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Mental Health in the Middle Kingdom a Look at How China Handles People with Psychiatric Disorders
P earl R iver D elta Mental Health in the 城市漫步珠三角 Follow Us on WeChat Now Middle Kingdom 英文版 8 月份 国内统一刊号: A look at how China handles people with psychiatric disorders CN 11-5234/GO China Intercontinental Press Plus: The Phantom of the Opera, Ladysmith Black Mambazo, Lives Advertising Hotline 400 820 8428 AUGUST 2015 of Crazy Rich Chinese, Disney's Shenzhen Animators and more 《城市漫步》珠江三角洲 英文月刊 主管单位 : 中华人民共和国国务院新闻办公室 Supervised by the State Council Information Office of the People's Republic of China 主办单位 : 五洲传播出版社 地址 : 北京西城月坛北街 26 号恒华国际商务中心南楼 11 层文化交流中心 11th Floor South Building, HengHua linternational Business Center, 26 Yuetan North Street, Xicheng District, Beijing http://www.cicc.org.cn 社长 President of China Intercontinental Press: 李红杰 Li Hongjie 期刊部负责人 Supervisor of Magazine Department: 邓锦辉 Deng Jinhui 编辑 : 刘扬 发行 / 市场 : 黄静 李若琳 广告 : 林煜宸 Editor in Chief Tom Lee Guangzhou Editor Jocelyn Richards Shenzhen Editor Christine Gilbert Web Editor Matthew Bossons Events Editor Will Wu Editorial Assistant Emma Guo Contributors Marianna Cerini, Andrew Chin, Erik Crouch, Stephen George, Sky Gidge, Lena Gidwani, Jon Hanlon, Joanna Hutchins, George McKibbens, Lisa Nguyen, Kara Wutzke, Lee Chae Young, Tristin Zhang Urbanatomy Media Shanghai (Head Office) 上海和舟广告有限公司 上海市蒙自路 169 号智造局 2 号楼 305-306 室 邮政编码 : 200023 Room 305-306, Building 2, No.169 Mengzi Lu, Shanghai 200023 电话 : 传真 : Guangzhou 上海和舟广告有限公司广州分公司 广州市麓苑路 42 号大院 2 号楼 610 室 邮政编码 : 510095 Rm 610, No. 2 Building, Area 42, Luyuan Lu, Guangzhou 510095 电话 : 020-8358 6125 传真 : 020-8357 3859 - 816 Shenzhen 深圳联络处 深圳市福田区彩田路星河世界大厦 C1-1303 C1-1303, Galaxy Century Building, Caitian Lu, Futian District, Shenzhen 电话 : 0755-8623 3220 传真 : 0755-6406 8538 Beijing 北京联络处 北京市东城区东直门外大街 48 号东方银座 C 座 G9 室 邮政编码 : 100027 9G, Block C, Ginza Mall, No. -
Here Are More Different Kinds of Tea Than You Can Imagine, and in Sip and Tuck, Cake and Cof- Fee to Die For
THE MINORIES The Gallery will be open this year for the BA (Hons) in Photography Exhibition . COLCHESTER BIKE KITCHEN at 15 Queen Street This friendly DIY community bike workshop at 15 Queen Street will be open for advice and a chat about bikes REPAIR, REUSE & RECYCLE CIC At 15 Queen Street will be open and promoting com- munity electronic and plastic FOOD At BIG SUNDAY: You will findVegan Food in the giant market in Firstite: All kinds of international foods on the Street Food Market on the square out- side: And dont forget “We Walk the Line” inside The Firstsite Foyer. The Batte Lay Tea Room at the Minories will be offering full meals as well as drinks and snacks plus a barbecue in the garden. In Queen Street you will find Cafe No 9 with an amazing offer of whole foods and home bakes. In jaquelines Tea Rooms there are more different kinds of tea than you can imagine, and in Sip and Tuck, cake and cof- fee to die for. And of course.... THE BEER TENT by Mersea Island Breweries is on Berryfields with many guest beers.. “THE REASON FOR THE DAY” STAGE BEHIND THE OLD BUS GARAGE Curated by Danny Hiles Musicians Supporting The Homeless On the Pallet Stage Timings are flexible- see signs on site for details Rosalind Harniess: Young singer songwriter with, catchy songs and honest lyrics. Matt Buckle : From the grey streets of Colchester, Matt delivers soulful and heartfelt material that one would expect of a more travelled musician.. Phillip Lagos : Playing a great mix of his own material and some great covers. -
ZEVIOUS Title: AFTER the AIR RAID (Cuneiform Rune 287)
