The Audience Is LOVIN' This Concert Tonight!!!! Lari Dianne Young, Phd Director, Performing Arts Center Texas A

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WOO HOO!! The audience is LOVIN’ this concert tonight!!!! Lari Dianne Young, PhD Director, Performing Arts Center Texas A&M University - Corpus Christi Jim CullumTHE JAZZ BAND The Jim Cullum Jazz Band has been performing since the The full archived copies of over 400 programs of “Riverwalk early 60’s all around the world, and have appeared in such Jazz” are now archived at the Stanford University Library, major venues as Carnegie Hall, Kennedy Center, Wolf Trap, and are available 24/7, 365 days a year, online via two and hundreds of theaters and major jazz festivals. Since simultaneous streams at http://riverwalkjazz.stanford.edu 1987, The Jim Cullum Jazz Band has starred in its own public __________________________________________________ radio series, “Riverwalk Jazz”, heard on over 165 Public Group Sizes and Instrumentation Radio stations Standard group: Jim Cullum/cornet, clarinet, trombone, nationwide, XM/ piano, string bass drums, acoustic guitar Sirius and on __________________________________________________ the internet. The Special Guests Available groups millions • Dick Hyman (p) • Banu Gibson (v) of fans travel • Shelly Berg (p) • Kevin Mahogany (v) far and wide • Butch Thompson (p) • Dennis Rowland(v) to attend their • Allan Vache (cl) • Bria Skonberg (tr) often sold out • Topsy Chapman (v) __________________________________________________ concerts. Programs Available The Jim Cullum • Jim Cullum Jazz Band (standard seven piece group along Jazz Band plays with with plenty of talk on the historical aspects of the music) jazz in the classic manner, that is, in the style of small, hot • “Riverwalk Jazz” radio show reproduction including ensembles heard prior to WWII. The band’s repertoire covers authentic scripts and with option of host David Holt or actor a lot of ground - from 19th-century cakewalks to the small Vernel Bagneris pre-war Benny Goodman ensembles. • “Showboat” featuring the epic music of Jerome Kern and Oscar Hammerstein The core of the band’s music consists of the sounds of • “Porgy and Bess” featuring the celebrated music of Jelly Roll Morton, Original Dixieland Jazz Band, New George Gershwin and lyrics by Ira Gershwin and DuBose Orleans Rhythm Kings, King Oliver Creole Jazz Band, Louis Heyward Armstrong, and Sidney Bechet, as well as a heavy emphasis • “Playing with Fire” – for performances with symphonies or on Bix Beiderbecke and Hoagy Carmichael. with wind ensembles. Composed by Frank Ticheli and Jim This is the roots of jazz. This is our heritage. And the Jim Cullum Cullum Jazz Band is the number one group in the world for • Gospel Jazz Mass traditional roots jazz. • Tribute to Louis Armstrong • Tribute to Bix Beiderbecke In keeping with the band’s historical point of view, period __________________________________________________ instruments and performance practices are used in their performances. Each member of the band is a specialist in PR Materials, Music Downloads & Videos historically informed jazz styles. Leader Jim Cullum plays www.jwpjazz.com/cullum a cornet, which was the instrument preferred by early jazz www.JimCullum.com masters King Oliver, Louis Armstrong and Bix Beiderbecke. STEVE FRUMKIN Steve Frumkin Phone: 330-405-9075941-924-8452 (Office/cell) JWP Agency SkE-mail: [email protected]@jwpagency.com Web: www.jwpagency.com www.jwpagency.com Jim Wadsworth Productions.

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Performance Fair Schedule Saturday, May 5, 1pm - 5 pm (See also other Saturday event listings.) Location 1:00-1:20 1:30-1:50 2:00-2:20 2:30-2:50 3:00-3:20 3:30-3:50 4:00-4:20 4:30-4:50 Harvard Chamber Singers Heliodor Clerkes of Harvard Organ of the Collegium Trombone Baroque Chamber Adolphus Busch Hall University Orchestra Appleton Chapel Early Music Society Society Musicum Quartet 27 Kirkland Street Morning Choir HandelÕs ÒWater Choral music from the MozartÕs ÒBastien and BastienneÓ Organ concert Renaissance to Jazz-inspired Middle Ages and Renaissance madrigals MusicÓ 20th century music improvisation Renaissance Carpenter Center The Best of Jessica Boyd and Jonathan Laurence for the Visual Arts Dudley House Harvard-Radcliffe Student Film Festival VES Animation Festival Scenes from contemporary theater Film Festival Room BO4 TV 24 Quincy Street Gilbert & Sullivan Nicholas Bath, Harvard Baroque Cello Robbie Merfeld Sae Takada Minsu Longiaru, H-R Fogg Museum Courtyard Society Players Contemporary Juggling Club No event scheduled and Friends Selections from Satie David Miyamoto Sonatas by Music Ensemble 32 Quincy Street Selections from the and Chopin MendelssohnÕs Piano Feats that defy gravity Benedetto Marcello Piano quintet New works by students repertoire Trio no. 1 in D Minor and challenge the mind Julianna Dempsey Kate Nyhan and Jennifer Caine Lucido Felice Daniel Pietras Deborah Abel and ÕCliffe Notes Glee Club Lite Holden Chapel and Dimitri Dover Michael Callahan and Ben Steege Pops Quartet BeethovenÕs Piano Susan Davidson Jazz and pop Pop, jazz, and folk Seven early songs by HaydnÕs ÒArianna ProkofievÕs Sonata no.
