Music Handbook 2020-21

Total Page:16

File Type:pdf, Size:1020Kb

Music Handbook 2020-21 -1- Students, On behalf of the music faculty and staff, I welcome you to Southwestern Assemblies of God University (SAGU). We are looking forward to a meaningful and rewarding association with you during your time as a music major. As you well know, music is a diverse field and the SAGU Music Department provides our students with a variety of opportunities. At the beginning of your academic career (and even as an upper-class student), these resources and opportunities can seem overwhelming. So, there are a few things I encourage you to do, no matter where you are in the process of being a music major: First, get involved with extracurricular activities of the department including Choir, Band or Chapel Worship. Review the Music Department Handbook and SAGU Undergraduate Catalog. These resources will ensure you graduate on time. In addition, become familiar with our social media platforms. You can find us on Facebook (SAGU Music), Instagram (@sagumusic), and Twitter (@musicsagu). Most of all, it is important that you are connected with your peers and professors. We all want to see you succeed in the path God has set for you. Knowing that He who has begun a great work in you is faithful to complete it. After reviewing the Music Department Handbook, if you have questions, please see myself or one of the other music professors. We are always praying for you. Blessings, Dr. Tyrone J. Block, Music Department Chair -2- Students and Parents, We are so excited to have you back on campus this fall semester. We have missed you and we have missed having the opportunity to make music together. Right now, it is no secret that we are living in an unprecedented time. And while we don’t know what to expect, we know that God is bigger than these circumstances and that He does not give us a spirit of fear, but one of power and of love and of a sound mind. So, while we do not live in fear, we do want to be wise about how we approach learning and campus life this semester. We want everyone to be as safe and healthy as possible until this virus is gone. Until then, we have some new procedures in place that will make our goals of safety and cleanliness even easier as we navigate through this semester. Please read through these and send any questions or concerns that you may have to [email protected] where Dr. Block will be happy to discuss anything that you may need. We love you and are praying that you have a great semester. All the best, SAGU Music Department Faculty and Staff “When I am in class/rehearsal/practicing, what will the Hagee Communications Center look like?” ● All students must use the marked entrances and exits from large rooms, where applicable. ● All students must follow the one-way path marked around each large space, including Burke Hall and Waltrip Hall. ● All doors to rehearsal spaces will remain wedged open, in order to provide an increase in ventilation to each of those spaces. ● Seats in rehearsal spaces and other classrooms will be strategically placed/marked off at a 6 ft distance away from others in all directions. Changes to seating structures are not permitted, unless specifically permitted by a supervising faculty member. ● All personnel must abide by marked capacity signage. Maximum capacity will be at 20 for rehearsal spaces and at 1 for practice rooms. ● High-transit areas will be frequently cleaned at regular intervals throughout the day, in order to maximize sanitation and safety for all faculty and students. “When I am in the Hagee Communications Center for any reason, what will be expected of me to do?” ● All personnel, including students and faculty, are to maintain proper and frequent handwashing throughout each day. Additionally, all personnel are to use hand sanitizer before and after use of frequently-used areas, such as practice rooms and the piano/theory labs. -3- ● All personnel are to continuously maintain a 6 ft social distance away from others, with the exception of one’s immediate family and roommate(s). ● All personnel must have a proper face covering over both the nose and mouth at all times, especially when social distancing is not possible. The only time students may remove their face coverings is when actively participating in a rehearsal. ● Choir and Chorale students will wear face shields when in rehearsals and performing. Face shields are required in order to attend or participate in class. ● All personnel should avoid loitering around the building. This includes avoiding gathering in spaces such as the practice room hallways or any of the couches around the building. ● In rehearsal, only one performer is permitted per stand, ensuring a proper distance between performers. ● All students who wish to meet with any faculty members should contact that professor directly and request an appointment beforehand. No impromptu/walk-in meetings are permitted. ● Upon arrival to the office corridor (whether for a private lesson or for an appointment with a professor), students should wait in the chairs by the corridor’s entrance doors. The faculty member will come retrieve them when they are ready. ● To use a practice room, students should sign up for time slots using the forms outside of that specific practice room. Then, students should email Dr. Block ([email protected]) requesting the codes to the rooms desired. As always, these codes are not to be shared with anyone per the SAGU Music handbook guidelines. Additionally, students will not be allowed to use a room back-to-back after each other. All students must observe the 20 minute blackout time slot between each other (as listed on the sign-up sheet outside of the room). This will ensure proper ventilation and turn over between students in each of the practice rooms. ● Students should