South Central Music Bulletin
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
New and Lesser Known Works for Saxophone Quartet: a Recording
New and Lesser Known Works for Saxophone Quartet: A Recording, Performance Guide, and Composer Interviews by Woodrow Chenoweth A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: Christopher Creviston, Chair Joshua Gardner Michael Kocour Ted Solis ARIZONA STATE UNIVERSITY May 2019 ABSTRACT This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet. The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative , was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. -
The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 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]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney 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 History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 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]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
1 SYLLABUS Music 298 Jazz Improvisation 2 Time
SYLLABUS Music 298 Jazz Improvisation 2 Time: TBA 135 McCain Auditorium Dr. Wayne E. Goins E-mail address: [email protected] Office telephone: 532-3822 Course Overview and Syllabus Prerequisite: instructor permission/audition/interview Required Text: The Wise Improviser. Goins, W. (2006 KS Publishers) Course Outline: The primary goal of this course is to review the advanced elements of jazz, and to prepare students to investigate the more complex material found in the areas of jazz improvisation. The objectives of this course are for each student to a) develop the ability to incorporate these advanced principles of jazz improvisation in their performance technique in order to raise their level of performance, and b) apply principles of jazz improvisation to standard jazz literature so that each participant is able to create a more sophisticated improvised solo (based on chord changes found in selected literature) that is logical and effectively incorporates the material covered in class; and c) demonstrate a thorough working knowledge of the principal players involved in the stylistic development of the various periods related to jazz improvisation. Grading: Attendance in all classes is mandatory. Any unexcused absence may result in a full grade cut (i.e., one excused absence=B, two unexcused absences=C, etc.) Being late twice will constitute an unexcused absence. Students are primarily graded on attendance and individual performance/ability to incorporate materials covered in class into their improvisational skills. Performance Dates: Students will be expected to demonstrate knowledge and ability for material for material covered in class on a weekly schedule. Grades will be determined on a satisfactory/unsatisfactory basis. -
INTRODUCTION: BLUE NOTES TOWARD a NEW JAZZ DISCOURSE I. Authority and Authenticity in Jazz Historiography Most Books and Article
INTRODUCTION: BLUE NOTES TOWARD A NEW JAZZ DISCOURSE MARK OSTEEN, LOYOLA COLLEGE I. Authority and Authenticity in Jazz Historiography Most books and articles with "jazz" in the title are not simply about music. Instead, their authors generally use jazz music to investigate or promulgate ideas about politics or race (e.g., that jazz exemplifies democratic or American values,* or that jazz epitomizes the history of twentieth-century African Americans); to illustrate a philosophy of art (either a Modernist one or a Romantic one); or to celebrate the music as an expression of broader human traits such as conversa- tion, flexibility, and hybridity (here "improvisation" is generally the touchstone). These explorations of the broader cultural meanings of jazz constitute what is being touted as the New Jazz Studies. This proliferation of the meanings of "jazz" is not a bad thing, and in any case it is probably inevitable, for jazz has been employed as an emblem of every- thing but mere music almost since its inception. As Lawrence Levine demon- strates, in its formative years jazz—with its vitality, its sexual charge, its use of new technologies of reproduction, its sheer noisiness—was for many Americans a symbol of modernity itself (433). It was scandalous, lowdown, classless, obscene, but it was also joyous, irrepressible, and unpretentious. The music was a battlefield on which the forces seeking to preserve European high culture met the upstarts of popular culture who celebrated innovation, speed, and novelty. It 'Crouch writes: "the demands on and respect for the individual in the jazz band put democracy into aesthetic action" (161). -
GLBMA Feature
March 2020 Visit our Website Supervisory Training 2.0 We trying to gauge the interest in the new Supervisor Training 2.0. This class is the sequel to Supervisor Skills 1.0. Please respond yes, no, or would like more information. Thank you for sharing! Respond now! Reaching the GLBMA During these uncertain times, the GLBMA office will be operating from a secured work location. We are committed to bringing you updates as they unfold. We remind you that all events in March and April are currently being rescheduled. If you an update you would like share, please feel free to reach out. The best way to reach the office is calling 989-992-1163 or email: [email protected]. Stay safe! Infographic vector created by freepik - www.freepik.com GLBMA Feature 20 Cybersecurity Statistics Manufacturers Can't Ignore NIST Blog - By Jennifer Kurtz, February 27, 2020 Cybersecurity threats are a huge business risk for all companies. Small and medium-sized businesses (SMBs) — including manufacturers — are especially vulnerable to attacks. Small and medium-sized manufacturers (SMMs) are often seen as an easy entry point — a “soft” target — into larger businesses and government agencies. One of the first steps when prioritizing how to manage your business risk is to gather information about the threat environment. The 20 important (and shocking) cybersecurity statistics listed below focus on what manufacturers need to know about the “what” and “so what” of cybersecurity, so they can start planning their “now what” actions. Click for the rest of the story! GLBMA has a new location on campus The GLBMA office is now located on the third floor of the Scott L. -
Heroes (TV Series) - Wikipedia, the Free Encyclopedia Pagina 1 Di 20
