Analyzing Energy: an Experiment Based on Practising Three Solos by Bill Evans Laurent Cugny
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"/Title/Tt3702160/": {"Director": [["Kimberly Jessy"]], "Plot": ["\Nbeautiful D Anger Is an Animated 3D Made for TV/Short Film
{"/title/tt3702160/": {"director": [["Kimberly Jessy"]], "plot": ["\nBeautiful D anger is an Animated 3D Made for TV/Short Film. It's a Thriller that combines, M TV's Teen Wolf, Pretty Little Liars, Gossip Girl, Sorcery, Twilight, in one film , Epic fight scenes, No-one is who you think they are, Alternate Universes, Teen Young Adult Action Good Verses Evil, flick with tons of Cliff Hangers! It takes place In Dark Oak, CA were the typical mean girl with magical powers tries to t ake over the school with her mean girl clique. Brooke Charles Takes on Kimberly Jesika and her good girl team. Death Becomes Brook cause she keeps coming back, Think Katherine Vampire Diaries. Kimberly has magical powers and so does her cla n. It's a match to the death. No one is who they seem or who they appear to be! Excitement and sitting on the edge of your seat. Written by\nKimb erly Jessy "], "imdb_rating": [], "mpaa_rating": [], "poster_link": [], "stars": [["Kimberly Jessy"], ["Helena Evans"], ["Chloe Benoit"]], "title": "Beautiful D anger 3D Animated Teen Thriller", "genre": [[" Animation"]], "release_date": [], "writer": [["Kimberly Jesika"], ["Doll Face Animated Films"]]}, "/title/tt25692 02/": {"director": [["Emily Gossett"]], "plot": ["\nThe last year of high school has been barely tolerable for Maggie Masters. After being dumped by her three y ear relationship with Chad, to be traded in for a football dream at UF, she has to succumb to her mother leaving for a better life. Maggie is left to pick up th e remains of her fragmented life. When fate intervenes by the touch from the mys terious and handsome Caleb Jacobson, whom she saves, leaves Maggie breathless, s tartled and captivated. -
Æ‚‰É”·ȯLj¾é “ Éÿ³æ¨‚Űˆè¼¯ ĸ²È¡Œ (ĸ“Ⱦ
æ‚‰é” Â·è¯ çˆ¾é “ 音樂專輯 串行 (专辑 & æ—¶é— ´è¡¨) Spectrum https://zh.listvote.com/lists/music/albums/spectrum-7575264/songs The Electric Boogaloo Song https://zh.listvote.com/lists/music/albums/the-electric-boogaloo-song-7731707/songs Soundscapes https://zh.listvote.com/lists/music/albums/soundscapes-19896095/songs Breakthrough! https://zh.listvote.com/lists/music/albums/breakthrough%21-4959667/songs Beyond Mobius https://zh.listvote.com/lists/music/albums/beyond-mobius-19873379/songs The Pentagon https://zh.listvote.com/lists/music/albums/the-pentagon-17061976/songs Composer https://zh.listvote.com/lists/music/albums/composer-19879540/songs Roots https://zh.listvote.com/lists/music/albums/roots-19895558/songs Cedar! https://zh.listvote.com/lists/music/albums/cedar%21-5056554/songs The Bouncer https://zh.listvote.com/lists/music/albums/the-bouncer-19873760/songs Animation https://zh.listvote.com/lists/music/albums/animation-19872363/songs Duo https://zh.listvote.com/lists/music/albums/duo-30603418/songs The Maestro https://zh.listvote.com/lists/music/albums/the-maestro-19894142/songs Voices Deep Within https://zh.listvote.com/lists/music/albums/voices-deep-within-19898170/songs Midnight Waltz https://zh.listvote.com/lists/music/albums/midnight-waltz-19894330/songs One Flight Down https://zh.listvote.com/lists/music/albums/one-flight-down-20813825/songs Manhattan Afternoon https://zh.listvote.com/lists/music/albums/manhattan-afternoon-19894199/songs Soul Cycle https://zh.listvote.com/lists/music/albums/soul-cycle-7564199/songs -
Il Jazz Nel Veneto: Tre Modelli Di Organizzazione Artistica Nel Territorio
