Band and Which Still Remains Intact in Its Refurbishment in the 50S with with Some Band Members Having Played in Bands During Its Magnificent Dance Floor
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INFORMATION to USERS the Most Advanced Technology Has Been
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 Nortfi Zeeb Road. -
La Futura "Costabella"
Hedaccióníyr-Adminislracióir Calle' de Xarra, 8. Maafíd.l^ * Diarioindependiente délaTioche fundado por D; Nicolás M*Ui^o:ti ea.l920 # Precio: ,10 céntimos-Año XI. N.° 3.120. Sábado 27 diciembre 1930. llega con tres fechas. Y me alum de Raquel y por el miiro de Dü^ PERSPECTÍVAS bro con lámparas de gasolina. Y vid. INGLATERRA Si no fuera por un alemán aven La ola del progreso técnico ha turero que frente a la casa rús cambiado, naturalmente, él ca tica en que hatrito — en la linde rácter de muchas ciudades orien de un pinar a pico sobre el Me tales; pero Belén es hoy todavía La futura "Costabella" la misma antiquísima ciudad con £1 poeta imperialista diterráneo -— ha puesto una hos sus estrechas, pequeñas y tortuo tería, no sé cómo hubiera resuel sas caUejuelas, de viejo empedra to el problema de la alimenta do, y con sus infinitas iglesias. A España incógnita ción. Este alemán es uno de los excepción de algunos automóviles fimdadores de la futura Costabe y de los sonidos de algún gramó Rudyard Kipling Casi todo el ámbito del mundo oomodidades interiores, & la ex lla. He aquí vm hombre rubio que fono o aparato^ de "radio", reina LONDRES 26. —Rudyard Ki en esta ciudad honda paz; parece en Eombay (India) el 30 de di civilizado y confortable lia sido plotación de sus bellezas locales. viene a alecoionarnos, un espíri pling, el principal representante ciembre de 1865. Su padre era di tu intraeuropeo en tierra mora o como si existiera desde la eterni literario del im,perialísmo inglés descubierto por los turistas. -
The Influence of Bix Beiderbecke – Volume Two: Europe
THE INFLUENCE OF BIX BEIDERBECKE – VOLUME TWO: EUROPE By Nick Dellow and Mark Berresford As evinced in Volume One of this CD set, Bix Beiderbecke was the defining interpreter of jazz for many white American trumpet players in the latter half of the 1920s and into the early 1930s. Less well known is the fact that he was also enormously influential in Europe during this time. Although Bix himself never left the USA, his solos were conveyed across the Atlantic through 78 rpm records issued in England, France, Germany and many other countries. Through a combination of word of mouth and reviews in the Melody Maker (a British dance band magazine), these records soon became the talk of dance band and jazz circles. As a consequence, a “Bixian” style began to pervade jazz-flavoured dance band recordings across Europe from the mid 1920s, most notably in Great Britain. Early influences It was the Original Dixieland Jazz Band (the ODJB) who first brought jazz to the Old World, playing extended engagements in London from April 1919 to July 1920. Their Dixieland music had already proved a hit in Chicago and at New York’s Reisenweber's Restaurant, and through nightly appearances at the Hammersmith Palais de Dance and Rector’s Club in London – as well as via now rare recordings issued by British Columbia – the band repeated the success they had scored in their home country. Many other American bands followed in the wake of the ODJB’s success, and for a decade or so after the Original Dixielanders had returned home, Europe proved to be a valuable source of additional income for American bands and musicians who played this new type of popular music, which their European counterparts often found hard to emulate. -
The Bass Saxophone: a Historical Account and Performer's Guide
DocuSign Envelope ID: 4E7DE825-BE46-4CD2-8CFA-4D97B3CE4FC3 The Bass Saxophone: A Historical Account and Performer's Guide by Lucas_____________________________________ Hopkins _____________________________________B.M., University of Minnesota _____________________________________M.M., Northwestern University 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 _____________________________________Doctor of Musical Arts _________2021 The Bass Saxophone: A Historical Account and Performer's Guide __________________________________________ Thesis title Lucas__________________________________________ Hopkins Written by For a _________________Doctorate Degree in _____________________________Saxophone Performance Tom_________________________________ Myer _________________________________ 5/20/2021______________ Main Advisor Signature Date Keith_________________________________ J Waters _________________________________ 5/24/2021______________ 2nd Advisor Signature Date Daniel____________________ Silver _____________ _________________________________ ______________5/24/2021 3rd Advisor Signature Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. DocuSign Envelope ID: 4E7DE825-BE46-4CD2-8CFA-4D97B3CE4FC3 Abstract Lucas_______________________________________________________ Hopkins Name & Title -
(M-)Ein Blick Auf Ragtime - Populäre Musik Zu Beginn Des 20
