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Vocal Jazz in the Choral Classroom: a Pedagogical Study
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2019 Vocal Jazz in the Choral Classroom: A Pedagogical Study Lara Marie Moline Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Moline, Lara Marie, "Vocal Jazz in the Choral Classroom: A Pedagogical Study" (2019). Dissertations. 576. https://digscholarship.unco.edu/dissertations/576 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 LARA MARIE MOLINE ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School VOCAL JAZZ IN THE CHORAL CLASSROOM: A PEDAGOGICAL STUDY A DIssertatIon SubMItted In PartIal FulfIllment Of the RequIrements for the Degree of Doctor of Arts Lara Marie MolIne College of Visual and Performing Arts School of Music May 2019 ThIs DIssertatIon by: Lara Marie MolIne EntItled: Vocal Jazz in the Choral Classroom: A Pedagogical Study has been approved as meetIng the requIrement for the Degree of Doctor of Arts in College of VIsual and Performing Arts In School of Music, Program of Choral ConductIng Accepted by the Doctoral CoMMIttee _________________________________________________ Galen Darrough D.M.A., ChaIr _________________________________________________ Jill Burgett D.A., CoMMIttee Member _________________________________________________ Michael Oravitz Ph.D., CoMMIttee Member _________________________________________________ Michael Welsh Ph.D., 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 Research and Sponsored Projects ABSTRACT MolIne, Lara Marie. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 - ) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. Then Edward Alan Hendricks came next. -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 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. -
View Was Provided by the National Endowment for the Arts
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JON HENDRICKS NEA Jazz Master (1993) Interviewee: Jon Hendricks (September 16, 1921 – November 22, 2017) and, on August 18, his wife Judith Interviewer: James Zimmerman with recording engineer Ken Kimery Date: August 17-18, 1995 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 95 pp. Zimmerman: Today is August 17th. We’re in Washington, D.C., at the National Portrait Galley. Today we’re interviewing Mr. Jon Hendricks, composer, lyricist, playwright, singer: the poet laureate of jazz. Jon. Hendricks: Yes. Zimmerman: Would you give us your full name, the birth place, and share with us your familial history. Hendricks: My name is John – J-o-h-n – Carl Hendricks. I was born September 16th, 1921, in Newark, Ohio, the ninth child and the seventh son of Reverend and Mrs. Willie Hendricks. My father was a minister in the African Methodist Episcopal Church, the AME Church. Zimmerman: Who were your brothers and sisters? Hendricks: My brothers and sisters chronologically: Norman Stanley was the oldest. We call him Stanley. William Brooks, WB, was next. My sister, the oldest girl, Florence Hendricks – Florence Missouri Hendricks – whom we called Zuttie, for reasons I never For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 really found out – was next. Then Charles Lancel Hendricks, who is surviving, came next. Stuart Devon Hendricks was next. Then my second sister, Vivian Christina Hendricks, was next. -
2016 Featured Musician: Benny Carter 100 S
Bimonthly Publication of the Central Florida Jazz Society BLUE MAR/APR 2016 VOLUME 20, ISSUE 1 NOTES Jazz Appreciation Month (fondly known as “JAM”) was created at the Smithsonian National Benny Carter, known simply as “King” to his fellow Museum of American musicians, was a largely self-taught musician who History in 2002 to herald became one of founding fathers of big band swing and celebrate the music. Early in his career, Carter arranged and extraordinary heritage and composed scores for Fletcher Henderson, Benny history of jazz for the entire Goodman, Chick Webb, and McKinney’s Cotton month of April. JAM is Pickers, as well as for his own highly respected intended to stimulate and orchestras. Carter was also known as a pioneer in encourage people of all breaking down racial boundaries in jazz. In 1937, ages to participate in jazz – Carter led the first interracial, multi-national to study the music, attend orchestra while living in Europe. After his three-year concerts, listen to jazz on residency in Europe, which was dedicated to radio and recordings, read spreading jazz throughout the continent, Carter books about jazz, and settled down in Los Angles, where he become one of more. the first African Americans to compose music for films and television. The main message of JAM is that jazz is for http://americanhistory.si.edu/smithsonian-jazz/jazz-appreciation-month everyone, everywhere. The Jazz Journalists May 15 Association is working with local jazz organizations to John Orsini Sax Quartet name “Jazz Heroes” in The swinging-est jazz arrangements you’ll hear anywhere! some two dozen cities and regions around the U.S. -
Vocalese” in the Class of FLE