UNIVERSITA' CA'FOSCARI DI VENEZIA CORSO DI LAUREA IN ECONOMIA E GESTIONE DELLE ARTI E DELLE ATTIVITA' CULTURALI TESI DI LAUREA IL JAZZ NEL VENETO: TRE MODELLI DI ORGANIZZAZIONE ARTISTICA NEL TERRITORIO Relatore: DANIELE GOLDONI Correlatore: PAOLO CECCHI Laureando: LEONARDO LANZA Matricola: 818725 ANNO ACCADEMICO 2013/2014 INDICE Introduzione I CAPITOLO 1. Il Principi improvvisativi del jazz 1.1 Processi improvvisativi pag. 7 1.2 Descrizione dell'atto improvvisativo pag. 11 1.3 Improvvisazione: composizione spontanea? pag. 14 1.4 La nuova forma musicale del 900: il jazz pag. 17 II CAPITOLO 2. Tre modelli di organizzazione artistica di eventi jazz nel Veneto 2.1 Umbria Jazz: la madre di tutti i Festival jazz in Italia 2.1.1 L'importanza di Umbria Jazz per lo sviluppo dei Festival jazzistici in Italia pag. 20 2.1.2 Gli aspetti di promozione turistica e di diffusione della conoscenza della regione attraverso Umbria Jazz pag. 29 2 Indagine su tre diverse realtà del territorio veneziano 2.2 Veneto Jazz – Festival nazionale 2.2.1 La struttura organizzativa e la produzione artistica pag. 35 2.3 Vincenza Jazz – Festival territoriale 2.3.1 “New Conversation Vicenza Jazz” - La storia del Festival dal 1996 al 2012 pag. 51 2.3.2 La struttura organizzativa di “New Conversations – Vicenza Jazz” pag. 53 2.3.3 I luoghi e gli spazi riservati alla manifestazione artistica pag. 55 2.4 Caligola – Associazione culturale per il jazz nel territorio 2.4.1 Caligola: storia, obiettivi e produzioni artistiche nel corso degli anni pag. 64 2.4.2 La differenza tra l'attività artistica di Caligola e quella di un Festival jazz pag. -
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron. -
Musicologie E Culture
Musicologie e culture 1 Direttore Vincenzo Caporaletti Università degli Studi di Macerata Comitato scientifico Maurizio Agamennone Università degli Studi di Firenze Fabiano Araújo Costa Universidade Federal do Espírito Santo, Vitória (Br) Laurent Cugny Sorbonne Université, IReMus, Paris Fabrizio Emanuele Della Seta Università degli Studi di Pavia Michela Garda Università degli Studi di Pavia Francesco Giannattasio Sapienza – Università di Roma Giovanni Giuriati Sapienza – Università di Roma Stefano La Via Università degli Studi di Pavia Raffaele Pozzi Università degli Studi Roma Tre Musicologie e culture 1 La collana si propone come una piattaforma ideale per un dialogo tra la pluralità di approcci, metodologie, epistemologie musicologiche, senza preclusione quanto agli oggetti di studio, ai testi, alle pratiche, ai repertori, sia nella dimensione diacronica che sincronica, superando distinzioni disciplinari che appaiono sempre più inadatte a rappresentare il campo discorsivo contemporaneo sul “suono umanamente organizzato”. Vincenzo Caporaletti Introduzione alla teoria delle musiche audiotattili Un paradigma per il mondo contemporaneo www.aracneeditrice.it [email protected] Copyright © MMXIX Gioacchino Onorati editore S.r.l. – unipersonale via Vittorio Veneto, 20 00020 Canterano (RM) (06) 45551463 isbn 978-88-255-2091-0 I diritti di traduzione, di memorizzazione elettronica, di riproduzione e di adattamento anche parziale, con qualsiasi mezzo, sono riservati per tutti i Paesi. Non sono assolutamente consentite le fotocopie senza il permesso scritto dell’Editore. I edizione: gennaio 2019 Indice 3 Prefazione Parte I Teorie 7 Capitolo I La teoria delle musiche audiotattili. I concetti essenziali 1.1. Perché una teoria delle musiche audiotattili, 7 – 1.2. TMA: presupposti epi- stemologici, 15 – 1.2.1. L’approccio mediologico. -
Prince in the Early 80S: Considerations on the Structural Functions of Performative Gestures