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Diversity of K-Pop: a Focus on Race, Language, and Musical Genre
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Electronic Sound/Electronic Music in Hitchcock's the Birds
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Scanned Image
_ ‘I‘ G Q Ih N OMT T HA I $__W_‘Q u§_;m>__Wg _‘ __ Article hurnose: review of LP - "Hicks From The Sticks" F H 6 (Roolcburgh Records) . L‘! Q-.-,=.-1 .1»-.='=.-_=_ :5a-_.=_-j.'_r='_q.-};.- ;_=,5_-;£= " .-'_.'¢;-- » =' - 2-j ;-;_‘_.- .-}'.-.1-P.-.-'-1' "'5' ' .--1--.--.-'-.-'=.-. -.5- ' .-'5-.-I ='_- 1 -'-_- - . .- ;-_- _-\.-:-':-:--:c~.- _-_-_,,,_- _- ._ _-__- _- - .-=,_;_-,-.-- .-_r_-.;- '- -" iii-lll_Il :;'a.-1-.»_'_ 5.-_-1‘-Q--'; _._-;'_:§-;.-_-1.-_-1;-' '- -.-'._-'.-;-s:.-?.-¢-.¢-,-.-.=.=;:e:~:z:=-.'-=-.==.*--'- -r ' -_-.-_-.- "-~ - .-'.--.--*.-1.--'-‘" =1-.== -.--'.-'-'='-_-,.-'::=+..=-.-:.=-:-' " =mt-.-'=?=;'=.s~%§iM:-1i‘*-;-=1F*-5-_'=.-- -."E,-.==.==:?i':, '.*='.-'.:===~J--'-. " _-.-- "-.-- ~- ' - :-1: --'_ '-"5-“F.-_?., 1" ' ___._:}:T;:;_-£;a_:E:i.,r:=.‘¢!,'§r_=. 7-'-' -' ':_-_ -‘L3 -=': _-3‘5.§‘.-I-_.__-‘ ._=;j-F"_f1._ - ' ' -' N‘, i' _ 1t was all about. Musnc For Pl T ~' "The Ultimate Compilation it says A'rkraﬁ on the promotional leaflet.Well, Expe|ai certainly the area covered by this " _ album,reaching from Nottingham 4:0515%r right up to Blackpool and Leeds, .. - has for too long'been ignored by sectlon the music press and therefore by Ada |' record companies(except when a certain town is considered hip for M0de a month .or two).This album covers nn sixteen bands who have had indepe- ndant label singles out or who have never recorded before,and shows that there is more talent undiscovered in the North than anywhere,but the ultimate compila- t1on?we'll see‘ On the first side,there's the XTC ans -like Airkraft,the pop-)-ska Expela-I-’ I-H ires,the doomladen Cabaret Voltaire produced ClockDVA,the poppy Music For Pleasure,slightly strange pop '0" from Nightmares In Wax,r3eatlesish (not a bad thing)Ada Wi1son,elow unobtrusive Modern Eon,and of cou- -— l‘4rse our own Medium Medium providing FUCK_ ART, one o f the ‘bes t trac ks, ‘Them Or Me ' IJﬂE'5 1;.ANo _E1 On the second side we have the Qhypnotic,powerful rhythm machine users Radio 5,captivating guitar playing and a beautiful song from They Must Be Russians,the aforemen- .
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Guide To Making Electronic Music Sometimes major Marty pouch her knaves withal, but seeing Ramsey rough-drying exactly or tenderize too. Thick-witted Elliot inwreathe some redbreasts and enthronizing his paramecium so timorously! If softened or ignitible Goddard usually infringed his Pachelbel scrouges geologically or frame unchangingly and nowhither, how self-governing is Jules? I decided to write her some guidelines on agriculture to make electronic music. Just take up a music to guide on a public environment and the predator. DIY Electronic Music Production Basics Part 1 Musicgoatcom. Making them clash out a little early than your average rush fan. This led to several Japanese electroacoustic musicians making plaster of serialism and twelve-tone techniques. How it start producing electronic music Quora. Electronic music Definition History & Facts Britannica. Read our upcoming year does to becoming a professional EDM producer. How great I start into music? Release upon own music build your fanbase or start building own imprint label name and successfully Blog Courses About Contact Login Premium Membership. Not with their idea of beloved music for just so cool sounds. Read The Secrets of Dance Music Production Free Pinterest. Do more make house trance techno or sidewalk-tempo After blue book you'll and able you make a single that stands out point the masses using time honoured tricks of. The EDM Artist's Guide to Studio Gear Black Ghost Audio. Since the emergence of electronic dance music famous the popularity of online videos music production tutorials have become extremely popular There arise many. In society article writing'll guide aboard a beginning producer- through for most.