International Journal of Innovative Technology and Exploring Engineering (IJITEE) ISSN: 2278-3075, Volume-8, Issue- 6S4, April 2019 The Concept of “Vocalese” in the Class of FLE Cynthia George Abstract— “Music is a world within itself a language we all To structure a formative and fun FLE course through understand “– Steve Wonder. According to these words if this the exploitation of a song aiming at functional, language called “Music” can be used in the teaching of a foreign linguistic and socio cultural objectives. language it justifies the words of Plato “Music is a more potent instrument than any other form of education because rhythm and Why use songs? Why music? harmony find their way into the inward places of the soul”. This Music is a therapy. It is just a communication article aims To highlight the advantages of “Vocalese” in the significantly more powerful when compared with words, teaching of French as a foreign langue (FLE) – Francais alot more immediate and much more efficient” – Yehudi Langue Etrangere and to structure a formative and fun FLE Menuhin course through the exploitation of a song aiming at functional, Inclusion of music/ songs into the teaching methodology linguistic and socio cultural objectives. Why use songs? Why is one of the best ways to teach any foreign language music? Music is a therapy. It is a communication far more powerful than words, far more immediate and far more efficient” because – Yehudi Menuhin. Having understood well the advantages of 1. Music creates positive vibes in the class using songs in the teaching of FLE, let us now analyze the 2. -
JAZZ: a Regional Exploration
JAZZ: A Regional Exploration Scott Yanow GREENWOOD PRESS JAZZ A Regional Exploration GREENWOOD GUIDES TO AMERICAN ROOTS MUSIC JAZZ A Regional Exploration Scott Yanow Norm Cohen Series Editor GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data Yanow, Scott. Jazz : a regional exploration / Scott Yanow. p. cm. – (Greenwood guides to American roots music, ISSN 1551-0271) Includes bibliographical references and index. Discography: p. ISBN 0-313-32871-4 (alk. paper) 1 . Jazz—History and criticism. I. Title. II. Series. ML3508.Y39 2005 781.65'0973—dc22 2004018158 British Library Cataloguing in Publication Data is available. Copyright © 2005 by Scott Yanow All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2004018158 ISBN: 0-313-32871-4 ISSN: 1551-0271 First published in 2005 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10 9 8 7 6 5 4 3 2 1 Contents Series Foreword vii Preface xi Chronology xiii Introduction xxiii 1. Sedalia and St. Louis: Ragtime 1 2. New Orleans Jazz 7 3. Chicago: Classic Jazz 15 4. New York: The Classic Jazz and Swing Eras 29 5. Kansas City Swing, the Territory Bands, and the San Francisco Revival 99 6. New York Bebop, Latin, and Cool Jazz 107 7. -
Graduate Lecture Recital: the Art of the Vocalese Hannah Martin
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-6-2019 Graduate Lecture Recital: The Art of the Vocalese Hannah Martin Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Martin, Hannah, "Graduate Lecture Recital: The Art of the Vocalese" (2019). All Concert & Recital Programs. 6030. https://digitalcommons.ithaca.edu/music_programs/6030 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. The Art of the Vocalese Graduate Lecture Recital Hannah Martin, jazz voice Emmett Scott, piano Zane Carnes, bass Jacob Graham, percussion Nabenhauer Recital Room Saturday, April 6th, 2019 8:15 pm Program Lecture: The Art of the Vocalese Intermission Moody's Mood for Love Composer: Jimmy McHugh Soloist: James Moody Lyricist: Eddie Jefferson Yardbird Suite Composer: Charlie Parker Soloist: Charlie Parker Lyricist: Bob Dorough In Walked Jon Composer: Thelonious Monk Soloist: Jon Hendricks Lyricist: Hannah Martin Goodbye Pork Pie Hat Composer: Charles Mingus Lyricist: Joni Mitchell Those Clouds Are Heavy, You Dig? Composer: Dave Inspired by Dave Brubeck's "Balcony Rock" Brubeck Soloist: Paul Desmond Lyricist: Kurt Elling Jackie Composer: Hampton Hawes Soloist: Wardell Grey Lyricist: Annie Ross Arr. New York Voices This recital is in fulfillment of the degree M.M. in Vocal Performance. Hannah Martin is from the studios of Dr. Ivy Walz & Kim Nazarian.. -
How Mimi Perrin Translated Jazz Instrumentals Into French Song
BENJAMIN GIVAN How Mimi Perrin Translated Jazz Instrumentals into French Song “Just like the th at the beginning of they and at the beginning of theater.” “What’s different about the sound of theater and they?” “Say them again and listen. One’s voiced and the other’s unvoiced, they’re as distinct as V and F; only they’re allophones—at least in British English; so British- ers are used to hearing them as though they were the same phoneme.” —Samuel R. Delany, Babel- 171 —Prenez par exemple, en français, le C de cure et de constitution. —Quelle est la différence? —Répétez chaque mot en vous écoutant bien. Le premier est palatal, articulé sur le sommet du palais, et le second vélaire, sur le voile du palais. Il s’agit simplement de variantes combinatoires dues à l’environnement. —Samuel R. Delany, Babel- 17, translated by Mimi Perrin2 Translating prose from one language to another can often be a thorny task, especially with a text, such as the above extract from Samuel R. Delany’s Babel- 17, whose meaning or literary effect is inseparable from its voiced sound. For the French edition of this 1966 science fiction novel, its translator, Mimi Perrin (1926–2010), had little choice but to completely recompose Delany’s paragraph. Where the English original contrasts “they” with “theater” to illustrate voiced and unvoiced phonemes, she instead cites the French words cure and constitution to demonstrate palatal and velar pronunciations of the consonant c, meanwhile omitting Dela- ny’s comparison of American and British English. To convey the author’s argument about interlingual phonetic perception, she had to forgo his text’s literal word- for- word meaning and transpose its fictional setting Benjamin Givan is associate professor of music at Skidmore College. -