not sign up for practice time that they don’t actually intend to use. They should also limit sign-ups to a maximum of 2 hours per session. Finally, they should only use the room that they signed up for and no others. This will minimize the number of students utilizing rooms. ● All students who use the practice rooms or practice in the rehearsal spaces will also be responsible for cleaning the area after each use. This includes wiping down of any common items, such as pianos, light switches, keypads, chairs, and door handles. If there are no sanitation materials available in the practice spaces, please email [email protected] or [email protected] to receive some more for that room. ● Eating or drinking will not be permitted in any rehearsal spaces or practice rooms. ● During private lessons, students and faculty must follow the following procedures: ○ Any students feeling and/or showing any COVID-19 symptoms whatsoever at the time of their scheduled lesson must contact their instructor directly prior to the lesson. Said students will not receive an in-person lesson, but will receive one via -4- video chat, instead. This applies to any students who are informed of contact with a COVID-positive person, as well. In either case, students will only be able to resume in-person lessons after a prescribed quarantine period and/or a negative test result. ○ Face coverings must be worn over both the nose and the mouth when entering/exiting the lesson studio, as well as at any point that the student does not require the face covering’s removal. ○ Sharing of printed music, instruments, or other materials must be limited wherever possible. ○ Instrument cases must be stored in a way that avoids contact with other cases and people. ○ Each student will be required to ensure safety for others when emptying condensation that occurs during playing their instrument(s). It is suggested that an easily transported, towel-lined container with a lid (Tupperware-like), or something similar, be used in all locations where condensation needs to be released. The container must be cleaned daily. ○ A 20 minute window between lessons will be strictly observed to leave time for cleaning and ventilation between students. “Are there any other procedures/changes in place that I should know about before coming to class/rehearsal or before entering the Hagee Communications Center for any reason?” ● Any student recitals should not have intermissions and post-concert gatherings or other receptions may not occur on campus. ● Any student recitals and other performances will be live-streamed via the SAGU Music Facebook page and will not be open to the public. ● During recitals and other performances, all personnel, including performers, faculty, or other stagehands must wear face coverings over both the nose and mouth and maintain proper social distancing. ● Visitors are not permitted into any rehearsal space without the prior consent of the supervising faculty member. ● No personnel other than College of Music and Communication Arts faculty and their respective work studies will be permitted to use the copier and printer upstairs in the office corridor. Any other students may use the copiers in various other locations around campus. -5- TABLE OF CONTENTS I. Introduction 3 II. Entrance Requirements 3 A. General Admission B. Departmental Placement Exams C. Vocal Placement Assessment D. Piano Placement Assessment E. Instrumental Placement Assessment Commented [1]: We only include the Theory Placement Exam III. Curriculum Requirements 3 IV. Program Requirements 4 A. Requirements for Incoming/Transfer Students B. Requirements for Entrance into Upper Division Studies C. Proficiency Exam Requirements D. Requirements for Exit from the Program E. Applied Music Policy F. Jury Exams V. Recitals 10 A. Objectives and Purposes B. Recital Attendance C. Recital Performances D. Recital Hearings E.
Recommended publications
  • Religious Expressions Among Jazz Musicians
    religions Article Performing, Representing, and Archiving Belief: Religious Expressions among Jazz Musicians Vaughn A. Booker Department of Religion, Princeton University, 1879 Hall, Princeton, NJ 08544, USA; [email protected] Academic Editors: Douglas James Davies and Michael J. Thate Received: 30 March 2016; Accepted: 12 August 2016; Published: 19 August 2016 Abstract: The archives of African American jazz musicians demonstrate rich sites for studying expressions of religious belief and daily religious practice in public and private arenas, in professional and personal capacities. Highlighting print material from the archives of Edward Kennedy “Duke” Ellington (1899–1974) and Mary Lou Williams (1910–1981), this article examines the ways that these musicians worked to articulate their beliefs in print and to make meaning of their routine practices. Ellington and Williams produced written records of their aspirations for non-clerical religious authority and leadership, novel notions of religious community, and conceptions of quotidian writing tasks as practices with devotional value in the middle decades of the twentieth century. In preparation for his Sacred Concert tours of American and Western European religious congregations, Ellington theologized about the nature of God and the proper language to address God through private hotel stationery. Following her conversion to Roman Catholicism, Williams managed a Harlem thrift shop and worked to create the Bel Canto Foundation for musicians struggling with substance abuse and unemployment. This study of the religious subjectivity of African Americans with status as race representatives employs archival historical methods in the effort to vividly approximate complex religious interiority. Keywords: African American religious history; Religion in America; jazz; Duke Ellington; Mary Lou Williams 1.