Prince in the early 80s: considerations on the structural functions of performative gestures. Jacopo Costa To cite this version: Jacopo Costa. Prince in the early 80s: considerations on the structural functions of performative gestures.. colloque ”New Perspectives on Popular Music Resarch”, Université d’Agder (Kristiansand, Norvège), 5-6 décembre 2019, Dec 2019, Agder, Norway. hal-03049637 HAL Id: hal-03049637 https://hal.archives-ouvertes.fr/hal-03049637 Submitted on 14 Dec 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Jacopo Costa Prince in the early 80s: considerations on the structural functions of performative gestures. Transcribing Prince's music can be a very frustrating exercise, as the notes that are put on a score (often quite ordinary) do no justice to the expressive richness we perceive when we listen to his songs. In my intervention, I will propose an analysis of the performative gestures in Prince's music, focusing on a few excerpts from his production of the years 1980-1984 (in terms of albums, from Dirty Mind to Purple Rain). The hypothesis to be tested is that in Prince's music a certain gestural approach to the performance (both instrumental and vocal) has an authentic structural function for the music: in other words, this gestural approach is not simply related to the field of musical interpretation, but has a constitutive function at the formal level of composition. -
Musicologie E Culture
Musicologie e culture 3 Direttore Vincenzo Caporaletti Università degli Studi di Macerata Comitato scientifico Maurizio Agamennone Università degli Studi di Firenze Fabiano Araújo Costa Universidade Federal do Espírito Santo, Vitória (Br) Laurent Cugny Sorbonne Université, IReMus, Paris Fabrizio Emanuele Della Seta Università degli Studi di Pavia Michela Garda Università degli Studi di Pavia Francesco Giannattasio Sapienza – Università di Roma Giovanni Giuriati Sapienza – Università di Roma Stefano La Via Università degli Studi di Pavia Raffaele Pozzi Università degli Studi Roma Tre Musicologie e culture 3 La collana si propone come una piattaforma ideale per un dialogo tra la pluralità di approcci, metodologie, epistemologie musicologiche, senza preclusione quanto agli oggetti di studio, ai testi, alle pratiche, ai repertori, sia nella dimensione diacronica che sincronica, superando distinzioni disciplinari che appaiono sempre più inadatte a rappresentare il campo discorsivo contemporaneo sul “suono umanamente organizzato”. La pubblicazione è stata realizzata grazie al contributo della Fondazione Internazionale Padre Matteo Ricci di Macerata. Progetto di avvio della ricerca di dottorato dell’Università dell’Henan, n. CX3050A0250245; Progetto di avvio della ricerca post-dottorato in Cina. WANG LI MUSICA E CULTURA DELLE POPOLAZIONI MONGOLE NELLA REPUBBLICA POPOLARE CINESE L’ETNIA BARGA Prefazione di VINCENZO CAPORALETTI © isbn 979–12–5994–257–9 prima edizione roma 5 luglio 2021 Indice 11 Ringraziamenti 13 Prefazione 21 Introduzione Parte I L’etnomusicologia occidentale e quella cinese 37 Capitolo I Problemi dell’etnomusicologia cinese e le nuove prospettive et- nomusicologiche. I concetti essenziali 1.1. Le tradizioni musicali locali cinesi, 37 – 1.1.1. La musica cinese nell’antichi- tà, 40 – 1.1.2. -
Copyright by Michael Lee Harland 2019
Copyright by Michael Lee Harland 2019 The Dissertation Committee for Michael Lee Harland Certifies that this is the approved version of the following dissertation: “My Life Transparently Revealed”: Interpreting Mahler’s Worldview through an Analysis of His Middle-Period Symphonies Committee: Michael C. Tusa, Supervisor Andrew Dell’Antonio Robert S. Hatten Kathleen M. Higgins Luisa Nardini “My Life Transparently Revealed”: Interpreting Mahler’s Worldview through an Analysis of His Middle-Period Symphonies by Michael Lee Harland Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2019 Dedication To my wife, Jenna Harland Acknowledgements I wish there were room to express all the ways I have benefited from the mentorship of Michael C. Tusa. Over the past six years, I have thoroughly enjoyed the seminars, the conversations, and above all, friendship. If one were to add up the many hours he has spent guiding me in this endeavor, it would be a true testament to his dedication as a teacher. I could not have completed this project without his advocating for me to receive a Continuing Fellowship during this last year of writing. My deepest thanks. Special thanks to Robert S. Hatten, whose seminars and writings on issues of musical meaning form so much of the theoretical core of this project. He has profoundly influenced my thoughts in this regard, but most importantly, his generosity in providing time and feedback have benefited me enormously. -
