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Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
Tournament 17 Round 10 Tossups 1
Tournament 17 Round 10 Tossups 1. This composer wrote the "Veil Song" for the Princess Eboli in his Don Carlos. Before he composed one of his few comic operas, which was based on The Merry Wives of Windsor, his name became an acronym for the Italian unification movement. This composer of Falstaff had the Duke of Mantua sing about fickle women in (*) "La donna e mobile" (MOW-bee-lay) in his opera Rigoletto. For 10 points, name this composer of Otello, La Traviata, and an opera about an Ethopian princess who is buried alive, Aida (eye-EE-duh). ANSWER: Giuseppe Fortunino Francesco Verdi 019-11-29-10102 2. This man wrote play in which Heracles brings Admetus’s wife back from the dead. In another play by him, Talthybius (tahl-THIH-bee-us) foretells the death of Astyanax (uh-STY-uh-naks), the granddaughter of Hecuba. This author of Alcestis and The Trojan Women wrote a play that ends with the title character escaping in the sun god’s chariot after using a (*) poisoned cloak to kill her husband’s lover Glauce (GLOU-see). For 10 points, name this Greek playwright who wrote about Jason’s wife in Medea. ANSWER: Euripides 079-11-29-10103 3. A popular practice by supporters of this theory was parodied with the creation of "Project Steve." The modern form of this theory was postulated by John Whitcomb and Henry Morris, while Duane Gish heads the Institute for Research devoted to confirming it. A law mandating the teaching of this theory was struck down in Edwards v. -
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
Men's Club Purim Schedule
THE Congregation Har Shalom TABLETVolume 53 Issue 9 www.HarShalom.org/thetablet March/April 2019 Adar I/Nisan 5779 Purim Schedule Wednesday, March 20th 5:45 pm Dinner for young families followed by 6:15 pm Young Family Purim Program and 8:00 Men’spm Traditional Megillah Club reading with Dueling Pianos Congregation Har Shalom, Paul Social Hall, 11510 Falls Road, Potomac, MD Community Invited Free for Har Shalom Members Non-Members Only $10 per person Register & Pay Online Bring the entire family for a fun event PASSOVER Professional Carnival Attractions 2019 Moon Bounce Midway Games and Prizes Raffles Games of Chance In the unlikely event of severe weather closing CHS, the Purim Carnival will be rescheduled to the following Sunday. FREE HAMANTASCHEN DELI FOOD to be sold a la carte “ANNIE” Recap Cast and production team for HSP’s 2019 production of the musical, Annie. Photograph by Sorell Schwartz. Annie Brings Crowds To Har Shalom The last weekend of January saw near-capacity crowds filling the Burke Sanctuary for the Har Shalom Players’ (HSP) two performances of the musical, Annie. Recognized by co-producers Stew Remer and Ken Lechter as one of the top-attended shows in HSP’s 14 years of productions, Annie brought together actors from the congregation and other local community theater groups, production and tech crews, and talented musicians. It indeed took a special community to pull off a live production such as this one. With a combined 78 individuals among the production team, crew, orchestra, and actors (including children from eleven area schools), Annie shared a message of hope and optimism with Har Shalom congregants and theater-goers in the surrounding area. -
Guide to Historic Sites in Kentucky
AMERICAN HERITAGE TRAVELER HERITAGE Guide t o Historic Sites in Kentucky By Molly Marcot Two historic trails, the Wilderness Bull Nelson on the site of this 62-acre Civil War Road and Boone’s Trace, began here park. The grounds contain the 1825 Battlefields and Coal and were traveled by more than 200,000 Pleasant View house, which became settlers between 1775 and 1818. In a Confederate hospital after the battle, 1. Middle Creek nearby London, the Mountain Life slave quarters, and walking trails. One National Battlefield Museum features a recreated 19th- mile north is the visitors center in the On this site in early 1862, volunteer Union century village with seven buildings, 1811 Rogers House, with displays that soldiers led by future president Col. James such as the loom house and barn, include a laser-operated aerial map of Garfield forced Brig. Gen. Humphrey which feature 18th-century pioneer the battle and a collection of 19th- Marshall’s 2,500 Confederates from the tools, rifles, and farm equipment. century guns. (859) 624-0013 or forks of Middle Creek and back to McHargue’s Mill, a half-mile south, visitorcenter.madisoncountyky.us/index.php Virginia. The 450-acre park hosts battle first began operating in 1817. Visitors reenactments during September. Two half- can watch cornmeal being ground and see mile trail loops of the original armies’ posi - more than 50 millstones. (606) 330-2130 Lexington Plantations tions provide views of Kentucky valleys. parks.ky.gov/findparks/recparks/lj www.middlecreek.org or and (606) 886-1341 or Bluegrass ) T H G I 4. -
Chapman Law Review
