DOCSLIB.ORG

Nbr 146 1968 July 17 to 30

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nbr 146 1968 July 17 to 30 '., . , .. ,. '" \ . >,~,, KRAB and KBOO are listener suppbrt­ 1l.4Sam A TALK FROM THE SEABECK ed, non-cOmmercial, free fo'rum PM I CONFERENCE. The opening address radio stations operating in Seattle given by Herberto Sein at the con­ and Portland. The idea is that we ference recently held on Hood Canal play such unusual and interseting , by the American Friends. programs that the listeners <i:anrtot 1.00pm STUFF,a hole in the after­ help but send uS money. It 'sa pec­ I noon for recent arrivals. uliar and unbusinessinanly notion and 2.00pm INDIAN MUSIC, selections only works with a great deal of tQ­ Ii from an extensive collection of , I operation, care and pa ti~rtce. ' ' Su~­ ! recorded Indian classical and folk scription rates are $20 a year, with music presented by Margaret Hollen a minimum rate of $12, and a st1.1cleut bach. rate of $6 for nlnemohths. Arid if ' 5.30pm READING: Ray Skjelbred con­ the subscription lady survives w,rit.::. tinues reading the short stories of ing her masters thesis and prints ' Ii Stephen Crane, here concI uding "The your name on a Ii ttle card, you1q Blue Hotel," published in 1889. get this program guide a couple of I 6.00pm THE M1AZING KEITH JARRETT. times a month. It I 5 tax deduc1:able This young Jazz pianist has become and the address is 9029 ~oosevelt well known for his work with the Way Northeast, Seattle, 98115. Charles Lloyd reoup. He has now NOTES: The marathoh went , well. appeared in an LP of his own accom­ We're still not ricH. and it's still panied by Charlie Haden, Bass and going to be scary getting thrQugh I Paul M6tian, Drums. Almost all of the Summer. But we have a $1,200 " I the pieces played are compositions check from th~ Washington stat~ ~it~ , j by Jarrett himself. We will also CommiSsion and $1,200 in tnatching , include on this contert one earlier donations front subScdbElrs. ,"Yeah; , cut from an LP with Charles Lloyd, that ought to get us' through 'the . ' " Love No.3. Borrowed from Discount middle of August ," , yell~ the ' trea:s~ ' : ' Records. tirer from the bathroom. And t j~st ', i 7. OOpm " LETTER FROM ENGLAND. Mi ch­ smile and say, "That' Sabout when i i. ," - ael Scarborough reporting from Rid­ plan to gO on vacation." < J.-Th~m'k:s ", _i dlesden, Keighley, Yorkshire, Eng­ and smiles are in ,6r,der ,a,rtd , ex,te~ded . ,' land. " ,. ~ " to all the people who Hs'tenedanq " ~ ' r' " - '! " 7.l5pmNEW1300KS. Selected read- made donations'. , ,' , !. ings from recent publications with HELP WANTED: We need goqtl ~nrlobhc;.. l ' , P~J. Doyle. ers. Which means most anybody wfib i ' 1.30pmCOMMENTARY: Ruth McIntosh. has facility in a cbupleof fore'ign , j 8.00pm RESURRECTION CITY. KRAB , 'i languages. Women preferred. ' An:" " , 'ii commentator Flo Ware recently trav­ other thing that heeds , c,onsistent ' " ' ,','iI " ': eled across country by bus with doing is ordeHng the ,·rec6td-,' i.ib- '.. other Poor People to petition the c rary. being librat~an wou~d ~e~ti].'te ' , ,,""I , powers in Washingtort, D.C, This is about foul' ot ffve hours , a, wee'J<"a: ",' a report of that journey; the con­ knowledge of the alphab~tand the ' I , fusions, pains and petty frustra­ ability to <i:~unt t:oathou~and. "Tt' " tions~ As well as the successes. you'rE! qualified, call.. 9.00pm EAR TO THE GROUND, a program i ' of recent transcriptions in the I• WEDNESDAY, ~ULY 17. '.I world of ~ock and Jazz with the I ' Se<i:retary of the Universe and the 7.0Dam r.flRNING MUSIC, ~i ~ ttin 'g tiown , MUsician I s Local, ie Lowell Rich­ to listen. Musicfroineverywhere ards. And am10uncements of the and yawns from ~oger. ' " available live music in the city 10. OOant COMMENTARY:' j. E ~ ' ,pouri.. and the activities of the Seattle nelle. (KPFK.