    [Show full text]
  • |||GET||| Creative Jazz Improvisation 4Th Edition
    CREATIVE JAZZ IMPROVISATION 4TH EDITION DOWNLOAD FREE Scott D Reeves | 9780131776395 | | | | | Creative Jazz Improvisation by Scott Reeves Jazz-rock fusion appeared in the late s and early s, combining jazz improvisation with rock music 's rhythms, electric instruments, and highly amplified stage sound. It was Creative Jazz Improvisation 4th edition 'J-A-S-S'. Bunch II [l0v. Main article: Jazz fusion. Unfortunately, relatively little has been written about sacred and liturgical jazz. For most of its history, Afro-Cuban jazz had been a matter of superimposing jazz phrasing over Cuban rhythms. Since the beginning of the 90s, electronic music had significant technical improvements that popularized and created new possibilities for the genre. Bythe Atlantic slave trade had brought nearlyAfricans to North America. I gratefully acknowledge these people, as well as the staff at Prentice Hall, particularly my acquisitions editor, Christopher Johnson and my production and copy editor, Laura Lawrie. Murray, Richard Ambrose, Megan N. Enlarge cover. A series of recordings with the Classic Quartet in the first half of show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonicsutilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. Tatiana Abramova added it May 31, Greer [xds. However the Catholic church has not embraced jazz as appropriate for Creative Jazz Improvisation 4th edition. Joyce, Marsha Weil, Emily Calhoun. Seller Inventory Julnd The relaxation of orthodoxy which was concurrent with post-punk in London and New York City led to a new appreciation of Creative Jazz Improvisation 4th edition.
    [Show full text]
  • The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1St Edition Pdf, Epub, Ebook
    THE NORTON JAZZ RECORDINGS 2 COMPACT DISCS FOR USE WITH JAZZ: ESSENTIAL LISTENING 1ST EDITION PDF, EPUB, EBOOK Scott DeVeaux | 9780393118438 | | | | | The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1st edition PDF Book A Short History of Jazz. Ships fast. Claude Debussy did have some influence on jazz, for example, on Bix Beiderbecke's piano playing. Miles Davis: E. Retrieved 14 January No recordings by him exist. Subgenres Avant-garde jazz bebop big band chamber jazz cool jazz free jazz gypsy jazz hard bop Latin jazz mainstream jazz modal jazz M-Base neo-bop post-bop progressive jazz soul jazz swing third stream traditional jazz. Special Attributes see all. Like New. Archived from the original on In the mids the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. Traditional and Modern Jazz in the s". See also: s in jazz , s in jazz , s in jazz , and s in jazz. Charlie Parker's Re-Boppers. Hoagy Carmichael. Speedy service!. Visions of Jazz: The First Century. Although most often performed in a concert setting rather than church worship setting, this form has many examples. Drumming shifted to a more elusive and explosive style, in which the ride cymbal was used to keep time while the snare and bass drum were used for accents. Season 1. Seller Inventory While for an outside observer, the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from Claude Debussy to Arnold Schoenberg , such a scheme cannot be sustained by the evidence from a cognitive approach.
    [Show full text]
  • Mi M®, 7273 the FUNCTION of ORAL TRADITION in MARY LOU's MASS by MARY LOU WILLIAMS THESIS Presented to the Graduate Counci
    37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 Fledderus, France. The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams. Master of Music (Musicology), August, 1996,141 pp., 44 titles. The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass.