Bio information: ZEVIOUS Title: AFTER THE AIR RAID (Cuneiform Rune 287) Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com [press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: JAZZ / JAZZ-ROCK / PUNK-JAZZ / ELECTRIC JAZZ "The music of Zevious shrewdly juxtaposes order and its opposite: structural intensity pushed to its breaking point in the most appealing way. These boys are brilliant and fearless." – Vijay Iyer Zevious is a genre-bursting, out/electric/punk-jazz trio based in New York City. It consists of cousins Mike Eber on guitar and Jeff Eber on drums, and Johnny DeBlase on bass. Zevious’ sound is equally influenced by the improvisational approach of contemporary jazz artists Vijay Iyer and Ben Monder, polymetric metal of bands like Meshuggah, and vintage jazz and rock by such jazz fusion groups as Mahavishnu Orchestra and avant-progressive/Rock in Opposition bands like Magma. Songs wind through odd-metered, groove-laden landscapes that morph into brooding, reflective passages. Interspersed with edgy, hard-riffing contrapuntal guitar and stop-on-a-dime breaks, such tunes tread treacherous sonic grounds and reveal Zevious’ ability to shred. Zevious is one of the most distinctive and aggressive genre-defiant/fusion bands in the burgeoning punk-jazz movement, a 21st century update on the compositional ferocity of bands like Fred Frith’s Massacre, Ronald Shannon Jackson’s Decoding Society, and James Blood Ulmer’s Music Revelation Ensemble. Mike Eber and DeBlase met in 1999 while attending Muhlenberg College in Allentown, Pennsylvania and instantly hit it off musically. -
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. -
Introduction to Jazz Studies: a Seminar
Columbia University Anthropology, African-American Studies, and American Studies Fall 2005 INTRODUCTION TO JAZZ STUDIES: A SEMINAR INSTRUCTOR: John Szwed COURSE REQUIREMENTS Regular attendance and full participation in the seminar, including a short presentation (15 minutes) in one session Read the three assigned texts and the xeroxed readings Write two short papers (3-5 pages) 1) comparing two histories OR two textbooks on jazz chosen from the list on pp. 320-321 of Jazz 101 or in consultation with the instructor 2) comparing two jazz biographies of different musicians OR two autobiographies OR one of each, chosen from the list on pp. 332-333 of Jazz 101 or in consultation with the instructor Write a final paper of at least 15 pp. on a topic determined after consultation with the instructor REQUIRED READING John Szwed, Jazz 101 Robert G. O'Meally, Brent Hayes Edwards, and Farah Jasmin Griffin, eds., Uptown Conversation: The New Jazz Studies David Ake, Jazz Cultures Xeroxed reading packet SCHEDULE OF TOPICS (Note: Readings that are not listed as being in Szwed, Ake or O'Meally, et al. are in the xeroxed readings) Week 1: Introduction Week 2: No class Read: John Szwed, pp. xi-75 "Introductory Notes" in O'Meally et al, pp. 1-6 "Compendium: Jazz -- Formal Definitions (1913-99)" from Andrew Clark, Riffs & Choruses Jed Rasula "The Jazz Audience," from The Cambridge Companion to Jazz (2002), pp.55-68 Clive Bell. "Plus de Jazz," New Republic, 28 (9/21/21), p. 92ff Ernst-Alexandre Ansemet. "Bechet and Jazz Visit Europe" (1919) Roger Pryor Dodge. -
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 . -
Leszek Kułakowski Dwa Światy
WRZESIEŃ 2020 Miesięcznik internetowy poświęcony jazzowi i muzyce improwizowanej ISSN 2084-3143 Konkurs Plakatu We Want Jazz ZWYCIĘZCY TOP NOTE Diomede & Hubert Zemler Przyśpiewki Piotr Matusik Trio Maciej Gołyźniak Independence Katarzyna Osterczy Ryszard Wojciul Leszek Kułakowski Dwa światy fot. Kuba Majerczyk Od Redakcji redaktor naczelny Piotr Wickowski [email protected] „Chęć grania nigdy nie była tak wielka jak teraz” – rzuciła podczas koncertu swo- jego tria na Enter Enea Festivalu Kasia Pietrzko. Następnego dnia z tej samej sce- ny Kamil Piotrowicz wyznał, że zasiadając do koncertowego fortepianu, czuje się „najszczęśliwszym człowiekiem na Ziemi”. Tak, wyczekiwanie na powrót do praw- dziwych koncertów, nawet przed ograniczoną z powodów koronawirusowych