-FM) Jazz Society. 10.30am SOVIET. PRESS AND PERIOD­ ' lO.SOpm THE SCOPE OF JAZZ. Con­ ICALS, a weekly ttanslatidnand tinuing a series of progra~s with perusal with Professor William Jazz critic Martin Williams. This Mandel. (KPPA-PM) " , week with Gunther Schuller discuss- 10.4Sam NIGHT INTO DAY, a progtam , ing the music of Ornette Coleman. of folk, blues and a little roek wi th Bob Fass. Sent from WBAI .. PM. ' , I THURSDAY, JULY 18. iginal New Zealanders--the Maori-­ in modern New Zealand. And a comp­ 7. 00am MORNING MUSIC, Baroque, Ren­ arison' to the 'American Negro.' aissance, and Ethnic music played From Radio Moscow. Several short to get your self to work by. tapes produced in Russia with the lO.OOam COMMENTARY: Ruth McIntosh. crystal clear voices intended for lO.30am RESSURECT ION CITY, a report short wave transmission: 1) 'What from a temporary city built of mud is Communism?' 2) 'Farm in the Des­ and tents with Flo Ware. ert', 3) 'About Deinocrary in the 11.30am LETTER FROM ENGLAND, essays USSR. ' written and recorded in England, lO.OOpm DIXIELAND' JAZZ. Funky New and then sent to us by Michael Orleans music, bluegrass and folk Scarborough. played by Hal Sherlock. 11.45am NEW BOOKS , repeated from lO.4Spm JEAN SHEPHERD, reeling and l ast night: a review of the newest rolling from years of sensory ex­ books arriving at the Seattle Pub­ tehsion and laughter. (WOR-AM) lic Library with P.J. Doyle~ 11. 30pm PAUL" SAWYER playi'ng tapes l2.00noon EAR TO THE GROUND, Lowell from Ken Kesey's Oregon farm, read­ Richards guiding, a tour through the ing from the Farm~r's Almanac, world of new rock and jazz. singing songs from the Sensory Res­ 1.30pm THE SCOPE OF JAZZ. Martin surection Festival, and chanting Williams and Gunther Schuller talk poems inscribed on the bathroom about and play the music of plastic walls at the 'Free U. saxaphone player Orentte Coleman. 2.00pm TURKISH SOUL MUSIC played by FRIOAY, JULY 19. Jeff Dann . We ll, actually, last, week Jeff brought in a bunch of his 7.00am MORNING 'MUSIC, this morning students and they played the ~usic. Roger didn't get up till ten, but S.30pm READING: ALL AND EVERYTHING he promises to sleep more in the #68. Andy Andrews continued read­ evening a~d less in the morning. ing from the book written by G.I. 10.00am COMMENTARY: R. H. Darden. Gurdjieff. Presently in the chap­ lO;30am COUNTRY VICTROLA, a local t er called 'The Bokharian Dervish,' bluegrass band playing on a tape symbolic for something the reader spec~ally recorded for broadcast. wi ll have to figure out for himself lr.'OOam ' A WILTED BOUQUET, A Bunch 6. 00pm BLUES . A program of rare of Public Service Programs sent and sometimes scratchy recordings By ~he New Zealand Broadcasting of country, rural and, urban blues. CorPoration and from the other side Bob West has recently traveled to of 'the world by Radio Moscow. the South with tape recorder in l2.00noon JEAN SHEPHERD, the one hand and if he's back and the tapes man mouth band, singing every night are sorted, you may hear original in New ' York City and heard once a recordings. week here. ' 7.30pm COMMENTARY: R. H. Darden. 1.OOpm ' STUFF, a hole in the after­ (Taken from the archives and sent noon programming for recordings by KP FK-FM in Los Angles.) arriving too late for scheduling. 8.00pm COUNTRY VICTROLA, a local 2.00pm ' JUST JAZZ, a cqmpendium of bluegrass band that will be trad­ jazz from the '40s, '50s and '60s ing Thursday nights with the Tall with i1e rb Hannum puffing cigarettes Timber Boys. Old timey music with and dusting off records, holed up banjo, guitar and human kazoo. in the control room. 8. 