Chapman Law Review Volume 21 Board of Editors 2017–2018 Executive Board Editor-in-Chief LAUREN K. FITZPATRICK Managing Editor RYAN W. COOPER Senior Articles Editors Production Editor SUNEETA H. ISRANI MARISSA N. HAMILTON TAYLOR A. KENDZIERSKI CLARE M. WERNET Senior Notes & Comments Editor TAYLOR B. BROWN Senior Symposium Editor CINDY PARK Senior Submissions & Online Editor ALBERTO WILCHES –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Articles Editors ASHLEY C. ANDERSON KRISTEN N. KOVACICH ARLENE GALARZA STEVEN L. RIMMER NATALIE M. GAONA AMANDA M. SHAUGHNESSY-FORD ANAM A. JAVED DAMION M. YOUNG __________________________________________________________________ Staff Editors RAYMOND AUBELE AMY N. HUDACK JAMIE L. RICE CARLOS BACIO MEGAN A. LEE JAMIE L. TRAXLER HOPE C. BLAIN DANTE P. LOGIE BRANDON R. SALVATIERRA GEORGE E. BRIETIGAM DRAKE A. MIRSCH HANNAH B. STETSON KATHERINE A. BURGESS MARLENA MLYNARSKA SYDNEY L. WEST KYLEY S. CHELWICK NICHOLE N. MOVASSAGHI Faculty Advisor CELESTINE MCCONVILLE, Professor of Law CHAPMAN UNIVERSITY HAZEM H. CHEHABI ADMINISTRATION JEROME W. CWIERTNIA DALE E. FOWLER ’58 DANIELE C. STRUPPA BARRY GOLDFARB President STAN HARRELSON GAVIN S. HERBERT,JR. GLENN M. PFEIFFER WILLIAM K. HOOD Provost and Executive Vice ANDY HOROWITZ President for Academic Affairs MARK CHAPIN JOHNSON ’05 JENNIFER L. KELLER HAROLD W. HEWITT,JR. THOMAS E. MALLOY Executive Vice President and Chief SEBASTIAN PAUL MUSCO Operating Officer RICHARD MUTH (MBA ’05) JAMES J. PETERSON SHERYL A. BOURGEOIS HARRY S. RINKER Executive Vice President for JAMES B. ROSZAK University Advancement THE HONORABLE LORETTA SANCHEZ ’82 HELEN NORRIS MOHINDAR S. SANDHU Vice President and Chief RONALD M. SIMON Information Officer RONALD E. SODERLING KAREN R. WILKINSON ’69 THOMAS C. PIECHOTA DAVID W. -
Roberto Miranda Dewey Johnson
ENCORE played all those instruments and he taught those taught me.” instruments to me and my brother. One of the Miranda recalls that he made his first recording at ROBERTO favorite memories I have of my life is watching my age 21 with pianist Larry Nash and drummer Woody parents dance to Latin music. Man! That still is an “Sonship” Theus, who were both just 16 at the time. incredible memory.” The name of the album was The Beginning and it also Years later in school, his brother played percussion featured saxophonists Herman Riley and Pony MIRANDA in concert band and Miranda asked for a trumpet. All Poindexter and trumpeter Luis Gasca (who, under those chairs were taken, he was told, so he requested contract elsewhere, used a pseudonym). The drummer by anders griffen a guitar, but was told that was not a band instrument. became a dear friend and was instrumental in Miranda They did need bass players, however, so that’s when he ending up on a record with Charles Lloyd (Waves, Bassist Roberto Miranda has been on many musical first played bass but gave it up after the semester. The A&M, 1972), even though, as it was happening, adventures, performing and recording with his brothers had formed a band together in which Louis Miranda didn’t even know he was being recorded. mentors—Horace Tapscott, John Carter and Bobby played drum set and Roberto played congas. As “Sonship Theus was a very close friend of mine. Bradford and later, Kenny Burrell—as well as artists teenagers they started a social club and held dances. -
Muhammad Ali: an Unusual Leader in the Advancement of Black America
Muhammad Ali: An Unusual Leader in the Advancement of Black America The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Voulgaris, Panos J. 2016. Muhammad Ali: An Unusual Leader in the Advancement of Black America. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797384 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Muhammad Ali: An Unusual Leader in the Advancement of Black America Panos J. Voulgaris A Thesis in the Field of History for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 © November 2016, Panos John Voulgaris Abstract The rhetoric and life of Muhammad Ali greatly influenced the advancement of African Americans. How did the words of Ali impact the development of black America in the twentieth century? What role does Ali hold in history? Ali was a supremely talented artist in the boxing ring, but he was also acutely aware of his cultural significance. The essential question that must be answered is how Ali went from being one of the most reviled people in white America to an icon of humanitarianism for all people. He sought knowledge through personal experience and human interaction and was profoundly influenced by his own upbringing in the throes of Louisville’s Jim Crow segregation. -
Interactivity in Louisville Museums
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2013 Interactivity in Louisville museums. Robert Stephen Goforth 1983- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Goforth, Robert Stephen 1983-, "Interactivity in Louisville museums." (2013). Electronic Theses and Dissertations. Paper 509. https://doi.org/10.18297/etd/509 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. INTERACTIVITY IN LOUISVILLE MUSEUMS By Robert Stephen Goforth A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of History University of Louisville Louisville, Kentucky May 2013 INTERACTIVITY IN LOUISVILLE MUSEUMS By Robert Stephen Goforth A Thesis Approved on April 22, 2013 by the following Thesis Committee: ______________________________________ Daniel Vivian (Thesis Director) ______________________________________ A. Glenn Crothers ______________________________________ John P. Begley ii DEDICATION This thesis is dedicated to my grandparents Mr. Clyde Goforth and Mrs. Bobbie Joyce Goforth without whom this would not exist. iii ACKNOWLEDGMENTS I would like to thank my thesis adviser, Dr. Daniel Vivian, for his help with my thesis over the past year. -