Heroes (TV series) - Wikipedia, the free encyclopedia Pagina 1 di 20 Heroes (TV series) From Wikipedia, the free encyclopedia Heroes was an American science fiction Heroes television drama series created by Tim Kring that appeared on NBC for four seasons from September 25, 2006 through February 8, 2010. The series tells the stories of ordinary people who discover superhuman abilities, and how these abilities take effect in the characters' lives. The The logo for the series featuring a solar eclipse series emulates the aesthetic style and storytelling Genre Serial drama of American comic books, using short, multi- Science fiction episode story arcs that build upon a larger, more encompassing arc. [1] The series is produced by Created by Tim Kring Tailwind Productions in association with Starring David Anders Universal Media Studios,[2] and was filmed Kristen Bell primarily in Los Angeles, California. [3] Santiago Cabrera Four complete seasons aired, ending on February Jack Coleman 8, 2010. The critically acclaimed first season had Tawny Cypress a run of 23 episodes and garnered an average of Dana Davis 14.3 million viewers in the United States, Noah Gray-Cabey receiving the highest rating for an NBC drama Greg Grunberg premiere in five years. [4] The second season of Robert Knepper Heroes attracted an average of 13.1 million Ali Larter viewers in the U.S., [5] and marked NBC's sole series among the top 20 ranked programs in total James Kyson Lee viewership for the 2007–2008 season. [6] Heroes Masi Oka has garnered a number of awards and Hayden Panettiere nominations, including Primetime Emmy awards, Adrian Pasdar Golden Globes, People's Choice Awards and Zachary Quinto [2] British Academy Television Awards. -
Exploration IV
Tab Table of Contents I. Foundation…………………………………………………………………………………..…………………..2 II. Introduction ................................................................................................................... 5 III. Snapshot ........................................................................................................................ 7 Exploration IV. Framework ..................................................................................................................... 8 V. Ideas for Learning Centers ............................................................................................. 57 One: Our VI. Texts ............................................................................................................................ 78 VII. Inquiry and Critical Thinking Questions for Texts .......................................................... 81 VIII. Weekly Planning Template ........................................................................................... 84 Community IX. Documenting Learning……………………………………………………………………………………..89 X. Supporting Resources .................................................................................................... 95 Interdisciplinary Instructional XI. Appendices ................................................................................................................... 97 Guidance A. Toilet Learning……………………………………………………………………………………………………….97 B. Handwashing……………………………………………………………………………………………99 C. Center Planning Form……………………………………………………………………………….100 D. -
Academic All-American Award Recipients 2019 AAU Volleyball
2019 AAU Volleyball Academic All-American Award Recipients The AAU Volleyball National Executive Committee is proud to announce the selections for the 2019 AAU Volleyball Academic All American Award. Created in 2013, the award recognizes student-athletes for their excellence in academics as well as athletics. All recipients attended high school during the 2018-2019 school year and participated in the 46th AAU Junior National Volleyball Championships. First Name Last Name Team Grade High School State Kylie Adams 17 White 11th Grade Victor J. Andrew High School IL Ellyn Adams Coast United 16-1 10th Grade Socastee High School SC Cassidy Adams 16 Crimson 10th Grade Newark Community High School IL Emily Ah Leong 17 Tigers Wild Gold 11th Grade W.E. Boswell High School TX Kayelin Aikens Union 15-2 Asics 9th Grade Christian Academy of Louisville KY Olivia Albers 16-4 10th Grade Spring Lake Park High School MN Emily Alberts Elite 152 9th Grade Brebeuf Jesuit Preparatory School, Indianapolis, IN IN Annika Altekruse 17 Pre 11th Grade Metea Valley High School IL Simara Amador 15-1 9th Grade Eagan High School MN Ariel Amaya 16 Elite 10th Grade Plainfield North IL Morgan Amos Waves 10th Grade Mount Hebron High School MD Jill Amsler Alliance 17- Ren 11th Grade Franklin High School TN Alexa Anderson 15X Premier 9th Grade Smoky Mountain High School NC Nathaniel Cain Anderson Chicago Elite 15 Elite 10th Grade Lincoln Park High School IL Alexis Andrews 15 Gold 9th Grade Stratford High School TX Frida Anguiano 18 Coco 12th Grade Oak Mountain High School -
No Room to Pile the Snow?
JANUARY 20, 2017 ONE FREE COPY 2 7 9 VOLUME XLV, NUMBER 40 1 Serving the 5 Northern Counties D E of Idaho & Western Montana D N Circulation 32,400 U O F Display Ad Dept: 208-667-2408 Web: www.nickelsworth.com Email: [email protected] COMMUNICATIONS. Is 3" TRASH PUMP, NEW, 15 KOOTENAI VALLEY Sports- POST FALLS INDOOR mov- This week’s featured communication a problem? feet suction hose and strain- man Association 24th annual ing sale, Saturday, January $ You are invited to attend a er, 35 feet discharge hose. No Gun Show. Bonners Ferry 21, 9am-3pm. Couches, bed, 12 Color free communication workshop oil and gas in new 6.5 engine, Fairgrounds. February 10th, dressers, small tables and sponsored by Genesis Coun- no water in pump, manifold 11th, and 12th. Tables $40. end tables, and more. 1848 N. Picture seling of North Idaho, Janu- for two 2" hoses, spare seal, For information, call 208-267- Syringa Street ary 21st from 9am-noon. Call $450. 208-784-2172 2108 208-818-9919 for more infor- REVIVAL AT HARVEST Ads: mation Church, Rathdrum. Pastor and Evangelist Richard Mar- To Place Your Ad: 208-667-0651 shall from Colorado Springs MEN’S HERMAN Survivor’s Real Estate has preached around the See Page 19 boots, size 12, like new, $30. www.nickelsworth.com world. Two special services: Women’s Rugged Exposure Mail-in Ad Form on Page 7 Saturday, January 21, 6pm, Sections boots, size 9, good condition, and Sunday, January 22, $15. 5 extreme cold weather REFRIGERATOR, $100/ of- See the Index on Page 2 10:30am.