    [Show full text]
  • September 2007 Published by the American Recorder Society, Vol
    september 2007 Published by the American Recorder Society, Vol. XLVIII, No. 4 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com NEW FROM MAGNAMUSIC American Songs Full of Songs Spirit & Delight Fifteen pieces For TTB/SST freely arranged for The twenty lovely recorder trio, SAT, pieces in this by Andrew aptly named set Charlton. Classics demonstrate why like America, Michael East in Battle Hymn of the his time was Republic, America arguably one of the Beautiful, The the most popular Caisson Song, of the Elizabethan Columbia, the Gem composers. of the Ocean, The Marines Hymn, Chester, Complete edition from the original score, with Battle Cry of Freedom, All Quiet along the intermediate difficulty. 3 volumes. $8.95 each Potomac, I'm a Yankee Doodle Dandy, Vol. 1 ~ TTB Vol. 2 ~ TTB Vol. 3 ~ SST Marching through Georgia, and more! TR00059 TR00069 TR00061 Item No. JR00025 ~ $13.95 IN STOCK NOW! An inspiring and instructive guide for everyone who plays the recorder (beginner, intermediate, experienced) and wants to play more beautifully. The Recorder Book is written with warmth and humor while leading you in a natural, methodical way through all the finer points of recorder playing. From selecting a recorder to making it sing, from practicing effectively to playing ensemble, here is everything you need. This is a most enjoyable read, whether you are an amateur or an expert. The repertoire lists have been updated, out-of-print editions have been removed, and edition numbers have been changed to reflect the most recent edition numbering.
    [Show full text]
  • Jazz in Modern Liturgical Music
    JAZZ IN MODERN LITURGICAL MUSIC You wouldn’t normally expect to find modern jazz music performed at Mass, yet this is exactly what is happening at Copenhagen Cathedral. Is this a pioneering new direction for Mass? We explore the development of jazz in liturgy. When the Copenhagen Jazz Festival added the city’s cathedral, The Church Of Our Lady, to its venues list, it may have simply been a move to use whatever spaces were available to expand its programme. After all, there are many other ‘urban festivals’ around the world that use churches as venues to great effect. However, they may not have envisaged how this would develop into an annual ‘July Jazz Masses’ at the cathedral, now a regular part of the Jazz Festival programme. Completed in 1829, the cathedral is an unpretentious building in the neo-classicist style, with a bright interior, remarkable statues and seating for over 1100 people. The Jazz July Masses are traditional worship services led by the Dean, Anders Gadegaard, infused with live music led by acclaimed bassist Chris Minh Doky, drawing on Scandinavian as well as Catholic traditions. To Dean Gadegaard, it is all about enhancement of the experience, as he commented in an interview on Danish broadcaster PBS: “When you add this jazz tone, it becomes much more vital for people, and it becomes easier for us to proclaim the gospel.” The Cathedral has gone further and now also includes jazz in special 'Night Church' events on Thursdays, Fridays and Sundays. These are services offering prayer, electronica, poetry, jazz, gospel workshop and other contemporary forms in a candle- lit setting.
    [Show full text]
  • The New in Music
    University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 1929 The new in music Alma Lowry Williams University of the Pacific Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Part of the Music Commons Recommended Citation Williams, Alma Lowry. (1929). The new in music. University of the Pacific, Thesis. https://scholarlycommons.pacific.edu/uop_etds/887 This Thesis is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. i ·THE NEW IN r.ms I C A Thesis Presented to the Department of Music College of the Pacific In partial fulfillment of the Requirements• for the Degree of !Ja~-~~r of Music By Alma Lowry Viilliams I {I June 1, 1929 !,' Approved and accepted, June, 1929. i f ; ' \ ,,________ _ Dean of the Conservatory, College ot the Pacific. Librarian, College of the Pacific. Gratefully inscribed and dedicated To r:y MOTHJ~R ~:ihoae enduring love has encompassed me with a golden circle of understanding, whose faith has strengthened me and inspired me to labor and to achieve • .. _/ 0 '-' ;~· iii CONTm:TS Chapter Page Int ro duct ion I. The Nature and Es sene e of Huai c •••., , •• , •••••••••••••••••••• , 1 1-Definitions, a-physical phenomena •••••••••••••••••••••••••••••• 2 b-psycho-physical react.ions •••••••••••••••••••••••
    [Show full text]
  • Derick Cordoba Dissertation