pub- licznością, zarówno z perspektywy tych na scenie, jak i tych na widowni, stało się już jakiś czas temu dotkliwym czekaniem na Godota. Empirycznie wszyscy przekonali się, że nawet najlepiej zorganizowane występy, wy- łącznie transmitowane online, nijak się mają do zwyczajnego, żywego grania. Nie tylko dlatego, że zazwyczaj odbiorcy nie dysponują u siebie choćby namiastką wa- runków będących normą w najzwyklejszej sali koncertowej. Zwłaszcza że nie zanosi się na poprawę w tym względzie, trend jest raczej odwrotny – coraz więcej odbior- ców muzyki słucha jej na coraz gorszych, z punktu widzenia audiofila, przenośnych urządzeniach. Tak więc odnotowujemy powolny i niepewny - ale jednak! - powrót życia koncerto- wego i w tym numerze JazzPRESSu zamieszczamy po przerwie dział relacji koncerto- wych. Muzykom pozostaje życzyć, aby publiczność kierowała się maksymą z nazwy Międzynarodowego Konkursu Plakatu – We want jazz. Bo jak się okazuje, w przy- padku uzdolnionych plastycznie – to działa. Druga edycja tego konkursu znów cie- szyła się dużym zainteresowaniem – odpowiedzieli na nią twórcy z 31 krajów, nad- syłając w sumie aż 450 prac. -
AQA, OCR, Edexcel & Eduqas: a Jazz Primer, Part 2
KSKS55 AQA, OCR, Edexcel & Eduqas: a Jazz Primer, Part 2 Jonathan James is a freelance by Jonathan James music educator and teacher trainer who works with orchestras, concert venues and a variety INTRODUCTION of communities to explain classical In part one of this two-part jazz resource (Music Teacher, March 2017), we traced how jazz evolved from and jazz music. humble beginnings as a folk music into being the mainstream popular music of its day. By 1945, where we left off, the Glenn Miller Orchestra had become the sound of America, rallying record-breaking crowds and One Glenn Miller symbolising free-world values. dance at the London Palladium attracted over 6,750 people. The jazz community had never had it so good. Bandleaders such as Glenn Miller, Duke Ellington, Benny Goodman and Count Basie were musical idols. And yet there was a growing sentiment that the highly organised, impressively arranged swing bands were no longer true to the spirit of jazz. The genre had, after all, always thrived as a counterculture, giving a voice to the oppressed. Could this music really belong to the white-dominated establishment? What had happened to its founding identity? New factions inevitably appeared. Bebop, cool and hard bop all kicked back against the mainstream. And this fascinating reboot in the history of jazz is where we pick up in the second part of this primer. As before, the aim is to give A level students and teachers a concise overview of the main artists and ideas that shaped jazz’s development, this time from 1945 to the present day. -
Negrocity: an Interview with Greg Tate
City University of New York (CUNY) CUNY Academic Works Publications and Research New York City College of Technology 2012 Negrocity: An Interview with Greg Tate Camille Goodison CUNY New York City College of Technology How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/ny_pubs/731 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] NEGROCITY An Interview with Greg Tate* by Camille Goodison As a cultural critic and founder of Burnt Sugar The Arkestra Chamber, Greg Tate has published his writings on art and culture in the New York Times, Village Voice, Rolling Stone, and Jazz Times. All Ya Needs That Negrocity is Burnt Sugar's twelfth album since their debut in 1999. Tate shared his thoughts on jazz, afro-futurism, and James Brown. GOODISON: Tell me about your life before you came to New York. TATE: I was born in Dayton, Ohio, and we moved to DC when I was about twelve, so that would have been about 1971, 1972, and that was about the same time I really got interested in music, collecting music, really interested in collecting jazz and rock, and reading music criticism too. It kinda all happened at the same time. I had a subscription to Rolling Stone. I was really into Miles Davis. He was like my god in the 1970s. Miles, George Clinton, Sun Ra, and locally we had a serious kind of band scene going on. -