30pm JAZZ AT HOME, a program of S.'30pm " READING:, from The tvfoner Game mus ic and talk with Chris Albert­ a htimo'rous view of the Wall Street son. This is program No. 23 call­ shell game. Written by Adam Smith ed "Flirts wi th the Classics." and read by Lorenzo Milam. Sent from WBAI -FM in New York. 6.00pm , A CONCERT o.F SPANISH ORGAN 9.00pm A WILTED BOUQUET: A Bunch of MUSIC. A new Columbia LP entitled Public Service Programs. 'Histdric Organs of $pain' played From The New Zealand Broadcasting by E. Power Biggs includes a number Corporation. 'Problem of Racial of impressive ceremonial pieces Tensions in New Zealand,' a dis­ playe~ On ' the; magnificent organs of cussion of the place of the abor- I the _ the~ cat~edrals " o£ Toledo, Sego- i ;: i via and Salamanca as well as that ~ Arlo, Gocdnight,' which may be sung of the Royal Palace of Madrid. ! by Jack Elliott. Humm. E Most of the compositions feature f 10.30~m MILKY WAY MIND WARP, with the special characteristics of each I theme from the Iron Butterfly and of these organs and thus such selections by the 13th Floor Ele­ pieces as Soler's 'The Emperpr's vator, Morning Glory, Lightnin' Fanfare' and Dandrieu's 'Due en I Hopkins and Jimi Hendrix. Devo­ cers de chasse sur la trempette' tional incantations by Rory Funke . are included as well as Soler's So­ l2.30pm DAVID MARTIN, the renewal nata 'for the Clarines,' Seixas' I! notice man and boy motorcycle driv­ Sonata and Toccatta and Canabiles' er, continues playing folk and rock Batalla Imperial. Also heard on I till the early morning. ~ this concert will be a number of • compositions by Canabiles played by I· SATURDAY. JULY 20. Helmuth Rilling from a Turnabout LP ~ -- -----"------- 7~:50pm COMMENTARY: Frank Krasnowsky lO.nOam THE MORNING PROGRAM, be­ 8.00pm ANCIENT AND MODERN SERBIAN ginning with a Bach Cantata, Lor­ I;: CHORAL MUSIC pe~formed by the Bel­ enzo Milam plays baroque music and grade Madrigal Choir, Dimitri Ste­ ·~ reads from the Wall Street Journal i fanovic, Conductor ~ and the American Rifleman.
Load more

Recommended publications
  • African Diaspora and Colombian Popular Music in the Twentieth Century1
    African Diaspora and Colombian Popular Music in the Twentieth Century1 Peter Wade In this paper I argue that the concept of disapora is problematic insofar as it implies a process of traffic outwards from an origin point (usually seen as geographical, cultural and/or “racial”). This origin is often seen as being a key to the definition of diaspora—without it, the concept descends into generalized incoherence (Brubaker 2005). I want to argue for the continued usefulness of a concept of diaspora, in which the “origin” is understood as a space of imagination (which is not to say that it is imaginary, although it may also be that) and in which the connections between the “outlying” points of the diaspora are as important, or more so, than the connections between the outliers and the origin. Analytically speaking, diaspora has to be distanced from simple concerns with uni-directional outward dispersals from a single origin point (which may also carry certain masculinist connotations). Specifically, I think the concept of diaspora points at a kind of cultural continuity but one where “cultural continuity appears as the mode of cultural change” (Sahlins 1993, 19). For theorists such as Hall and Gilroy, diaspora serves as an antidote to what Gilroy calls “camp thinking” and its associated essentialism: diasporic identities are “creolized, syncretized, hybridized and chronically impure 1. This paper was first given in abbreviated form as part of the Center for Black Music Research’s Conference on Black Music Research, Chicago, February 14–17, 2008, in the ses- sion “Black Diaspora Musical Formations: Identification, History, and Historiography.” I am grateful to the CBMR for the invitation to participate in the conference.