2009 Festival Brochure
ELEVENTH ANNUAL Artisitc Director Jessica Felix James Moody Quartet with special guest Marlena Shaw Randy Weston’s African Rhythms BAy AReA LegendS: Denny Zeitlin - Solo Piano John Handy and the Bay Area Melding Pot Stars of BraziL: Toninho Horta trio with special guest Airto Trio da Paz Leny Andrade with Stephanie ozer esperanza Spalding Quartet Julian Lage group oakland interfaith gospel Choir Richard Howell Quintet Montclair Women’s Big Band Rising Stars Concert with Debbie Poryes trio Jason Bodlovich Quartet Noam Lemish Quintet Jazz tastings – music and wine pairings at tasting rooms around the Plaza and many more performers... Painting (detail): Robin Eschner WWW . HEALDSBURGJAZZFESTIVAL . ORG M A J O R S P O NS or S OFF I C ia L S P O NS or S SA SYST O EM R S A , T I N N C A . S T SRS O S T N A O L I E T Q U U OL IPMENT S BU S I N E SS S P O NS or S HEALDSBURG LODGING GRAPHITE STUDI O COALITION CO MM UNICAT I O N D E S I G N official airline sponsor TA S TI N G R O O M SP O NS OR S GRA N TI N G A G E NC IE S Artiste Winery Steinway Pianos Provided by Bottle Barn/Wine Annex Sherman Clay San Francisco, Topel Winery CA T HE H EALDSBURG J AZZ F ES T IVAL , I NC . IS A 5 0 1 ( C ) ( 3 ) NON - PRO F I T ORGANIZAT ION Friday, May 8: “Havana Nights” Healdsburg Jazz Festival Gala Dinner, Dance, and Auction Celebrating the 11th Anniversary of the Healdsburg Jazz Festival with wine, food, music, and a fund-raising auction to the benefit the Festival’s Education Program. -
Eva Lise Haaland Krokan Haaland Lise Eva
Sangeren i vokalensemblet i Sangeren Eva Lise Haaland Krokan Haaland Lise Eva NTNU Norges teknisk-naturvitenskapelige universitet Det humanistiske fakultet Masteroppgave Institutt for musikk Trondheim, april2015 Trondheim, imusikkvitenskap Masteroppgave sangerkollektivet dimensjoneri ogsosiale Om musikalske ivokalensemblet Sangeren LiseHaalandKrokan Eva Innholdsfortegnelse INNHOLDSFORTEGNELSE ............................................................................................................... i SAMMENDRAG .................................................................................................................................. iii FORORD ................................................................................................................................................. v INTRODUKSJON ............................................................................................................................... vii I. PRESENTASJON AV TEMA ............................................................................................................... vii Overordnede problemstilling og forskningsspørsmål ................................................................... ix Begrepsavklaringer .......................................................................................................................... x Oppgavens oppbygging ................................................................................................................ xii II. LITTERATUR ................................................................................................................................ -
Annie Ross Sing a Song
MARCH 2014 - ISSUE 143 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ANNIE ROSS SING A SONG... WOMEN IN JAZZ ISSUE BARBARA • INGRID • BERTHA • FIREHOUSE • EVENT CARROLL LAUBROCK HOPE 12 CALENDAR ON THE COVER ANNIE ROSS P h o t o b SING A SONG... y A l a n by Anders Griffen N a h i g i a n Over the course of her almost 80-year performing her aunt, singer Ella Logan, probably best known for “I never practiced. I would just learn the song, then career, Annie Ross has been faceted and fascinating, her 1947 lead performance in Finian’s Rainbow. Ross work it,” she says, “Someone said ‘it’s a process.’ I which can be seen and heard weekly at the Metropolitan traveled with her aunt to her home in Los Angeles and don’t subscribe to the new terms. Learn a tune and Room. While appearing in stage productions, in movies soon after her arrival won a radio contest run by none know what the words mean. Convince the audience and on television, Ms. Ross is recognized as one of the other than Paul Whiteman, which led to her appearance they’re listening to a story, sing things that weren’t great jazz singers of all time. With rare range, dexterity in an episode of Our Gang in 1938, where she put on a familiar to the public and get a reaction.” The group and personality, she makes it seem easy. In 1959, spirited performance of “The Bonnie Banks o’ Loch made seven successful albums and won several awards Johnny Mandel, composer and longtime Count Basie Lomond”.