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LOVE CHILD and ROOTS Creating Two Albums with Original Compositions and Arrangements for Trio and Quartet
96 | LOVE CHILD AND ROOTS – Creating two albums with original compositions and arrangements for trio and quartet LOVE CHILD AND ROOTS Creating two albums with original compositions and arrangements for trio and quartet By Torben Bjørnskov, assoc. professor, RAMA Why compose? and a main reason for me to compose, other In my musical career I mainly worked as a than the fact that I love doing it. sideman playing in other musicians’ groups playing other musicians’ compositions. In a way you can say that a personal sound When you are asked to play in different is a gift, great musical skills are a gift too, constellations there might be a wide range but something you can work on in a very of reasons why you are asked. concrete and professional way. Developing I want to focus on two that I find important a personal style for some is something that for this article. comes natural, for others something that 1. Your specific style of playing and perso- develops and changes over time. nal sound. When I compose, I seek to compose music 2. Your ability to play a certain genre and that I feel comfortable playing but also contribute to the overall band sound. music that I can relate to on as many levels as possible: harmonically, groove-wise, So my main issues here are how to develop emotionally, style-wise etc. Especially, I a personal style and find the most fruitful try to develop music that helps me define a way to express music, having developed all- more personal sound and style of playing, round musical skills. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON School of Humanities: Music Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Thesis for the degree of Doctor of Philosophy October 2012 i UNIVERSITY OF SOUTHAMPTON ABSTRACT Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Josef Zawinul (1932-2007) holds a rare place in the world of jazz in view of the fact that as a European he forged a long and distinguished musical career in America. Indeed, from a position of relative obscurity when he arrived in New York in 1959, he went on to become one of contemporary jazz’s most prolific and commercially successful composers. The main focus of this dissertation will be Zawinul’s rise to prominence in American jazz during the 1960s and 1970s. -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
"Eustace the Monk" and Compositional Techniques
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 An original composition, Symphony No. 1, "Eustace the Monk" and compositional techniques used to elicit musical humor Samuel Howard Stokes Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Stokes, Samuel Howard, "An original composition, Symphony No. 1, "Eustace the Monk" and compositional techniques used to elicit musical humor" (2013). LSU Doctoral Dissertations. 1053. https://digitalcommons.lsu.edu/gradschool_dissertations/1053 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AN ORIGINAL COMPOSITION, SYMPHONY NO. 1, "EUSTACE THE MONK" AND COMPOSITIONAL TECHNIQUES USED TO ELICIT MUSICAL HUMOR A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements of the degree of Doctor of Philosophy in The School of Music by Samuel Stokes B.M., University of Central Missouri, 2002 M.A., University of Central Missouri, 2005 M.M., The Florida State University, 2006 May 2013 ACKNOWLEDGMENTS I would like to thank Dinos Constantinides for his valuable guidance and enthusiasm in my development as a composer. He has expanded my horizons by making me think outside of the box while leaving me enough room to find my own compositional voice. -
Emily Dickinson in Song
1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others. -
A Piece of History
A Piece of History Theirs is one of the most distinctive and recognizable sounds in the music industry. The four-part harmonies and upbeat songs of The Oak Ridge Boys have spawned dozens of Country hits and a Number One Pop smash, earned them Grammy, Dove, CMA, and ACM awards and garnered a host of other industry and fan accolades. Every time they step before an audience, the Oaks bring four decades of charted singles, and 50 years of tradition, to a stage show widely acknowledged as among the most exciting anywhere. And each remains as enthusiastic about the process as they have ever been. “When I go on stage, I get the same feeling I had the first time I sang with The Oak Ridge Boys,” says lead singer Duane Allen. “This is the only job I've ever wanted to have.” “Like everyone else in the group,” adds bass singer extraordinaire, Richard Sterban, “I was a fan of the Oaks before I became a member. I’m still a fan of the group today. Being in The Oak Ridge Boys is the fulfillment of a lifelong dream.” The two, along with tenor Joe Bonsall and baritone William Lee Golden, comprise one of Country's truly legendary acts. Their string of hits includes the Country-Pop chart-topper Elvira, as well as Bobbie Sue, Dream On, Thank God For Kids, American Made, I Guess It Never Hurts To Hurt Sometimes, Fancy Free, Gonna Take A Lot Of River and many others. In 2009, they covered a White Stripes song, receiving accolades from Rock reviewers. