A Caravan of Culture: Visitors to Emporia, Kansas by Charles E
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THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 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 Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography………………………………………………………………………………. -
A Minstrel in France
A Minstrel In France Harry Lauder The Project Gutenberg EBook of A Minstrel In France, by Harry Lauder This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: A Minstrel In France Author: Harry Lauder Release Date: February 21, 2004 [EBook #11211] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK A MINSTREL IN FRANCE *** Produced by Geoff Palmer A MINSTREL IN FRANCE BY HARRY LAUDER [ILLUSTRATION: _frontispiece_ Harry Lauder and his son, Captain John Lauder. (see Lauder01.jpg)] TO THE MEMORY OF MY BELOVED SON CAPTAIN JOHN LAUDER First 8th, Argyle and Sutherland Highlanders Killed in France, December 28, 1916 Oh, there's sometimes I am lonely And I'm weary a' the day To see the face and clasp the hand Of him who is away. The only one God gave me, My one and only joy, My life and love were centered on My one and only boy. I saw him in his infant days Grow up from year to year, That he would some day be a man I never had a fear. His mother watched his every step, 'Twas our united joy To think that he might be one day My one and only boy. When war broke out he buckled on His sword, and said, "Good-bye. For I must do my duty, Dad; Tell Mother not to cry, Tell her that I'll come back again." What happiness and joy! But no, he died for Liberty, My one and only boy. -
Discography Section 13: L (PDF)
1 DORA LABETTE (1898 – 1984). Soprano with string quartette Recorded London, December 1924 A-1494 The bonnie banks of Loch Loman’ (sic) (Lady John Scott; trad) Col D-1517, A-1495 A-1495 Comin’ thro the rye (Robert Burns; Robert Brenner) Col D-1517 Recorded London, Tuesday, 21st. February 1928 WA-6993-2 The bonnie banks of Loch Loman’ (Lady John Scott; trad) Col D-1517 WA-6994-1/2/3 Comin’ thro the rye (Robert Burns; Robert Brenner) Col rejected Recorded London, Sunday, 1st. September 1929 WA-6994-5 Comin’ thro the rye (Robert Burns; Robert Brenner) Col D-1517 NOTE: Other records by this artist are of no Scots interest. JAMES LACEY Vocal with piano Recorded West Hampstead, July 1940 M-925 Hame o' mine (Mackenzie Murdoch) Bel 2426, BL-2426 M-926 Mother Machree (Rida J.Young: Chauncey Olcott; Ernest R. Ball) Bel 2428, BL-2428 M-927 Macushla! (Josephine V. Rowe; Dermot MacMurrough) Bel 2428, BL-2428 M-928 Mary (Kind, kind and gentle is she) (T. Richardson; trad) Bel 2427, BL-2427 M-929 Mary of Argyll (Charles Jefferys; Sidney Nelson) Bel 2427, BL-2427 M-930 I'm lying on a foreign shore (The Scottish emigrant) (anon) Bel 2426, BL-2426 DAVID LAING (Aberdour, 1866 - ). “Pipe Major David Laing, on Highland bagpipes with augmented drone accompaniment” Recorded London, ca January 1911 Lxo-1269 A22145 Medley, Intro. Midlothian Pipe Band – march (Farquhar Beaton); The Glendruel Highlander – march (Alexander Fettes); Hot Punch – march (trad) Jumbo A-438; Ariel Grand 1503 Lxo-1271 A22147 The blue bonnets over the Border – march; The rocking stone of Inverness – strathspey; The piper o’ Drummond – reel (all trad) Jumbo 612; Ariel Grand 1504; Reg G-7527; RegAu G-7527 Lxo-1272 A22143 Medley of marches – Lord Lovat; MacKenzie Highlanders; Highland laddie (all trad) Jumbo 612; Ariel Grand 1504; Reg G-7528; RegAu G-7528 Lxo-1279 A22146 March – Pibroch o’ Donald Dhu; strathspey – Because he was a bonny lad; reel – De-il among the tailors (all trad) Jumbo A-438; Ariel Grand 1503 NOTE: Regal issues simply credited to “Pipe-Major David Laing”. -
Frederick P. Williams Papers PA Mss 72
http://oac.cdlib.org/findaid/ark:/13030/kt838nf5wg No online items Guide to the Frederick P. Williams papers PA Mss 72 Finding aid prepared by Pearl Ko, 2011; encoded by Zachary Liebhaber, 2011. UC Santa Barbara Library, Department of Special Collections University of California, Santa Barbara Santa Barbara, California, 93106-9010 Phone: (805) 893-3062 Email: [email protected]; URL: http://www.library.ucsb.edu/special-collections 2011 Guide to the Frederick P. Williams PA Mss 72 1 papers PA Mss 72 Title: Frederick P. Williams papers Identifier/Call Number: PA Mss 72 Contributing Institution: UC Santa Barbara Library, Department of Special Collections Language of Material: English Physical Description: 39.17 linear feet(30 cartons, 10 oversize boxes, 1 small shoebox) Date (inclusive): 1800-2009 Date (bulk): 1900-2000 Abstract: Research files on concert, military, and ethnic bands collected by Frederick P. Williams. Physical Location: Special Research Collections, UC Santa Barbara Library Creator: Williams, Frederick P. Access Restrictions The collection is open for research. Use Restrictions Copyright has not been assigned to the Department of Special Collections, UCSB. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Department of Special Collections as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which also must be obtained. Preferred Citation [identification of item], Frederick P. Williams papers, PA Mss 72. Department of Special Collections, University Libraries, University of California, Santa Barbara. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