The Songsof Laura Nyro
Misha Mengelberg, the idea was put forth that, Anthology (Intakt, 2006). Eberhard shows a continued aesthetically and conceptually, Thelonious Monk’s affinity for small groupings, manifest in a duet with music is from the mind of an “architect” while Herbie American pianist Dave Burrell, as well as the brace of Nichols’ is from that of a “painter”. Monk and Nichols twosomes here that emphasize different facets of her have both been favorites of Mengelberg in terms of craft. interpretation; by comparison, the pieces of the former On Singen Sollst Du..., the German goes head to are painstakingly constructed albeit whimsical in their head with up-and-coming Swiss drummer Alex Huber relationships while the latter’s work is brushy and across a set of 13 short extemporizations. Even from gestural - Alexander Calder versus Willem de Kooning. the first, where Huber’s annunciatory tattoo rattles as Live at Glenn Miller Café A fellow linchpin of European improvisation, if he has chains draped across his drumheads, there is Noah Howard Quartet (JaZt TAPES) German pianist Alexander von Schlippenbach, who a clear sense of exploratory zeal. Eberhard demonstrates by Ken Waxman turns 75 this month, has brought Monk’s music into her credentials as an accomplished free jazz expressive play for decades, whether as a soloist, with saxophonist, deploying a litany of fraying overtones, More than a typical nightclub set, the untitled tracks a trio or in the context of the Globe Unity Orchestra. vocalized inflections, gruff honks and overblown that make up this passionate and high-quality The apex of Schlippenbach’s engagement was Monk’s shrieks to magnificent effect. -
Annual Report 2015
ANNUAL REPORT 2015 4 Muhammad Ali Center AS WE LOOK BACK ACROSS 10 YEARS OF PROGRESS Dear Friends, The year 2015 marked the tenth anniversary of the opening of the Muhammad Ali Center and the realization of a vision Muhammad and I shared to inspire people to be their best, believe in their dreams and pursue those dreams with passion and conviction. We also envisioned the Center to be one that called upon Muhammad’s core principles to encourage visitors to become good global citizens and carry on Muhammad’s legacy of finding common ground with others, while actively pursuing humanitarian opportunities to create a better world for all people. Like the “Lighthouse” Muhammad often drew, we want the Muhammad Ali Center to be a personal symbol of global understanding, that welcomes everyone to share in Muhammad’s vision of hope for building a better world, united under our common Annual Report 2015 banner of humanity. In this report, you will read about our humanitarian programs and activities. You’ll discover how these initiatives are inspired by Muhammad’s six core principles: Confidence, Conviction, Dedication, Giving, Respect and Spirituality. We feel a tremendous debt of gratitude to all who have shared our vision and have supported us over the past ten years. The great citizens of Louisville and Kentucky helped open the Muhammad Ali Center and we will always be grateful. The friendship and support of good friends and dedicated fans around the world have helped make the Muhammad Ali Center a global gathering place that has welcomed guests from more than 5 100 countries. -
Milton Friedman, Anna Schwartz, and a Monetary History of the US
Milton Friedman, Anna Schwartz, and A Monetary History of the US Thomas S. Coleman∗ Draft – February 21, 2019 PEOPLE: Milton Friedman, Anna Schwartz RELATED: Inflation, monetary stimulus, Quantitative Easing DATES: A Monetary History of the United States, 1867-1960 was published in 1963. Friedman and Schwarz’s book was preceded and followed by substantial work on monetary policy and monetary history. CHICAGO: Milton Friedman is one of the best-known economists to have taught at University of Chicago. Anna Schwartz was Friedman’s co-author and collaborator, associated with the NBER REFERENCES: A Monetary History of the United States, 1867-1960, particularly chapter 7 VIGNETTE Milton Friedman and Anna Schwartz published their book A Monetary History of the United States in 1963; in doing so re-wrote monetary theory and history. In fact, it is only something of an exaggeration to say their research saved the world during the 2008 financial crisis. To see why we need to delve into monetary history, starting with the financial crisis and depression of 1907-08, following the thread through the founding of the Federal Reserve in 1913, the 1930s Great Depression, Friedman and Schwartz’s revisions of monetary history (1960s), Ben Bernanke’s acknowledgement (in 2002) of the Fed’s role in creating the 1930s Great Depression, and finally the Fed’s 2008 response with QE1’s massive liquidity injection. Understanding the role of banks, money, and the Fed ties together the three episodes (the 1907-08 depression, the 1930s Great Depression, and the 2008 financial crisis) and illuminates how and why these differed.