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THELONIOUS MONK SOLO Monkrar
THELONIOUS MONK - SOLO MONK.rar >>> DOWNLOAD (Mirror #1) 1 / 3 MidwayUSA..is..a..privately..held..American..retailer..of..various..hunting..and..outdoor- related..products.. SoloMonkMP3.rar...Premium..Download..Thelonious..Monk..-..Solo..Monk..(1965)..- ..Fast..&..Anonymous...Add..comment...Your..Name...Your..E-Mail.. Thelonious...Monk.zipka*****l.com132.95...MBThelonious...Monk.zip..... Despite.various.reissue.forma ts.over.several.decades,.the.seven.original.LPs.contained.in.Thelonious.Monk.-.The.Riverside.Tenor.S essions.stood.perfectly.well.on.their... thelonious..monk..-..live..at..the..olympia,paris..may..23rd,1965..-..cd..2.zip. ]Thelonious...Monk.../...S olo...Monk...Solo...Monk...:...Thelonious...Monk.../:...Sbme...Special...Mkts....:...2003/08/19.......Theloni ous...Monk...(p)........... Monk's...Point...10....I...Should...Care...11....Ask...Me...Now...12....These...Fooli sh...Things...(Remind...Me...Of...You)...13....Introspection...14....Darn...That...Dream...15....Dinah...(Ta ke...1)...16....Sweet...And...I..... Solo.Monk.is.the.eighth.album.Thelonious.Monk.released.for.Columbi a.Records.in.1965..The.album.is.composed.entirely.of.solo.piano.work.by.Monk..The.Allmusic.review. by... THELONIOUS..MONK..-..Monk's..Music..-..Amazon.com..Music..Interesting.....Though,..I..will..say.. it's..pretty..remarkable..that..Monk..doesn't..solo..much..on..this..recording.. Solo.Monk. 1964.Solo.M onk..1964.It's.Monk's.Time.(Remastered.2003).1964.Live.At.The.1964.Monterey.Jazz.Festival....1958. Thelonious.In.Action..1957.Thelonious.Monk.With.John... Thelonious..Monk's..solo..recordings..offer..f ascinating..insight..into..the..compositional..and..improvisational..talents..of..one..of..music's..true..o ddballs,..and..Alone..In..San.... My..favourite..album:..Brilliant..Corners..by..Thelonious..Monk.....Thelo nious..Monk's..Brilliant..Corners.....and..Rollins's..lazily..unfolding..and..huge-toned..tenor..solo. -
Thelonious Monk: Life and Influences Thelonious Monk: Life and Influences
William Hanson Falk Seminar Spring 2008 Thelonious Monk: Life and Influences Thelonious Monk: Life and Influences Thelonious Monk was a prolific and monumental figure in modem jazz. He directly contributed to the evolution of bebop, as well as influenced the development of free jazz, and the contributed additions to the standard jazz repertoire. Monk branched out fiom his influences, including swing, gospel, blues, and classical to create a unique style of composition and performance. Monk more than any other major figure in bebop, was, and remains, an original1 Monk's life can be categorized into three periods: the early, the middle, and late period. Each period lasts roughly twenty years: from 1917- 1940,1940-1960, and from 1960-1982. In Monk's early period he toured the US playing gospel music, and found early influences in swing music like Duke Ellington. It wasn't until his middle period that Monk began to record and write his compositions, and in his late period he toured the world with other renowned musicians playing bebop. Thelonious Junior ~onl?was born October 10,191 7 in Rocky Mountain, North Carolina to Barbara Batts Monk and Thelonious Monk, Senior. Thelonious was the middle child, with an older sister, Marion born in 1915, and younger brother, Thomas born in 1919. Monk's birth certificate lists his father as an ice puller, and his mother as a household worker. Although both of his parents could read and write, they struggled to make enough to live on. In 1922 Thelonious' mother insisted that she take the family to New York to make a better living. -
How to Play in a Band with 2 Chordal Instruments
FEBRUARY 2020 VOLUME 87 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Sexual and Gender Minority Health Research Listening Session Virtual Meeting November 19, 2020, 1:00 P.M.–2:30 P.M
Sexual and Gender Minority Health Research Listening Session Virtual Meeting November 19, 2020, 1:00 p.m.–2:30 p.m. EST [MEETING START TIME: 1:00 P.M. EST] DR. KAREN PARKER: Welcome to the second annual NIH SGM Health Research Listening Session. I’m so happy to be here. My name is Karen Parker, and my pronouns are she and her. I currently serve as director of the Sexual & Gender Minority Research Office at NIH. The primary goal of today’s listening session is for NIH leaders and staff to hear from community stakeholders about what issues are on their mind regarding SGM-related research and related activities at the National Institutes of Health. Selection of these organizations invited today is based on the diversity of organizational missions and efforts. This year, we will have 11 organizations presenting to us. Before we began listening to comments from these stakeholders, we will hear remarks from several senior NIH leaders. We also have several colleagues in attendance from across the different Institutes, Centers, and Offices at the agency, and we are all excited to hear from them. I will be serving as moderator for today’s session, and we will be prompting speakers, both NIH leaders and invited organizational representatives, to turn your audio and video on when it is your time to provide remarks. Please be sure to mute your audio and video feed when you are not speaking. To members of the public who are joining in today to listen, welcome. This session is being recorded, and both a captioned video and transcription document will be posted to the SGMRO website in the coming weeks. -