    © 2017 Derick Cordoba LITURGICAL JAZZ: THE LINEAGE OF THE SUBGENRE IN THE MUSIC OF EDGAR E. SUMMERLIN BY DERICK CORDOBA DISSERTATION Submitted in partial fuLfiLLment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate CoLLege of the University of IlLinois at Urbana-Champaign, 2017 Urbana, IlLinois Doctoral Committee: Associate Professor Lawrence Gray, Chair Professor GabrieL SoLis, Director of Research Associate Professor Tito CarriLLo Professor Erik Lund ABSTRACT This dissertation discusses the Lineage of Liturgical jazz with a particuLar focus on Edgar Eugene “Ed” SummerLin (1928-2006). This Lineage stretches back into the Late 1950s, but has LargeLy been unexplored beyond a seLect few high-profiLe artists. I trace the evoLution of Liturgical jazz from several composers’ earLiest attempts to the present day. ALthough the Liturgical jazz movement began in the Late 1950s, it was primariLy a product of the turbuLent 1960s in America. This was a period of great change and expLoration not onLy in jazz but in organized reLigion as weLL. A deep and frank discussion emerged as to what Liturgical music shouLd and wouLd be alLowed to sound Like. These decisions at the highest LeveLs of denominations had ramifications that are stiLL being feLt today in the churches of America; however, the primary focus of this dissertation is on the formative period of Liturgical jazz during the 1960s and earLy 1970s. These years give a basis for better understanding and appreciating the deveLopment and defining features of Liturgical jazz. SummerLin is a figure that is often cited as a pioneer in Liturgical jazz, but no one has offered a history of his Life, his music, or why his Liturgical music was so revoLutionary.
    [Show full text]
  • The Sacred Music of Mary Lou Williams
    Title Page Title Page At the Intersection of Jazz and Catholicism: The Sacred Music of Mary Lou Williams by Christopher Carnell Capizzi BFA, Carnegie Mellon University, 1991 MAM, Carnegie Mellon University, 1992 Submitted to the Graduate Faculty of the Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS & SCIENCES This dissertation was presented by Christopher Carnell Capizzi It was defended on July 17, 2019 and approved by Michael Heller, PhD, Assistant Professor, Jazz Studies Amy Williams, PhD, Associate Professor, Composition Paula Kane, PhD, Professor and John and Lucine O'Brien Marous Chair, Contemporary Catholic Studies Dissertation Chair: Aaron Johnson, PhD, Assistant Professor, Jazz Studies ii Abstract At the Intersection of Jazz and Catholicism: The Sacred Works of Mary Lou Williams Christopher Carnell Capizzi, PhD University of Pittsburgh, 2019 In the 1960s, African American jazz pianist and composer Mary Lou Williams (1910-81) used what was then known as the Negro spiritual, blues, swing, bebop, and even ragtime as inspiration for her settings of the sacred liturgy of the Roman Catholic Church. She deliberately chose jazz, which she called “the only true American artform,” drawing from all the eras of jazz. In doing so, she documented the important achievements in black music history in a way that few have achieved within the confines of single multi-movement works. In this she should be compared to Ellington perhaps, whose multiple movement extended works, like Black, Brown and Beige (1943) had presented the diversity, depth, and variety of the African American experience.
    [Show full text]
  • Mary Lou Williams's Hymn Black Christ of the Andes (St
    American Musics Mary Lou Williams’s Hymn Black Christ of the Andes (St. Martin de Porres): Vatican II, Civil Rights, and Jazz as Sacred Music Gayle Murchison On 3 November 1962, Saint Francis Xavier Church at 30 West Sixteenth Street held its third annual civil rights mass in honor of Martin de Porres, a Peruvian saint of African descent. Reverend Walter M. Abbott deliv- ered the sermon at this mass, which was sponsored by the St. Thomas More Society, quoting in it the opening statement of the Vatican Council: “We proclaim that all men are brothers, irrespective of the race or nation to which they belong.”1 The New York Times reported that “a new jazz hymn to the saint was sung by Ethel Fields.” Mary Lou Williams was named as the composer of the hymn, with Reverend Anthony S. Woods identified as her collaborator. Black Christ of the Andes (Hymn in Honor of St. Martin de Porres) of 1962 was the jazz pianist and composer Mary Lou Williams’s first sacred jazz composition intended for use in the Roman Catholic liturgy and the first of several large- and small-scale religious works that Williams would compose during the last two decades of her life. The genesis of Black Christ of the Andes can best be viewed against the backdrop of the civil rights movement, the Second Vatican Council, and Williams’s return to jazz. In the mid-1950s, after nearly fifty years as a professional musician, she had retired from public performance after suffering an emotional breakdown while living for a time in Europe.