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Berköz, Levent Donat (2012). A gendered musicological study of the work of four leading female singer-songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1235/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] A Gendered Musicological Study of the Work of Four Leading Female Singer-Songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos Levent Donat Berköz Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy City University London Centre for Music Studies June 2012 1 TABLE OF CONTENTS TABLE OF CONTENTS ………………………………………………………… 2 LIST OF FIGURES ……………………………………………………………… 5 ACKNOWLEDGEMENTS ……………………………………………………… 7 DECLARATION ………………………………………………………………… 9 ABSTRACT ……………………………………………………………………… 10 INTRODUCTION ……………………………………………………………….. 11 Aim of the thesis…………………………………………………………………. -
INTERPRETING ART SONG USING EDWARD T. CONE's the COMPOSER's VOICE: a PRACTICAL GUIDE for SINGERS by ELISABETH ANNE SLATE
INTERPRETING ART SONG USING EDWARD T. CONE’S THE COMPOSER’S VOICE: A PRACTICAL GUIDE FOR SINGERS by ELISABETH ANNE SLATEN (Under the Direction of Emily Gertsch and Frederick Burchinal) ABSTRACT Art song, as a genre, presents significant interpretative problems for the singer. While musical intuition is, by far, the most important interpretative tool, singers can benefit from Edward T. Cone's idea of the persona from The Composer's Voice, since analysis using this theory can lead to fresh and musically supported interpretations. This project will contain three components: 1) a thorough examination of Edward T. Cone's idea of the persona as it applies to art song; 2) a practical guide for singers that explains how to identify and analyze the different personas of songs, and 3) sample analyses that utilize this practical guide using standard undergraduate song repertoire. It is my hope that, through this project, singers may gain an analytical tool that allows them to synthesize analysis and interpretation in order to create compelling performances of art song. INDEX WORDS: art song, music theory, analysis, interpretation, Edward T. Cone INTERPRETING ART SONG USING EDWARD T. CONE'S THE COMPOSER'S VOICE: A PRACTICAL GUIDE FOR SINGERS by ELISABETH ANNE SLATEN B.M., Mercer University, 2010 M.M., The Peabody Institute of the Johns Hopkins University, 2012 A Document and Lecture Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2015 © 2015 Elisabeth Anne Slaten All Rights Reserved INTERPRETING ART SONG USING EDWARD T. -
The Haverford Journal
The Haverford Journal The Haverford Journal Volume 3, Issue 1 April 2007 Volume 3, Issue 1 The Cultural Politics of British Opposition to Italian Opera, 1706-1711 Veronica Faust ‘06 Childbirth in Medieval Art Kate Phillips ‘06 Baudrillard, Devo, and the Postmodern De-evolution of the Simulation James Weissinger ‘06 Politics and the Representation of Gender and Power in Rubens’s The Disembarkation at Marseille from The Life of Marie de’ Medici April 2007 Aaron Wile ‘06 “Haverford’s best student work in the humanities and social sciences.” April 2007 (Vol. 3, Issue 1) 1 The Haverford Journal Volume 3, Issue 1 February 2007 Published by The Haverford Journal Editorial Board Managing Editors Pat Barry ‘07 Julia Erdosy ‘07 Board Members Production Leigh Browning ‘07 Sam Kaplan ‘10 Julia McGuire ‘09 Sarah Walker ‘08 Faculty Advisor Phil Bean Associate Dean of the College The Haverford Journal is published annually by the Haverford Journal Editorial Board at Haverford College, 370 Lancaster Avenue, Haverford, PA 19041. The Journal was founded in the spring of 2004 by Robert Schiff in an effort to showcase some of Haverford’s best student work in the humanities and social sciences. Student work appearing in The Haverford Journal is selected by the Editorial Board, which puts out a call for papers at the end of every spring semester. Entries are judged on the basis of academic merit, clarity of writing, persuasiveness, and other factors that contribute to the quality of a given work. All student papers submitted to the Journal are numbered and classified by a third party and then distributed to the Board, which judges the papers without knowing the names or class years of the papers’ authors. -