    [Show full text]
  • Colombian Nationalism: Four Musical Perspectives for Violin and Piano
    COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES FOR VIOLIN AND PIANO by Ana Maria Trujillo A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis December 2011 ABSTRACT Trujillo, Ana Maria. DMA. The University of Memphis. December/2011. Colombian Nationalism: Four Musical Perspectives for Violin and Piano. Dr. Kenneth Kreitner, Ph.D. This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four composers mentioned in this study, each representing a different stage of the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analyses of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada.
    [Show full text]
  • Hybridity and Identity in the Pan-American Jazz Piano Tradition
    Hybridity and Identity in the Pan-American Jazz Piano Tradition by William D. Scott Bachelor of Arts, Central Michigan University, 2011 Master of Music, University of Michigan, 2013 Master of Arts, University of Michigan, 2015 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by William D. Scott It was defended on March 28, 2019 and approved by Mark A. Clague, PhD, Department of Music James P. Cassaro, MA, Department of Music Aaron J. Johnson, PhD, Department of Music Dissertation Advisor: Michael C. Heller, PhD, Department of Music ii Copyright © by William D. Scott 2019 iii Michael C. Heller, PhD Hybridity and Identity in the Pan-American Jazz Piano Tradition William D. Scott, PhD University of Pittsburgh, 2019 The term Latin jazz has often been employed by record labels, critics, and musicians alike to denote idioms ranging from Afro-Cuban music, to Brazilian samba and bossa nova, and more broadly to Latin American fusions with jazz. While many of these genres have coexisted under the Latin jazz heading in one manifestation or another, Panamanian pianist Danilo Pérez uses the expression “Pan-American jazz” to account for both the Afro-Cuban jazz tradition and non-Cuban Latin American fusions with jazz. Throughout this dissertation, I unpack the notion of Pan-American jazz from a variety of theoretical perspectives including Latinx identity discourse, transcription and musical analysis, and hybridity theory.
    [Show full text]
  • II. World Popular Music Several Interrelated Developments
    II. World popular music Several interrelated developments in global culture since the latter 1900s have had a substantial effect on world popular music and its study. These include the phenomenal increase in the amount of recorded popular music outside the developed world, as a result of the expansion of extant modes of musical production and dissemination and the advent of new technologies such as cassettes, CDs, video compact discs, and the Internet; the effective compression of the world by intensified media networks, transport facilities, diasporas, and the globalization of capital, which has increased the transnational circulation of world popular musics and their availability in the West; and an exponential growth from the 1990s in the number of scholarly and journalistic studies of world popular musics. Some of the major conceptual approaches that have informed modern scholarly studies of world popular musics are reviewed in the following sections. The term ‘popular music’ is used here to connote genres whose styles have evolved in an inextricable relationship with their dissemination via the mass media and their marketing and sale on a mass-commodity basis. Distinctions between popular musics (defined thus) and other kinds of music, such as commercialized versions of folk musics, are not always airtight. The scope of the present section of this article is limited to popular music idioms that are stylistically distinct from those of the Euro-American mainstream. The significant role that Euro-American popular music styles play in many non-Western music cultures is discussed only tangentially here, and is addressed more specifically in POP, §V. There is at present no satisfactory label for popular musics outside the Euro-American mainstream (just as designations such as the ‘third world’ or even the ‘developing world’ are increasingly problematic).