Muski Nazareth Bravo Hits Party New York Ska-Jazz
So 04/12 NAZARETH Fr 09/12 ELINA DUNI So 18/12 TAG DER KULTUREN Sa 31/12 Sa 10/12 PALKO!MUSKI CLOUDS BALLNACHT Sa 17/12 Fr 02/12 MÜSLÜM & BAND Fr 16/12 KLISCHÉE 15/12 – 29/01 ouvert: SockL Fr 23/12 NEW YORK SKA-JAZZ ENSEMBLE Sa 03/12 BRAVO HITS PARTY DEZ 16 So 18/12 TAG DER KULTUREN DEZ Veranstaltet von SAH Schaffhausen, 2016 Haus der Kulturen, Integres & KiK Fr 09/12 ELINA DUNI Jazz (CH) AGENDA Mit ihrem Solo Programm «Aufbrechen» DEZ Fr 02/12 Fr 02/12 MÜSLÜM Kammgarn Am internationalen Tag der Migranten laden das SAH Schaffhausen, das FABER Tap Tab MÜSLÜM & BAND Haus der Kulturen, Integres und das Kulturzentrum Kammgarn ein zu Sa 03/12 BRAVO HITS PARTY Kammgarn einem multikulturellen Tag für die ganze Familie. Rock/Pop/Blues (CH) SCHLAKKS Tap Tab Apochalüpt-Tournee 2016 Das Programm ist vielfältig und bietet für jeden etwas: Durch Vorträge So 04/12 NAZARETH Kammgarn erhaltet ihr detaillierte Informationen zum Thema Migration und den Fr 09/12 ELINA DUNI Kammgarn Geschichten der Migranten, welche in Schaffhausen zu Hause sind. Wer WINSTON FRANCIS auf eine spielerische Art andere Kulturen kennen lernen möchte, kann Tap Tab dies am Spieltisch tun. Auch für Live-Musik und Verpflegung ist gesorgt. Sa 10/12 CLOUDS Kammgarn Alles mit der Idee, die verschiedenen Kulturen kennenzulernen, die Teil HATHORS, NO MUTE Tap Tab unserer Gesellschaft sind. Mo 12/12 SAH KOCHT Kammgarn Beiz Es gibt ihn, diesen bestimmten Augenblick: Aus dem Schmerz heraus wächst Freude. Geheimnis des Daseins, Transzendenz des Leidens. -
New York Ska-Jazz Ensemble Live in Gouvy Mp3, Flac, Wma
New York Ska-Jazz Ensemble Live In Gouvy mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Reggae Album: Live In Gouvy Country: Spain Released: 2016 Style: Ska, Rocksteady, Reggae MP3 version RAR size: 1924 mb FLAC version RAR size: 1797 mb WMA version RAR size: 1159 mb Rating: 4.4 Votes: 457 Other Formats: XM MP4 MPC MP2 AUD AHX MPC Tracklist Hide Credits Free As A Bird 1 3:27 Written-By – Reiter* Arachnid 2 3:12 Written-By – Reiter* The Ride 3 4:30 Written-By – Wasser* A Message To You Rudy 4 4:33 Written-By – Livingstone* Hot Like Fire 5 3:28 Written-By – Appleton* Mr.Pitiful 6 3:31 Written-By – Redding*, Cropper* Groovin' Steady 7 4:40 Written-By – Reiter* Teardrops From My Eyes 8 3:03 Written-By – Toombs* Nasty By Nature 9 3:36 Written-By – Reiter* Frenesi 10 3:29 Written-By – Dominguez* Bonus Studio Track Spanish Ska 11 3:07 Written-By – Tarin* Companies, etc. Mixed At – Capture Sound Credits Bass – Ben Basile Drums – NanaYao Dinizulu* Guest, Acoustic Bass – Wayne Batchelor (tracks: 11) Guest, Trombone – Ric Becker (tracks: 11) Guitar, Vocals – Alberto Tarin Mixed By, Mastered By – Paul Shellack Piano, Organ, Keyboards – Earl Appleton Tenor Saxophone, Flute, Lead Vocals, Executive Producer, Mixed By – "Rock Steady" Freddie Reiter* Trombone, Vocals – Mark Paquin Trumpet, Vocals – Kevin Batchelor Notes Live in Gouvy was recorded in the summer of 2015 at “Ferme de la Madelonne” a historic jazz club in Belgium Other versions Category Artist Title (Format) Label Category Country Year New York Ska-Jazz BR040LP Live In Gouvy (LP) Brixton Records BR040LP Spain 2017 Ensemble Related Music albums to Live In Gouvy by New York Ska-Jazz Ensemble Ralf Paulsen Und Die Carawells - Der Rote Reiter Von Texas / Zwei Freunde Zogen In Die Welt Die Apokalyptischen Reiter - Soft & Stronger Ohrkan - Goldener Reiter (Radio Version) Henning Sieverts - Blauer Reiter JUerGeN ReiTeR ORkAaN ORkEstRA - NO TRESPASSING Vitold Rek & Charlie Mariano Feat. -
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.