Nescom Research Report (2019) Leandro Costalonga1 , Daniel José Custódio Coura 2, Marcus Vinicius Das Neves3, Fabiano Araújo Costa4, Helder Roberto De Oliveira Rocha5
NESCoM Research Report (2019) Leandro Costalonga1 , Daniel José Custódio Coura 2, Marcus Vinicius das Neves3, Fabiano Araújo Costa4, Helder Roberto de Oliveira Rocha5. NESCoM – Núcleo Espírito-santence de Computação Musical Universidade Federal do Espírito Santo 1, 2 Campus São Mateus BR 101 Km 60 – 29932-540 São Mateus, ES 3,4,5 Campus Goiabeiras Av. Fernando Ferrari, 514 - Goiabeiras, Vitória - ES | CEP 29075-910 [email protected], [email protected], [email protected], [email protected], [email protected] Abstract Electronics Department (Campus São Mateus-ES). The NESCoM is a multidisciplinary research center Despite the challenges of the remote collaboration, being formed by musicians, engineers and computer scientists. geographically apart gives us the opportunity to stretch out The main research interest lies with sonology, to a vaster audience and to serve students (undergrads and audiotacticle musical analysis, ubiquitous music, postgrads) from different degrees, such as: music, interactive multimedia installations, and the design of computer science, computer engineering, and electrical computer music technology in general. Overall, the engineering. common ground for the NESCoM projects lies with the The main research lines are: soundtrack human-aspects, both cognitive and motor, behind a composition and sound-design for cinema and digital musical activity. This can come, for instance, in the shape games, audiotactile musical analysis and applications, of an audiotactile analysis of musical interaction applied interactive multimedia installations, ubiquitous music, and to a new digital musical interface designed to overcome new interfaces for musical expression, as detailed and human physical constraints or the composition of a cinema exemplified by the ongoing projects. -
Musical Authenticity As ‘Being True to the Moment’
54 (3/2019), pp. 9–28 The Polish Journal DOI: 10.19205/54.19.1 of Aesthetics Alessandro Bertinetto* Musical Authenticity as ‘Being True to the Moment’ Abstract In this paper I argue that the specific musical authenticity of improvisation in different kinds of music (especially, but not only, in Jazz and Free improvisation practices) consists of what I call ‘being true to the moment’ and that since the artistic success of every musical performance requires performers’ attentiveness and responsiveness to the moment of the performance, improvisational authenticity is the epitome of musical authenticity. I proceed as follows. Firstly I present Peter Kivy’s plural view of musical authenticity and discuss Julian Dodd’s view of musical improvisation as essentially inauthentic. Then, I articulate two notions of improvisational authenticity, ontological and expressive authenticity, which I develop by means of a third, and crucial, notion of improvisational authenticity: truthfulness to the moment, which is the specific way improvisation realizes a fourth kind of authenticity: artistic authenticity. Finally, I argue that improvisational authenticity is paradigmatic for the authenticity of musical performance as performance. Keywords Musical Authenticity, Improvisation, Musical Expressiveness, Musical Performance, Artis- tic Normativity. 1. Musical Authenticities Scholars, musicians and listeners highlight authenticity as an important artistic value of improvised music.1 But, is there a specific sense of authentic- ity that is valid for musical improvisation? I think that the specific musical authenticity of improvisation in different kinds of music (especially, but not only, in Jazz and Free improvisation practices) consists in ‘being true to the * University of Turin Department of Philosophy and Education Sciences Email: [email protected] 1 See for instance Fischlin et al. -