    [Show full text]
  • Bambuco, Tango and Bolero: Music, Identity, and Class Struggles in Medell´In, Colombia, 1930–1953
    BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 by Carolina Santamar¶³aDelgado B.S. in Music (harpsichord), Ponti¯cia Universidad Javeriana, 1997 M.A. in Ethnomusicology, University of Pittsburgh, 2002 Submitted to the Graduate Faculty of the Department of Music in partial ful¯llment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2006 BAMBUCO, TANGO AND BOLERO: MUSIC, IDENTITY, AND CLASS STRUGGLES IN MEDELL¶IN, COLOMBIA, 1930{1953 Carolina Santamar¶³aDelgado, PhD University of Pittsburgh, 2006 This dissertation explores the articulation of music, identity, and class struggles in the pro- duction, reception, and consumption of sound recordings of popular music in Colombia, 1930- 1953. I analyze practices of cultural consumption involving records in Medell¶³n,Colombia's second largest city and most important industrial center at the time. The study sheds light on some of the complex connections between two simultaneous historical processes during the mid-twentieth century, mass consumption and socio-political strife. Between 1930 and 1953, Colombian society experienced the rise of mass media and mass consumption as well as the outbreak of La Violencia, a turbulent period of social and political strife. Through an analysis of written material, especially the popular press, this work illustrates the use of aesthetic judgments to establish social di®erences in terms of ethnicity, social class, and gender. Another important aspect of the dissertation focuses on the adoption of music gen- res by di®erent groups, not only to demarcate di®erences at the local level, but as a means to inscribe these groups within larger imagined communities.
    [Show full text]
  • Download File
    Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Simón Calle All rights reserved ABSTRACT Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect Simón Calle This dissertation analyses identity formation through music among contemporary Colombian musicians. The work focuses on the emergence of musical fusions in Bogotá, which participant musicians and Colombian media have called “nueva música Colombiana” (new Colombian music). The term describes the work of bands that assimilate and transform North-American music genres such as jazz, rock, and hip-hop, and blend them with music historically associated with Afro-Colombian communities such as cumbia and currulao, to produce several popular and experimental musical styles. In the last decade, these new fusions have begun circulating outside Bogotá, becoming the distinctive sound of young Colombia domestically and internationally. The dissertation focuses on questions of musical circulation, affect, and taste as a means for articulating difference, working on the self, and generating attachments others and therefore social bonds and communities This dissertation considers musical fusion from an ontological perspective influenced by actor-network, non-representational, and assemblage theory. Such theories consider a fluid social world, which emerges from the web of associations between heterogeneous human and material entities. The dissertation traces the actions, interactions, and mediations between places, people, institutions, and recordings that enable the emergence of new Colombian music. In considering those associations, it places close attention to the affective relationships between people and music.
    [Show full text]
  • Sesquialtera in the Colombian Bambuco: Perception and Estimation of Beat and Meter
    SESQUIALTERA IN THE COLOMBIAN BAMBUCO: PERCEPTION AND ESTIMATION OF BEAT AND METER Estefanía Cano1 Fernando Mora-Ángel2 Gustavo A. López Gil2 José R. Zapata3 Antonio Escamilla3 Juan F. Alzate2 Moisés Betancur2 1 Fraunhofer IDMT, Germany 2 Universidad de Antioquia, Colombia 3 Universidad Pontificia Bolivariana , Colombia [email protected] ABSTRACT tap the beat of a selection of bambucos (Section 2.1). We then investigate whether computational tools can help eth- The bambuco, one of the national rhythms of Colombia, nomusicological investigations on tendencies of bambucos is characterized by the presence of sesquialteras or the su- to follow a given meter. We extracted beat information perposition of rhythmic elements from two meters. In this from a bambuco dataset using state-of-the-art algorithms work, we analyze sesquialteras in bambucos from two per- and evaluate tracking performance (Section 2.5). spectives. First, we analyze the perception of beat and me- The contributions of this work are summarized as fol- ter by asking 10 Colombian musicians to perform beat an- lows: (1) To the authors’ knowledge, this paper presents notations in a dataset of bambucos. Results show great the first study on meter perception in bambucos. (2) We diversity in the annotations: a total of five different me- present an objective evaluation of computational tools for ters or meter combinations were found in the annotations, rhythm analysis on bambucos, and highlight analysis pos- with each bambuco in the study being annotated in at least sibilities for future research. (3) All the data including au- two different meters. Second, we perform a beat tracking dios, transcriptions, annotations, and code have been made analysis in a dataset of bambucos with two state-of-the-art publicly available to enable future research on the topic.