Klaus Pehl (M-)Ein Blick auf Ragtime - Populäre Musik zu Beginn des 20. Jahrhunderts und unvergänglich liebenswürdig (M-)Ein Blick auf Ragtime - Populäre Musik zu Beginn des 20. Jahrhunderts und unvergänglich liebenswürdig Copyright © Klaus Pehl 2020 Landgrabenweg 3, 53227 Bonn E-Mail [email protected] Web www.ragtime-society.de oder www.klauspehl.de Dieser Text wird nicht in gedruckter Fassung erscheinen. Nur ausgewählten Freunden und Institutionen, u.a. den Mitgliedern der "Ragtime Society Frankfurt" sowie dem Jazzinstitut Darmstadt, wird er per E-Mail elektronisch als PDF-Datei überlassen. Ansonsten wird er downloadbar über http://www.ragtime-society.de oder http://www.klauspehl.de sein. Hinweis: Die zahlreich über den Text verstreuten internen Links zu auf meinem PC verfügbaren MIDI- Dateien als Tonquellen, besonders im Kapitel 8 und dem Abschnitt 11.1.2 des Anhangs, werden mit der PDF-Datei allein, auch als Download von den genannten Web-Seiten, nicht funktionieren. Ich arbeite daran, dass die internen Links wenigstens beim „Online-Lesen“ des Texts etwas nutzen. Alle externe Links auf Quellen im Internet werden direkt aus der PDF-Datei des Textes funktionieren. Das Bild auf der vorderen Umschlagseite beruht auf einem Scan des Deckblatts der Sheet Musik von „Maple Leaf Rag“ (Scott Joplin, Stark Music Co, St. Louis 1899) aus meinem Besitz, das Bild auf der hinteren Umschlagseite enthält ein allgemein zugängliches Foto des Komponisten, wie es auf dem Deckblatt von „Cascades“ (Scott Joplin, Stark Music Co, St. Louis 1904) abgedruckt war. Wenn meine Ausführungen sich im Einzelnen als falsch oder lückenhaft erweisen, freue ich mich über jede korrigierende E-Mail ebenso wie andere Rückmeldungen an [email protected]. -
Jan 07 2.Pmd
Fest #28 To Have A Super Lineup With the sounds of hot jazz, ragtime and swing still ringing in our ears from Published by America’s Finest City Dixieland Jazz Society • San Diego, CA • www.dixielandjazzfestival.org Festival #27, AFCDJS already has an awesome lineup of bands for 2007! For $2.00 Per IssueJanuary - February, 2007 Vol. XXV No. 1 openers, the 28th Annual San Diego Thanksgiving Dixieland Jazz Festival, Nov. 21-25, 2007 at the Town & Country Resort and Convention Center in San # 27 Fest Had Zest! Diego, will feature Denver’s Queen By Jay F. Levine, Editor City Jazz Band — returning after a A definition of zest in the Webster hiatus of several years. Collegiate Dictionary explains, New bands in 2007 include Wally’s “something that gives or enhances a Warehouse Waifs and the Pieter pleasant taste ... hence keen Meijers Quartet with Brady McKay. enjoyment.” The 27th Annual San Several of our patrons’ favorites are Diego Thanksgiving Dixieland Jazz signed up as well including Yerba Fest defined the word zest, was best Buena Stompers, Buck Creek JB, in the west, a quest for splendidness, Grand Dominion JB, Cornet Chop (perhaps I should give it a rest, lest I Suey, Mighty Aphrodite JB with Nina be perceived as a pest!). Ferro, Carl Sonny Leyland, Night As editor of the Jazz Rambler, I Blooming Jazzmen, Uptown have usually resisted the temptation Lowdown and Dick Williams’ JazzSea to write articles for our publication. I Jams. succumb now simply because this past Use the coupon on page 5 to pre- Festival was the most fun I’ve had order discounted badges and to make since my father started dragging me hotel reservations. -
Introduction
INTRODUCTION Jazz, Europe, Americanization Downloaded from http://read.dukeupress.edu/books/book/chapter-pdf/625813/9780822387282-001.pdf by guest on 02 October 2021 And they dreamed dreams, above all of the United States, the land of modernity, freedom, space, jazz, spontaneity.... —malcolm bradbury (1982, 8), on young Britons in the 1950s Downloaded from http://read.dukeupress.edu/books/book/chapter-pdf/625813/9780822387282-001.pdf by guest on 02 October 2021 n Paul Gilroy’s bold phrase, the ‘‘planetary force’’ (quoted in Hutnyk 2000, 215) of black music today has come about in part through I 1 the circulations of jazz. In its international origins, jazz was always already a globalizing culture—consider only the familiar narrative of the ‘‘syncretic mixture of African and European influences that came together in the United States’’ (Shipton 2001, 830) through modern slavery. Jazz here is the musical culture or legacy of the triangulation, a music of modernity, the sonicity of the black Atlantic. James Camp- bell argues that ‘‘what sets black American music apart from other folk musics is the circumstances of its creation, which is what gives it its sense of urgency’’ (1995, 5). Does music have a privileged posi- tion as a cultural product of transatlanticism, more so than food (from the potato to gumbo), some literature (slave narratives, pirate and ex- plorers’ testimonies), some linguistic developments like Creole? I think of calypso, reggae, carnival, and most of all jazz and blues—formed from the experience of global circulation, and even being born before the development of mass media that would give later, newer musics a rapid international profile.