emenheiser, Ms. Osborne Matthew Schultheis, stage manager Folk Song I I. Buddy and Beyond Folk Song II Saturday, December 17, 2016 II. Artie Pre-Concert Discussion 4:00 p.m. Folk Song III III. BBBB Concert 5:00 p.m. Folk Song IV Nan Tucker McEvoy Auditorium IV. BG Smithsonian American Art Museum INTERMISSION ❖ ❖ ❖ The Passion of Scrooge, or A Christmas Carol Jon Deak Mr. Barber, Mr. Cigan, Mr. Foster, Mr. Hinkle, Mr. Kendall, Ms. Ohlson, Ms. Osborne, Ms. Robinson, Mr. Sharp, Ms. Stern, The 21st Century Consort’s 2016–2017 activities are sponsored by the Ms. Stewart, Ms. Young Smithsonian American Art Museum and funded in part by generous contribu- tions from the Morris and Gwendolyn Cafritz Foundation, the Smithsonian American Art Museum, and the Board and Friends of the 21st Century Consort.
    [Show full text]