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Ngaraya: Women and Musical Mastery in Mali
Bulletin of SOAS, 70, 3 2007), 569±602. E School of Oriental and African Studies. Printed in the United Kingdom. Ngaraya: Women and musical mastery in Mali Lucy DuraÂn School of Oriental and African Studies [email protected] Abstract This article aims to contribute to an understanding of the evaluation of musical artistry in Africa, through Mali as a case study. The discussion focuses on the informal discourses of the occupational group of Mande artisan-musicians known as jeli pl. jeliw, jalilu), concerning the ideal of musical greatness, signified by the polysemic term ngaraya; while there is consensus about the ideal, there is much debate about who qualifies. Drawing on extensive interviews and fieldwork with leading jeliw over the past twenty years, it pays special attention to the views of and about Malian women singers, who since the 1980s have ± somewhat controversially, as explored here ± been the ``stars'' on the home scene. The article shows how local discourses challenge the widely accepted view that only men are the true masters ngaraw). Many women jeli singers jelimusow) have a special claim to ngaraya, and some also seek to position themselves within the canon, as they increasingly move into centre-stage of Malian popular culture. The importance of learning directly from senior master jeliw remains a core issue in the evaluation of ngaraya for both men and women, encapsulated in the phrase ``the true ngaraw are all at home''. Introduction An important part of any musical culture is the recognition of certain artists as being exceptional in some way. This article looks at the informal discourses of the occupational group of artisan-musicians known as jeli among the Mande peoples of West Africa, concerning the evaluation of musical greatness, known in core Mande languages as ngaraya. -
88-Page Mega Version 2016 2015 2014 2013 2012 2011 2010
The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! 88-PAGE MEGA VERSION 2017 2016 2015 2014 2013 2012 2011 2010 COMBINED jazz & blues report jazz-blues.com The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! INDEX 2017 Gift Guide •••••• 3 2016 Gift Guide •••••• 9 2015 Gift Guide •••••• 25 2014 Gift Guide •••••• 44 2013 Gift Guide •••••• 54 2012 Gift Guide •••••• 60 2011 Gift Guide •••••• 68 2010 Gift Guide •••••• 83 jazz &blues report jazz & blues report jazz-blues.com 2017 Gift Guide While our annual Gift Guide appears every year at this time, the gift ideas covered are in no way just to be thought of as holiday gifts only. Obviously, these items would be a good gift idea for any occasion year-round, as well as a gift for yourself! We do not include many, if any at all, single CDs in the guide. Most everything contained will be multiple CD sets, DVDs, CD/DVD sets, books and the like. Of course, you can always look though our back issues to see what came out in 2017 (and prior years), but none of us would want to attempt to decide which CDs would be a fitting ad- dition to this guide. As with 2016, the year 2017 was a bit on the lean side as far as reviews go of box sets, books and DVDs - it appears tht the days of mass quantities of boxed sets are over - but we do have some to check out. These are in no particular order in terms of importance or release dates. -
San Quentin News
San Quentin News THE PULSE OF SAN QUENTIN Award Winner VOL. 2014 NO.6 June 2014 SAN QUENTIN, CALIFORNIA 94964 www.sanquentinnews.com POPULATION 3,873 Amala Foundation Promotes Global Peace Inside S.Q. By Juan Haines Managing Editor May 25 was not a typical Sunday on San Quentin’s Lower Yard. Amid the morning ten- nis matches and basket- ball games that inmates play against the Bay Area community, dozens of Texans came to walk laps and raise funds in support of children who have endured trying times. The originators of the Photo by Sam Robinson fundraiser are inmates Photo by Michael Nelson Al Serrato, Stephen Wagstaffe and Tom Nolan Stephen Pascascio, Sam Johnson, Dwight Kriz- San Quentin band performs for the audience man and Gino Sevacos. San Mateo D.A. It was the fourth one held at San from Amala Foundation walked conversations. Quentin. the fi rst lap in silence as the soft “After walking a couple of “I met Vanessa Stone six years sounds of Love is Space, a de- laps with an inmate and talking, Discusses Criminal ago,” Pascascio said. “When I votional song by Deva Premal, sometimes you get this knowl- asked her what she does, she said fi lled the air. edge and experience that’s un- that she raises money for trau- Upon completing the lap, Justice Policy matized kids around the world. walkers engaged in intimate See Commemor. on Page 10 When I brought the fundraising San Quentin News’ fi fth Fo- nals. idea to the administration, they rum featured San Mateo County Introducing themselves, each were fully on board. -