    [Show full text]
  • Gstar-072807-A-01.Qxd
    PQTVJGCUV"HNQTKFC‚U"QNFGUV."NCTIGUV."OQUV"TGCF"CHTKECP/COGTKECP"QYPGF"PGYURCRGT Vjg"Hnqtkfc"Uvct Rtguqtvgf"Uvcpfctf Two Involved in KPUKFG Vjg"Hnqtkfc"Uvct. R0"Q0"Dqz"6284; W0U0"Rquvcig"Rckf Lcemuqpxknng."HN Vjg"Igqtikc"Uvct# Lcemuqpxknng."HN"54425 drugs & murder- Vcnm"qh"vjg"Vqyp"("Lcz"Lc|| Rgtokv""Pq0"5839 Blame Each Other Korcev"Tcfkq Can’t Get to the Store? Lcemuqpxknng"vq"cickp"jquv"vjg CO3582 Ugg"Etkog"( Inqdcn"Fc{"qh"Rtc{gt"/"Ugg"D/3 *;26+"988/::56 Have Vjg"Uvct Delivered! Lwuvkeg"Ugevkqp UKPEG"3;73 Cp"Cyctf Tgcf"Vjg"Hnqtkfc Ykppkpi cpf"Igqtikc"Uvct Rwdnkecvkqp. Pgyurcrgtu0 Nkuvgp vq"KORCEV ugtxkpi"{qw Tcfkq"Vcnm"Ujqy0 ukpeg"3;730" yyy0vjghnqtkfcuvct0eqo Tcvgf"›Cfi"d{ Still the people’s vjg"Dgvvgt choice, striving to Dwukpguu"Dwtgcw yyy0vjghnqtkfcuvct0eqo make a difference. LWPG"4."4234"""/"LWPG":.."4234""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""XQN0"84"PQ0"9""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""72"EGPVU Vtqrkecn"Uvqto"Dgt{n Xqvkpi"Tkijvu"Vjtgcvu Kv‚u"Pqv"Qxgt Ecog"cpf"uvknn"jgtg Oc{"qt"Oc{"pqv"Gpf by Dan Evans The Florida and Georgia Star It is time we all take the time to observe the changes Newspapers this country is going through regarding civil rights for all and the strategies being used to have a controlling The Florida State group of citizens in this country. Money is the key! Conference and The So often we hear that the morning after the 2008 pres- Jacksonville Branch of The idential election, meetings were held all over the coun- NAACP along with SCLC, try to see if there was any way the votes could be The Urban League, and Photo by FM Powell3 retracted or, begin work immediately to get rid of the The National Action Memorial Day weekend, 2012 for Southwest Georgia newly elected president or block all of the changes he Network were scheduled to walk from Hemming Plaza and Northeast Florida will annually help remind resi- promised to make.
    [Show full text]
  • |||GET||| Jazz Religion, the Second Line, and Black New Orleans
    JAZZ RELIGION, THE SECOND LINE, AND BLACK NEW ORLEANS, NEW EDITION 1ST EDITION DOWNLOAD FREE Richard Brent Turner | 9780253025128 | | | | | Data Protection Choices Throughout the piece, the four beats, whether sounded or not, are maintained as the temporal referent. The Essence Music Festival is another notable annual musical festival in the city. I thought I was writing an eight-bar bridge, but In that same year, saxophonist Kamasi Washington released his nearly three-hour long debut, The Epic. The harmonic progression can begin on either and Black New Orleans of clave, and the harmonic "one" is always understood to be "one". Oxford University Press. Previously, a solo was meant to fit into a given chord progressionbut with modal jazz, the soloist creates a melody using one or a small number of modes. NBA : Western Conference. Jazz-rock fusion appeared in the late s and early s, combining jazz improvisation with rock music 's rhythms, electric instruments, and highly amplified stage sound. Africa and the Blues. Jazz began Jazz Religion get a reputation as immoral, and many members of the older generations saw and Black New Orleans as a threat to the old cultural values by promoting the decadent values of the Roaring 20s. Although some jazz purists protested against the blend of jazz and rock, many jazz innovators crossed over from the contemporary hard bop scene into fusion. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form". Concise Guide to Jazzfourth edition. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone.
    [Show full text]