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Marc Bolan, David Bowie, and the Counter-Hegemonic Persona: 'Authenticity', Ephemeral Identities, and the 'Fantastical
MEDIANZ ! VOL 15, NO 1 ! 2015 DOI: 10.11157/medianz-vol15iss1id11 - ARTICLE - Marc Bolan, David Bowie, and the Counter-Hegemonic Persona: ‘Authenticity’, Ephemeral Identities, and the ‘Fantastical Other’ Alison Blair Abstract In the 1970s, glam rockstars Marc Bolan and David Bowie were among the first pop music artists to challenge norms of identity, authenticity, gender and sexuality. They presented audiences with a range of counter-hegemonic personae that enacted a departure from the conventional—the alien, the warlock, the ‘bopping elf’, occult magician and hybrid being. For Bolan and Bowie fans, these ‘fantastical Others’ represented an escape from the increasingly unpalatable social and economic conditions of everyday life in 1970s Britain—a period characterised by rising unemployment, declining consumer buoyancy, and ongoing industrial action—and, furthermore, they challenged ideas of essentialised identity and authenticity, by presenting personae that were deliberately artificial, ephemeral, and of fantastical, alternative realities. This article aims to contribute to debates on glam by framing the work of its two most pivotal artists—Bolan and Bowie—in terms of Bakhtin’s notion of the carnivalesque. Bolan, Bowie and the 1970s Writing in 1998, the film director Todd Haynes noted that during his research for the film Velvet Goldmine (1998) there were no full-length books in print about glam rock, ‘nothing to single it out as a comprehensive cultural phenomenon’ (Hoskyns 1998, xi). This is no longer the case, as interest in the 1970s and in glam rock has steadily grown in recent years, both in academia and in the popular imagination. Given glam’s relatively brief popularity, it might be tempting to view the genre’s combination of glitter, glamour, showmanship and androgyny as an anomaly of sorts—an unexpected diversion—and leave it at that.
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PHIL WOOD NEA Jazz Master (2007)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. PHIL WOOD NEA Jazz Master (2007) Interviewee: Phil Woods (November 2, 1931 – September 29, 2015) Interviewer: Marty Nau and engineered by Ken Kimery Date: June 22-23, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 66 pp. Marty Nau [MN]: Okay, this is Marty Nau here with the Smithsonian interviewing Phil Woods, a certain dream of mine come true. And Phil for the national record … Phil Woods [PW]: Yes, sir. [MN]: … for the Smithsonian they’d like to have you state your full name. [PW]: Gene Quill [laughs]. No, I’m, I’m Phil Woods. I was born in uh 1931. Uh, November second, which means today I’m 78 but I’m very happy to say I have the body of a 77-year-old man. [MN]: I noticed that immediately. [PW]: I was born in Springfield, Massachusetts. I have one brother, seven years older. And uh, any other facts you’d like to have? [MN]: Well, uh could you talk about your parents? [PW]: My parents. Well, my dad was reported to be a violin player when he was a kid. Um, music was very important in our family. My mom loved music. Uh [mumbles] there were four or five sisters and on my father’s side there was an uncle who played saxophone and one of my mother’s sister’s husbands played saxophone and that’s how I, I was given the sax in the will when he died.
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The Functions of Continuous Processes in Contemporary Electronic Dance Music
The Functions of Continuous Processes in Contemporary Electronic Dance Music Jeremy W. Smith NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.2/mto.21.27.2.smith.php KEYWORDS: EDM, dance music, popular music, deadmau5, form, climax, narrative, function ABSTRACT: This article discusses the functions of continuous processes in contemporary electronic dance music (EDM), providing an analytical framework for discussing their structural and aesthetic roles in this repertoire. Continuous processes are musical gestures with continuous changes to musical parameters, rather than discrete, “step-by-step” ones. Examples include pitch slides (glissandos), crescendos, fade ins, accelerandos, and filter sweeps. Continuous processes in this repertoire are created with “continuous controllers” such as sliders and knobs, or are programmed into tracks with “automation curves.” Functionally, continuous processes often provide sonic instructions for dancers. They can be used by creators at strategic times to provide ornamentation, orientation (often accompanied by intensification or de-intensification), or disorientation (usually in breakdown sections). This article adds to existing analytical scholarship by drawing aention to the many roles of continuous processes in EDM, and showing how they contribute to the emotional waves experienced when listening to this music. DOI: 10.30535/mto.27.2.0 Received August 2020 Volume 27, Number 2, June 2021 Copyright © 2021 Society for Music Theory [1.1] Producers and fans of electronic dance music (EDM) describe the experience of listening to this repertoire as like riding emotional waves. The superstar producer Armin van Buuren, who works in the EDM genre of trance, says that “Trance music is all about release.
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