15.1 Introduction 15.2 West African Oral and Written Traditions
Name and Date: _________________________ Text: HISTORY ALIVE! The Medieval World 15.1 Introduction Medieval cultures in West Africa were rich and varied. In this chapter, you will explore West Africa’s rich cultural legacy. West African cultures are quite diverse. Many groups of people, each with its own language and ways of life, have lived in the region of West Africa. From poems and stories to music and visual arts, their cultural achievements have left a lasting mark on the world. Much of West African culture has been passed down through its oral traditions. Think for a moment of the oral traditions in your own culture. When you were younger, did you learn nursery rhymes from your family or friends? How about sayings such as “A penny saved is a penny earned”? Did you hear stories about your grandparents or more distant ancestors? You can probably think of many ideas that were passed down orally from one generation to the next. Kente cloth and hand-carved Suppose that your community depends on you to furniture are traditional arts in West remember its oral traditions so they will never be Africa. forgotten. You memorize stories, sayings, and the history of your city or town. You know about the first people who lived there. You know how the community grew, and which teams have won sports championships. On special occasions, you share your knowledge through stories and songs. You are a living library of your community’s history and traditions. In parts of West Africa, there are people whose job it is to preserve oral traditions and history in this way. -
Bassekou Kouyate and Ngoni Ba
Thursday Evening, October 20, 2011, at 8:30 Bassekou Kouyate and Ngoni Ba Bassekou Kouyate , Ngoni Barou Kouyate , Ngoni Fousseyni Kouyate , Bass Ngoni Mousa Bah , Ngoni Ba Amy Sacko , Vocals Alou Coulibaly , Calabash Moussa Sissoko , Tamani and Yabara This performance is approximately 75 minutes long and will be performed without intermission. Target is proud to sponsor Target ® Free Thursdays at the David Rubenstein Atrium at Lincoln Center. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Rubenstein Atrium Please make certain your cellular phone, pager, or watch alarm is switched off. WhiteLightFestival.org 39 The White Light Festival is sponsored by Time Upcoming White Light Festival Events: Warner Inc. Friday Evening, October 21 , at 8:00, Additional support for the White Light Festival is in Avery Fisher Hall provided by The Fan Fox and Leslie R. Samuels London Symphony Orchestra Foundation, Inc. and Logicworks. Sir Colin Davis , Conductor Helena Juntunen , Soprano Endowment support is provided by the American Sarah Connolly , Mezzo-soprano Express Cultural Preservation Fund. Paul Groves , Tenor Matthew Rose , Bass MetLife is the National Sponsor of Lincoln Center . London Symphony Chorus BEETHOVEN: Missa solemnis First Republic Bank is the Official Sponsor of the Pre-concert lecture by Benjamin Sosland at 6:45 in Fashion Lincoln Center Online Experience. the Stanley H. Kaplan Penthouse Movado is an Official Sponsor of Lincoln Center . Saturday Morning, October 22, from 11:00 to 12:30, in the Stanley H. Kaplan Penthouse United Airlines is the Official Airline of Lincoln Center . Conversations: The Self John Schaefer , Moderator WABC-TV is the Official Broadcast Partner of Jennifer Koh , Violin Lincoln Center. -
West Africa Manual English
Manual Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru ments GmbH. Mac, macOS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other trademarks are the property of their respective owners and use of them does not imply any affiliation with or endorsement by them. Document authored by: Adam Hanley Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc. Schlesische Str. 29-30 6725 Sunset Boulevard D-10997 Berlin 5th Floor Germany Los Angeles, CA 90028 www.native-instruments.de USA www.native-instruments.com NATIVE INSTRUMENTS K.K. NATIVE INSTRUMENTS UK Limited YO Building 3F 18 Phipp Street Jingumae 6-7-15, Shibuya-ku, London EC2A 4NU Tokyo 150-0001 UK Japan www.native-instruments.co.uk www.native-instruments.co.jp NATIVE INSTRUMENTS FRANCE SARL SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 113 Rue Saint-Maur 5F, Shenzhen Zimao Center 75011 Paris 111 Taizi Road, Nanshan District, Shenzhen, Guangdong France China www.native-instruments.com www.native-instruments.com © NATIVE INSTRUMENTS GmbH, 2018. -
Downbeat.Com November 2015 U.K. £4.00