Théorie Des Musiques Audiotactiles Et Notation
Laurent Cugny Sorbonne Université - Faculté des Lettres Institut de Recherche en Musicologie (IReMus, UMR 8223) Centre de Recherches International sur le Jazz et les Musiques Audiotactiles (CRIJMA) mis en ligne en avril 2016 (http://www.iremus.cnrs.fr/fr/programme-de- recherche/seminaire-notation) Théorie des musiques audiotactiles et notation En 2009, dans un ouvrage qui se donnait pour ambition d’examiner les questions liées à l’analyse du jazz1, je fus amené à discuter un certain nombre de positions sur la question de la notation dans le jazz, depuis la pertinence de la notion dans ce champ jusqu’à certaines implications dont la plus manifeste est la transcription graphique (de musiques enregistrées) par le biais du solfège traditionnel. Ces positions étaient le plus souvent critiques. L’argument principal était que le jazz relevait fondamentalement de l’oralité et se trouvait par là en opposition à l’écriture et plus généralement à la raison graphique. L’exercice de la transcription était ainsi condamné pour deux motifs : 1. la transcription, par la nature même du système graphique utilisé ne pouvait tout appréhender de la musique transcrite et, pire, ratait l’essentiel qui, par définition, ne pouvait pas se noter ; 2. l’usage de la transcription relevait d’une croyance erronée, consistant à penser que la partition (ici descriptive) serait le support de l’œuvre, conception aberrante dans une musique d’essence orale (ou tout du moins non graphique). Cette critique de la transcription pouvait même, en amont, viser l’analyse elle-même, jugée elle aussi incapable de rendre compte de la réalité des musiques concernées. -
Title Format Released & His Orchestra South Pacific 12" 1958 Abdo
Title Format Released & His Orchestra South Pacific 12" 1958 Abdo, George & The Flames of Araby Orchestra Joy of Belly Dancing 12" 1975 Abdo, Geroge & The Flames of Araby Orchestra Art of Belly Dancing 12" 1973 Abney, Don, Jimmy Raney, Oscar Pettiford Music Minus One: A Rhythm Background Record For Any Musician Or Vocalist 12" 19NA Abrams, Muhal Richard Duet 12" 1981 Adderley, Cannonball The Cannonball Adderley Collection - Vol. 7: Cannonball in Europe 12" 1986 Somethin' Else 12" 1984 Domination 12" 1964 Cannonball Adderley Quintet In Chicago 12" 1959 African Waltz 12" 1961 Cannonball Takes Charge 12" 1959 Adderley, Cannonball Quintet Mercy, Mercy, Mercy! Live at 'The Club' 12" 19NA Ade, King Sunny Synchro System 12" 1983 Adelade Robbins Trio, Barbara Carroll Trio Lookin' for a Boy 12" 1958 Akiyosh, Toshiko-Lew Tabackin Big Band Road Time 12" 2 LPs 1976 Akiyoshi, Toshiko Lew Tabackin Big Band Tales of a Courtesan (Oirantan) 12" 1976 Albam, Manny Jazz Heritage: Jazz Greats of Our Time, Vol. 2 12" 1958 Alexander, Monty Alexander The Great 12" 1965 Facets 12" 1980 Monty Strikes Again: Monty Alexander Live In Germany 12" 1976 Duke Ellington Songbook 12" 1984 Spunky 12" 1965 Alexander, Monty & Ernest Ranglin Just Friends 12" 1981 Alexandria, Lorez The Band Swings Lorez Sings 12" 1988 Alexandria the Great 12" 1964 Lorez Sings Pres: A Tribute to Lester Young 12" 1987 For Swingers Only 12" 1963 Page 1 of 67 Title Format Released Alexandria, Lorez This Is Lorez 12" 1958 More Of The Great Lorez Alexandria 12" 1964 Allen, "Red" With Jack Teagarden And Kid Ory At Newport 12" 1982 Allen, Henry "Red" Giants Of Jazz 3 LP Box Set 1981 Ride, Red, Ride in Hi-Fi 12" 1957 Ridin' With Red 10" 1955 Allison, Mose V-8 Ford Blues 12" 1961 Back Country Suite 12" 1957 Western Man 12" 1971 Young Man Mose 12" 1958 Almeida, Laurindo with Bud Shank Brazilliance, Vol.