    [Show full text]
  • African and African-American Contributions to World Music
    Portland Public Schools Geocultural Baseline Essay Series African and African-American Contributions to World Music by John Charshee Lawrence-McIntyre, Ph.D. Reviewed by Hunter Havelin Adams, III Edited by Carolyn M. Leonard Biographical Sketch of the Author Charshee Lawrence-Mcintyre is Associate Professor of Humanities at the State University of New York at Old Westbury in the English Language Studies Program. PPS Geocultural Baseline Essay Series AUTHOR: Lawrence-McIntyre SUBJECT: Music CONTENTS Content Page BIOGRAPHICAL SKETCH OF THE AUTHOR.............................................................................................. I CONTENTS ..........................................................................................................................................................II INTRODUCTION .................................................................................................................................................1 CLASSICAL AFRICA'S INFLUENCE ON OTHER CIVILIZATIONS ........................................................4 ANCIENT EGYPTIAN INSTRUMENTS .....................................................................................................................4 ANCIENT EGYPTIAN MUSIC AND FORMS .............................................................................................................8 MIGRATION AND EVOLUTION OF MUSIC THROUGHOUT CONTINENTAL AFRICA ...................12 TRADITIONAL INSTRUMENTS .............................................................................................................................14
    [Show full text]
  • Sensación Táctil Y Audiotáctil En La Música
    1 Universidad Nacional de La Plata Facultad de Bellas Artes Doctorado en Artes Sensación táctil y audiotáctil en la música El caso de las músicas electrónicas utilizadas para el baile social en locales de baile de la Ciudad Autónoma de Buenos Aires y alrededores Doctorando: Sergio Iván Anzil Director: Gustavo Basso Codirector: Carlos Mastropietro La Plata, diciembre de 2016 2 El movimiento corporal está apretadamente atado de varias formas a la percepción y a otras formas de cognición y emoción. […] el cuerpo, a través de sus habilidades motoras, sus propios movimientos y su postura, informa y forma a la cognición. Shaun Gallagher1 Visualización de ondas sonoras y de choque originadas en la caída de un libro.2 1 "Bodily movement is closely tied in various ways to perception and to other forms of cognition and emotion. […] the body, through its motor abilities, its actual movements, and its posture, informs and shapes cognition." Citado en Zeiner-Henriksen, H. The PoumTchak pattern. Correspondences between Rhythm, Sound and Movement in Electronic Dance Music. pp. 26-27 2 Fuente de la imagen: Settles, G. y otros. (2008). Schlieren imaging of loud sounds and weak shock waves in air near the limit of visibility. pp.8 3 ÍNDICE GENERAL PREFACIO ................................................................................................................................................ 8 INTRODUCCIÓN ................................................................................................................................... 10 CAMPO
    [Show full text]
  • ANDREW N. WEINTRAUB Department of Music University Of
    ANDREW N. WEINTRAUB Department of Music University of Pittsburgh Office Address Home Address 110 Music Building 618 S. Lang Ave University of Pittsburgh Pittsburgh, PA 15208 Pittsburgh, PA 15260 Tel.: (412) 242-4686 Tel.: (412) 624-4184 Fax: (412) 624-4186 E-mail: [email protected] Internet: http://www.pitt.edu/~anwein EDUCATION Ph.D. Music/Ethnomusicology (1997) University of California, Berkeley Dissertation: “Constructing the Popular: Superstars, Performance, and Cultural Authority in Sundanese Wayang Golek Purwa of West Java, Indonesia” M.A. Music/Ethnomusicology (1990) University of Hawai‘i at Manoa Thesis: “The Music of Pantun Sunda, an Epic Narrative Tradition of West Java, Indonesia” B.A. Music (1985) Honors University of California, Santa Cruz Thesis: “A Manual for Learning Sundanese Gamelan” EMPLOYMENT HISTORY University of Pittsburgh, Professor of Music (2010-present), Associate Professor of Music (2004-2010), Assistant Professor of Music (1998-2004), Visiting Assistant Professor of Music (1997-1998) University of California, Los Angeles, Lecturer in Music (Spring 1997) University of California, San Diego, Lecturer in Music (Spring 1996 - Spring 1997) RESEARCH KEYWORDS Indonesia; Southeast Asia; ethnomusicology; popular music; sound repatriation; cultural rights; music and Islam ANDREW N. WEINTRAUB 5/10/18 Page 2 PUBLICATIONS Books Vamping the Stage: Female Voices of Asian Modernities (co-editor with Bart Barendregt). Honolulu: University of Hawaii Press, 2017. Islam and Popular Culture in Indonesia and Malaysia (editor). London and New York: Routledge, 2011. • Reviewed in Journal of Asian Social Science; Sojourn; Asian Ethnology; Journal of the Humanities and Social Sciences of Southeast Asia and Oceania; Asian Studies Review; Journal of Religion and Popular Culture; Political Studies Review; Musicultures.