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy. -
On the Postmodern Condition
1 Journal of Undergraduate Research and Scholarly Works Volume 7 December 2020 On the Postmodern Condition Sean Carroll Abstract University of Texas at San Antonio As a cultural movement, Postmodernism begun to solidify itself since the 1970s. Despite what some may say of its necessarily unstructured nature, coherent reflection about it is useful. While there is a growing literature on this topic, the present study, as suggested by David Harvey, seeks to use an historical, materialist framework, as developed by Karl Marx, to interpret postmodern culture. To do this, I began with the studies of the substructures of postmodern culture (political-economic and material conditions), and then sought to find reflective cohesion among its ‘aesthetic’ superstructures (social, philosophical, cinematic, literary, and musical) and their underlying conditions. As a result, from these studies, I found that the aesthetic sentiments of postmodern culture quite neatly map onto the material conditions, which inform its context. These sentiments imply a complicit disposition towards many aspects of late capitalism (such as consumerism and alienation). These findings are significant because it forces postmodernism to take a more honest look at itself, and become self-aware of its implications. My findings imply that if postmodern sentiments truly want to harbor an activism toward the status quo, it must first realign itself with more unifying attitudes. While a single resolution has yet to be concluded, the present study provides some general directions -
Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
Andy Warhol, the Velvet Underground and the Trash Aesthetic La Banalité De La Dégradation : Andy Warhol, Le Velvet Underground Et L’Esthétique Du Trash
Volume ! La revue des musiques populaires 9 : 1 | 2012 Contre-cultures n°1 The Banality of Degradation : Andy Warhol, the Velvet Underground and the trash aesthetic La Banalité de la dégradation : Andy Warhol, le Velvet Underground et l’esthétique du trash Simon Warner Electronic version URL: http://journals.openedition.org/volume/3508 DOI: 10.4000/volume.3508 ISSN: 1950-568X Printed version Date of publication: 15 September 2012 Number of pages: 52-65 ISBN: 978-2-913169-32-6 ISSN: 1634-5495 Electronic reference Simon Warner, « The Banality of Degradation : Andy Warhol, the Velvet Underground and the trash aesthetic », Volume ! [Online], 9 : 1 | 2012, Online since 01 September 2016, connection on 10 December 2020. URL : http://journals.openedition.org/volume/3508 ; DOI : https://doi.org/10.4000/ volume.3508 This text was automatically generated on 10 December 2020. L'auteur & les Éd. Mélanie Seteun The Banality of Degradation : Andy Warhol, the Velvet Underground and the tra... 1 The Banality of Degradation : Andy Warhol, the Velvet Underground and the trash aesthetic La Banalité de la dégradation : Andy Warhol, le Velvet Underground et l’esthétique du trash Simon Warner EDITOR'S NOTE This text was published in Countercultures & Popular Music (Farnham, Ashgate, 2014), while its French translation appeared in this issue of Volume! in 2012. American culture is trash culture. (Hamelan 2004: 3) Introduction BECAUSE HE INVESTED his energies in that promiscuous cultural intersection where Pop Art met both underground film and the methods of mass production, the artist Andy Warhol might be regarded as the king, or indeed queen, of the trash aesthetic. -
New Orleans' Confrontation with Modernity
BETWEEN LOGOS AND EROS: NEW ORLEANS’ CONFRONTATION WITH MODERNITY Erin Christine Moore, BA Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2008 APPROVED: Robert Frodeman, Major Professor and Chair of the Department of Philosophy and Religion Studies David Kaplan, Committee Member Irene Klaver, Committee Member Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Moore, Erin Christine, Between Logos and Eros: New Orleans’ Confrontation with Modernity. Master of Arts (Philosophy), May 2008, 96 pp., 9 illustrations, references, 68 titles. This thesis examines the environmental and social consequences of maintaining the artificial divide between thinking and feeling, mind and matter, logos and eros. New Orleans, a city where the natural environment and