ANALYZING the ART SONGS of FLORENCE B. PRICE By
THE POET AND HER SONGS: ANALYZING THE ART SONGS OF FLORENCE B. PRICE by Marquese Carter Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ___________________________________________ Ayana Smith, Research Director ___________________________________________ Brian Horne, Chair ___________________________________________ Mary Ann Hart ___________________________________________ Gary Arvin November 26, 2018 ii Copyright © 2018 Marquese Carter iii This dissertation is dedicated to the memory of my dearly departed grandmother Connie Dye and my late father Larry Carroll, Sr. I mourn that you both cannot witness this work, but rejoice that you may enjoy it from beyond a purer Veil. iv Acknowledgements I owe my gratitude to a great number of people, without whom this publication would not be possible. Firstly, I must thank the American Musicological Society for awarding me $1,200 from the Thomas Hampson Fund to support my trip to the University of Arkansas Special Collections Library. Thank you for choosing to support my early scholarly career. I must also thank the wonderful research librarians at the Special Collections for assisting me in person and through email. Without your expert guidance, Price’s unpublished works and diaries would not be available to an eager public. My sincerest gratitude to established musicologists who have strategized, encouraged, and pushed me to excel as a scholar. Chief among these is Ayana Smith, who has been an invaluable mentor since meeting at AMS Convention in 2013. -
Nézet-Séguin and Didonato
23 Season 2018-2019 Thursday, November 8, at 7:30 The Philadelphia Orchestra Friday, November 9, at 2:00 Saturday, November 10, Yannick Nézet-Séguin Conductor at 8:00 Joyce DiDonato Mezzo-soprano Wagner Prelude to Act I of Lohengrin Bates Anthology of Fantastic Zoology I. Forest Twilight— II. Sprite— III. Dusk— IV. The A Bao A Qu— V. Nymphs— VI. Night— VII. The Gryphon— VIII. Midnight— IX. Sirens— X. The Zaratan— XI. Madrugada First Philadelphia Orchestra performances Intermission 24 Chausson Poème de l’amour et de la mer, Op. 19, for voice and orchestra I. La Fleur des eaux II. Interlude III. La Mort de l’amour Respighi Fountains of Rome I. The Fountain of Valle Giulia at Dawn— II. The Triton Fountain at Morn— III. The Fountain of Trevi at Mid-day— IV. The Villa Medici Fountain at Sunset This program runs approximately 1 hour, 55 minutes. LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. These concerts are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. The November 8 concert is sponsored by Leslie Miller and Richard Worley and an anonymous donor. The November 9 concert is sponsored by Adele Schaeffer. The November 10 concert is sponsored by Sarah Miller Coulson. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. -
The Composer and the Performer
THE COMPOSER AND THE PERFORMER By Samuil Feinberg Introduction An artist of a plastic art form, whether a painter, a sculptor, or an architect, is the sole creator of the material object. There is no need for an intermediary or interpreter between the author and the spectator. True, in order to finalize his project an architect (and sometimes a sculptor) turns to the help of experienced workers who realize his models and sketches in stone and wood. But their work is purely that of the craftsman and does not involve any new, additional creative impulses. The situation in music is entirely different. The composer needs an intermediary- performer, a creative interpreter of his composition. The word "performer" does in fact express the essence of the artistically significant and intensely creative process of musical interpretation. The more perfect, complete and brilliant the performance of an artist, the more exposed is his artistic persona. He is not an "executor" of another's will; rather the mind of the composer should become the performer's own, and blend with the individual traits of his talent, with his own artistic aspirations. The performer gains strength and courage in this unity, which is necessary for the concrete realization in sound of the ideas and images contained in the work. A musician-interpreter, at one and the same time, realizes his connection to the composer's intentions, and realizes himself as an artistic personality: acknowledging both the enormous importance of the author of the composition – and at the same time his own role in the realization of the composer’s ideas.