NOVEMBER 2015 2015 NOVEMBER U.K. £4.00 DOWNBEAT.COM DOWNBEAT JOHN SCOFIELD « DEE DEE BRIDGEWATER « AARON DIEHL « ERIK FRIEDLANDER « FALL/WINTER FESTIVAL GUIDE NOVEMBER 2015 NOVEMBER 2015 VOLUME 82 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ĺDQHWDÎXQWRY£ Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Stephen Hall Editorial Intern Baxter Barrowcliff 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] Classified Advertising Sales Sam Horn 630-941-2030 [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; -
ONE MAN, TWO GUVNORS by Richard Bean Based on the Servant of Two Masters by Carlo Goldoni with Songs by Grant Olding Hugh Landwehr Meg Neville Alexander V
52nd Season • 492nd Production SEGERSTROM STAGE / SEPTEMBER 11 - OCTOBER 11, 2015 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS South Coast Repertory, in a co-production with Berkeley Repertory Theatre, presents the West Coast premiere of ONE MAN, TWO GUVNORS by Richard Bean based on The Servant of Two Masters by Carlo Goldoni with songs by Grant Olding Hugh Landwehr Meg Neville Alexander V. Nichols Lindsay Jones SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN Gerry McIntyre* Joshua Marchesi Joanne DeNaut, CSA Jennifer Ellen Butler* MUSICAL STAGING PRODUCTION MANAGER Amy Potozkin, CSA STAGE MANAGER CASTING musical direction by Gregg Coffin directed by David Ivers Joan and Andy Fimiano Honorary Producers U.S. Bank Corporate Honorary Producers ONE MAN, TWO GUVNORS was first performed at Lyttelton Theatre, National Theatre on 17th May 2011 in a National Theatre production. It then transferred to the Adelphi Theatre and then to Theatre Royal Haymarket in a National Theatre production. ONE MAN, TWO GUVNORS was first performed at Music Box Theatre, New York on 6th April 2012. The original Broadway production was produced by Bob Boyett, National Theatre of Great Britain under the direction of Nicholas Hytner and Nick Starr, National Angels, Chris Harper, Tim Levy, Scott Rudin, Roger Berlind, Harriet Leve, Stephanie P. McClelland, Broadway Across America, Daryl Roth, Jam Theatricals, Sonia Friedman, Harris Karma, Deborah Taylor, Richard Willis. ONE MAN, TWO GUVNORS is presented by special arrangement with Dramatists Play Service, Inc., New York. One Man, Two Guvnors • SOUTH COAST REPERTORY • P1 CAST OF CHARACTERS Stanley ......................................................................................... -
" African Blues": the Sound and History of a Transatlantic Discourse
“African Blues”: The Sound and History of a Transatlantic Discourse A thesis submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Saul Meyerson-Knox BA, Guilford College, 2007 Committee Chair: Stefan Fiol, PhD Abstract This thesis explores the musical style known as “African Blues” in terms of its historical and social implications. Contemporary West African music sold as “African Blues” has become commercially successful in the West in part because of popular notions of the connection between American blues and African music. Significant scholarship has attempted to cite the “home of the blues” in Africa and prove the retention of African music traits in the blues; however much of this is based on problematic assumptions and preconceived notions of “the blues.” Since the earliest studies, “the blues” has been grounded in discourse of racial difference, authenticity, and origin-seeking, which have characterized the blues narrative and the conceptualization of the music. This study shows how the bi-directional movement of music has been used by scholars, record companies, and performing artist for different reasons without full consideration of its historical implications. i Copyright © 2013 by Saul Meyerson-Knox All rights reserved. ii Acknowledgements I would like to express my utmost gratitude to my advisor, Dr. Stefan Fiol for his support, inspiration, and enthusiasm. Dr. Fiol introduced me to the field of ethnomusicology, and his courses and performance labs have changed the way I think about music. -
Growing Into Music in Mali: Perspectives on Informal Learning