human sensuality are both dominant forces, is used as a case study to explore the implications of our attempts to impose rational controls on nature – both physical and human nature. An analysis of New Orleans leading up to and immediately following Hurricane Katrina (2005) reveals that the root of the trouble in the city is not primarily environmental, technological, political, or sociological, but philosophical: there is something amiss in the relationship between human rationality and the corporeal world. I argue that policy decisions which do not include the contributions of experts from the humanities and qualitative social sciences – persons with expertise on human emotions, intentions, priorities and desires – will continue to be severely compromised. Copyright 2008 by Erin Christine Moore ii TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS............................................................................................. iv Chapters 1. INTRODUCTION .......................................................................................1 2. NEW ORLEANS, OCTAVIA’S KIN .........................................................6 3. -
Latin Derivatives Dictionary
Dedication: 3/15/05 I dedicate this collection to my friends Orville and Evelyn Brynelson and my parents George and Marion Greenwald. I especially thank James Steckel, Barbara Zbikowski, Gustavo Betancourt, and Joshua Ellis, colleagues and computer experts extraordinaire, for their invaluable assistance. Kathy Hart, MUHS librarian, was most helpful in suggesting sources. I further thank Gaylan DuBose, Ed Long, Hugh Himwich, Susan Schearer, Gardy Warren, and Kaye Warren for their encouragement and advice. My former students and now Classics professors Daniel Curley and Anthony Hollingsworth also deserve mention for their advice, assistance, and friendship. My student Michael Kocorowski encouraged and provoked me into beginning this dictionary. Certamen players Michael Fleisch, James Ruel, Jeff Tudor, and Ryan Thom were inspirations. Sue Smith provided advice. James Radtke, James Beaudoin, Richard Hallberg, Sylvester Kreilein, and James Wilkinson assisted with words from modern foreign languages. Without the advice of these and many others this dictionary could not have been compiled. Lastly I thank all my colleagues and students at Marquette University High School who have made my teaching career a joy. Basic sources: American College Dictionary (ACD) American Heritage Dictionary of the English Language (AHD) Oxford Dictionary of English Etymology (ODEE) Oxford English Dictionary (OCD) Webster’s International Dictionary (eds. 2, 3) (W2, W3) Liddell and Scott (LS) Lewis and Short (LS) Oxford Latin Dictionary (OLD) Schaffer: Greek Derivative Dictionary, Latin Derivative Dictionary In addition many other sources were consulted; numerous etymology texts and readers were helpful. Zeno’s Word Frequency guide assisted in determining the relative importance of words. However, all judgments (and errors) are finally mine. -
Media – History
Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
Monk Solo Monk Mp3, Flac, Wma
Monk Solo Monk mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Solo Monk Country: Japan Released: 1966 MP3 version RAR size: 1517 mb FLAC version RAR size: 1278 mb WMA version RAR size: 1429 mb Rating: 4.7 Votes: 658 Other Formats: MP3 APE DMF AU MP1 WMA ASF Tracklist Hide Credits Dinah A1 2:27 Written-By – Akst*, Young*, Lewis* I Surrender, Dear A2 3:43 Written-By – Clifford*, Barris* Sweet And Lovely A3 2:58 Written-By – Arnheim*, Tobias*, Lemare* North Of The Sunset A4 1:50 Written-By – Monk* Ruby, My Dear A5 5:35 Written-By – Monk* I'm Confessin' (That I Love You) A6 2:36 Written-By – Neiburg*, Dougherty*, Reynolds* I Hadn't Anyone Till You B1 3:17 Written-By – Noble* Everything Happens To Me B2 3:25 Written-By – Dennis*, Adair* Monk's Point B3 2:11 Written-By – Monk* I Should Care B4 1:56 Written-By – Stordahl*, Weston*, Cahn* Ask Me Now B5 4:35 Written-By – Monk* These Foolish Things (Remind Me Of You) B6 3:32 Written-By – Link*, Marvell*, Strachey* Companies, etc. Manufactured By – Nippon Columbia Co., Ltd. Credits Artwork [Cover Art] – Paul Davis Liner Notes – Martin Williams Piano – Thelonious Monk Producer – Teo Macero Other versions Category Artist Title (Format) Label Category Country Year Solo Monk (LP, Album, CL 2349 Monk* Columbia CL 2349 US 1965 Mono) Solo Monk (LP, Album, CS 2349 Monk* Columbia CS 2349 US Unknown Mono, RE, 180) 20AP 1497 Monk* Solo Monk (LP, Album) CBS/Sony 20AP 1497 Japan 1979 CT 47854 Monk* Solo Monk (Cass, Album) Columbia CT 47854 US 1992 Thelonious 62549 Solo Monk (LP, RP) CBS 62549 Netherlands Unknown Monk Related Music albums to Solo Monk by Monk Thelonious Monk - Solo Monk Thelonious Monk - The Ultimate Thelonious Monk The Thelonious Monk Quartet - Monk's Dream Thelonious Monk - Who's Afraid Of The Big Band Monk? T.S.