    [Show full text]
  • Colombian Bambuco, Pasillo, and Porro and the Role of the Tuba in These Traditional Genres By
    Colombian Bambuco, Pasillo, and Porro and the Role of the Tuba in these Traditional Genres by David López, BA, MM A Project In TUBA PERFORMANCE Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Performance (Tuba) Approved Kevin Wass Chair of Committee James Decker Andrew Stetson Mark Sheridan Dean of the Graduate School May, 2016 Texas Tech University, David López, May 2016 Copyright 2016, David López Texas Tech University, David López, May 2016 ACKNOWLEDGMENTS I want to thank my parents Heriberto López and Carmen González for their unconditional support, and my siblings Cristian López, Mariana López, and Sara López for all their love and kind words during my DMA. Thanks to my first music teacher Juan Felipe Arias Villa who not only taught me fundamentals in music but also to have big dreams and to always do my best. Special thanks to my tuba mentors Professor Donald Little and Dr. Kevin Wass for believing in me and instructing me not only musically but also as a person and as a professional. You are my inspiration to get better every day. Thanks to Professor Alan Shinn, Dr. Andrew Stetson, and Professor James Decker for being part of my committee. Your input has been very valuable for me. Thanks to Santiago Baena, my good friend and colleague who has always has always cheered me up in this process and with whom I have made beautiful music. Thanks to Colombian historian William Fortich who kindly provided me with his research about porro, to composers Carlos Andres Restrepo for composing “Quartet for Clarinet, Tuba, Vibraphone, and Drum Set” for me and my colleague Santiago Baena, and Alfredo Mejia Vallejo for arranging his piece “San Juan de la Vega” for tuba and clarinet.
    [Show full text]
  • 2007 Catalog
    2 Table Of Contents / Welcome Where To Find Us 3 Table Of Contents Arhoolie Welcomes You How To ORDER Arhoolie’s History. 4 to the best authentic, and pure roots & You can order ALL items in this ARHOOLIE CATALOG and most items in the Arhoolie Foundation . 12 NEATWORK Catalog by filling out the enclosed ORDER FORM and enclosing the 40th Anniversary Box Set. 14-15 vernacular music on records! In the fall of correct amount, or you can order by phone TOLL FREE with VISA or Blues . 16-48 MASTERCARD by calling 888-ARHOOLIE (888-274-6654). (This is an order Cajun/Zydeco . 50-77 2005 Arhoolie celebrated its 45th year of number only – for all other Arhoolie business, please call 510-525-7471.) Or, you can order via our website, www.arhoolie.com. Mexican-American/Tejano/ presenting these traditions. Tex-Mex/Conjunto/Mexico . 79-115 Thank you, World Music . 116-130 This 2007 ARHOOLIE/FOLKLYRIC The ARHOOLIE staff Afghanistan . 116 CATALOG lists all items released through Caribbean/Bahamas . 116 Where To Find Us Caribbean/Belize . 117 JULY 30, 2007. For details about releases ARHOOLIE RECORDS ARHOOLIE WEBSITE: Caribbean/Dominican Rep. 117 10341 San Pablo Avenue Caribbean/Martinique . 117 after July 2007, please request our www.arhoolie.com El Cerrito, CA 94530 Keep up to date with our latest releases Caribbean/Trinidad . 118 CATALOG SUPPLEMENTS or visit our Carribbean/Puerto Rico . 119 Phone: (510) 525-7471 and news by visiting our website. You’ll Colombia . 119 WEBSITE: WWW.ARHOOLIE.COM. Fax: (510) 525-1204 find our complete catalog with full color Cuba.
    [Show full text]