Growing into music in Mali: perspectives on informal learning from West Africa By Lucy Durán, SOAS, University of London Chapter in Economidou, Natassa, and Stakelum, Mary (eds). European Perspectives on Music Education vol. 4: every learner counts. Innsbruck: Helbling Verlag (2015), pp. 49-64 Photo caption Adama Diarra (balafon, right) leads a rehearsal at home with his children and nephews including Waly Coulibaly (balafon, left), and Thierre Diarra (djembe, left). Photo: Lucy Duran, Bamako, March 2015 Abstract Despite the fact that Mali is famous for its musical traditions, some of which date back to the 13th century, very little research has been done on the passing down of musical knowledge from one generation to the next. Yet surely this is a key to understanding how these oral musics have survived into the 21st century with such vigour. In this chapter I reflect on how children within specialist Malian musical families (jelis, also known as as griots) acquire musical skills. The chapter draws on many years of research in the region, particularly between 2009 to 2012 when I engaged in a film-based project entitled ‘Growing into music – musical enculturation in oral traditions’. There is a small but growing ethnomusicological literature documenting aspects of childhood musicality in Africa (see Rice 2003, Campbell & Wiggins 2013), but almost nothing on Mali except for passing comments in Charry (2000). I am inspired by the idea of ‘enskilment’, a term from anthropology, first used by Gísli Pálsson in his study of apprenticeship in Icelandic fishing (Pálsson 1994), and since taken up by others including Tim Ingold (2000) and Trevor Marchand (2010, 2015) writing about the acquisition of artisanal skills. -
Habib Koite Study Guide 0809.Indd
2008-2009 Season SchoolTime Study Guide Habib Koité and Bamada Friday, April 3, 2009 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime! On Friday, April 3, 2009, at 11 am, your class will attend a performance of Habib Koité and Bamada. Considered Mali’s greatest pop star, Habib Koité integrates elements of Western folk, rock, jazz and blues into music inspired by his homeland of Mali in West Africa. With Mr. Koité on guitar and his band Bamada playing traditional African as well as contemporary instruments, the musicians celebrate Mali’s diverse musical and cultural landscape. Using This Study Guide This study guide will enrich your fi eld trip to Zellerbach Hall by engaging your students more deeply with the performance. Prior to the show, we encourage you to: • Copy the student resource sheet on page 2 & 3 and hand it out to your students several days before the show. • Discuss the information on pages 4- 5 About the Performance and the Artists. • Read About the Art Form on page 6 and About Mali sections on page 8. • Engage your students in two or more of the activities on pages 11-12. • Refl ect with your students by asking the guiding questions, found on pages 2, 4, 6 & 8. • Familiarize students further with the art form by using the glossary and resource sections on pages 12-13. At the performance: Your students can actively participate during the performance by: • OBSERVING how the musicians work together to communicate with their music • LISTENING to the harmonies, rhythms and lyrics of the songs • THINKING ABOUT how history, culture, and ideas can be expressed through music • MARVELLING at the sounds, sights, and performance skills experienced at the theater • REFLECTING on the history and culture of Mali We look forward to seeing you at SchoolTime! SchoolTime Habib Koité and Bamada | III Table of Contents 1. -
The Global Origins of Atlantic Slavery and the African Diaspora
Mapping the Beat: A Geography through Music Curriculum ArtsBridge America Center for Learning through the Arts and Technology, UC Irvine Funded by National Geographic Education Foundation This curriculum unit for Mapping the Beat: A Geography through Music Curriculum was developed by the ArtsBridge America program at the University of California, San Diego with support from a grant from the National Geographic Education Foundation. The original curriculum was compiled by Dr. Nina Eidsheim and William Boyer (2002). The extended unit below was created by Dr. Timothy Keirn and the ArtsBridge America program at the California State University, Long Beach (2009). Music Extension and classroom worksheets created by Sarah Tochiki, Lawrence University ArtsBridge scholar (2006). Curriculum complied by Jasmine Yep for the UCI Center for Learning through the Arts and Technology. Other on-line resources, videos and lesson plans complied by the UC Irvine Center for Learning through the Arts and Technology are available at: http://www.clat.uci.edu/. LESSON: THE GLOBAL ORIGINS OF ATLANTIC SLAVERY AND THE AFRICAN DIASPORA Included in this document are: Part I: Lesson Part II: Music Extension Part II: On-line Resources for use with Lesson Part III: Supporting Materials Part IV: Classroom Handouts, Worksheets and Visuals PART I: LESSON Mapping the Beat Fifth Grade Lesson: The Global Origins of Atlantic Slavery and the African Diaspora LESSON OBJECTIVE To identify how characteristics of different physical and social environments placed constraints on the creation of music among African Slaves in the United States and recognize parallel changes in their own lives. Ideally a banjo player would be invited to perform as part of this lesson.