H 1916.5 Music: Jazz and Popular Music
Music: Jazz and Popular Music H 1916.5 BACKGROUND: This instruction sheet provides guidelines for assigning headings to jazz and popular music, and for using geographic and chronological subdivisions. 1. Headings. a. Jazz. Assign the heading Jazz, with geographic and chronological subdivisions if appropriate. In addition: (1) Solo jazz. Assign headings of the type Piano music (Jazz) or Guitar music (Jazz) to jazz for a solo instrument. (2) Solo instrument(s) accompanied by jazz ensemble. Assign headings of the type Trumpet with jazz ensemble or Concertos (Piano and saxophone with jazz ensemble) to music for one or more solo instruments accompanied by a jazz ensemble. (3) Genres or styles of jazz. Assign headings for specific jazz genres or styles, such as Big band music; Dixieland music. (4) Jazz vocals. Assign the heading Jazz vocals to songs performed in jazz style by a vocalist or vocal group, with or without accompaniment. b. Popular music. Assign the headings Popular music or Popular instrumental music when more specific headings for style or genre are not appropriate. Judge the portion of a collection sufficient for assigning more specific headings according to standard practice. Assign Popular music to items consisting entirely of vocal music or of both vocal and instrumental popular music. Assign Popular instrumental music to items consisting entirely of instrumental popular music. Subject Headings Manual H 1916.5 Page 1 June 2013 H 1916.5 Music: Jazz and Popular Music 2. Geographic and chronological subdivisions. Use geographic and chronological subdivisions for all items to which the subdivisions apply, collections and individual works. This policy differs from the policy for using geographic and chronological subdivisions under headings for Western art music, which is described in H 1160. -
Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz. -
Scott Joplin International Ragtime Festival
Scott Joplin International Ragtime Festival By Julianna Sonnik The History Behind the Ragtime Festival Scott Joplin - pianist, composer, came to Sedalia, studied at George R. Smith College, known as the King of Ragtime -Music with a syncopated beat, dance, satirical, political, & comical lyrics Maple Leaf Club - controversial, shut down by the city in 1899 Maple Leaf Rag (1899) - 76,000 copies sold in the first 6 months of being published -Memorial concerts after his death in 1959, 1960 by Bob Darch Success from the Screen -Ragtime featured in the 1973 movie “The Sting” -Made Joplin’s “The Entertainer” and other music popular -First Scott Joplin International Ragtime Festival in 1974, 1975, then took a break until 1983 -1983 Scott Joplin U.S. postage stamp -TV show possibilities -Sedalia realized they were culturally important, had way to entice their town to companies The Festival Today -38 festivals since 1974 -Up to 3,000 visitors & performers a year, from all over the world -2019: 31 states, 4 countries (Brazil, U.K., Japan, Sweden, & more) -Free & paid concerts, symposiums, Ragtime Footsteps Tour, ragtime cakewalk dance, donor party, vintage costume contest, after-hours jam sessions -Highly trained solo pianists, bands, orchestras, choirs, & more Scott Joplin International Ragtime Festival -Downtown, Liberty Center, State Fairgrounds, Hotel Bothwell ballroom, & several other venues -Scott Joplin International Ragtime Foundation, Ragtime store, website -2020 Theme: Women of Ragtime, May 27-30 -Accessible to people with disabilities -Goals include educating locals about their town’s culture, history, growing the festival, bringing in younger visitors Impact on Sedalia & America -2019 Local Impact: $110,335 -Budget: $101,000 (grants, ticket sales, donations) -Target Market: 50+ (56% 50-64 years) -Advertising: billboards, ads, newsletter, social media -Educational Programs: Ragtime Kids, artist-in-residence program, school visits -Ragtime’s trademark syncopated beat influenced modern America’s music- hip-hop, reggae, & more. -
(Washington, DC). 1935-06-05
CORTELYOU TO RETIRE only), at 10 a m., 12:30, 3:45, 5:45, ! AMUSEMENTS. Where and W hen 8 45 and 10 p.m. Pulitzer Prize Drama Is FROM GAS FIRM POST Tivoli—'Naughty Marietta,” at 2. Iii New Filin at Keith’s 3:55, 5:50, 7:45 and 9 45 p.m. Ambassador—‘ Reckless,” at 8. 7:45 Under Current Theater Attraction* I Tour Secretary of Treasury and 9:35 pm. To Take Long Road and Time of Showing. Theodore Roosevelt, to Relin- of BAND CONCERTS. quish Presidency Company. National—Ethel Barrymore in "De- Into classee," at 2:20 and 8:20 p.m. Concerts at the band stand "Old Maid” Will Go Thirty-Three By the Associated Press. Navy | States| Yard, at 7:30 p.m., the United NEW YORK, June 5 —George B R-K-O Keith'*—"Break of Hearts." by Matinee at States Band Lieut. Charles in Its Travels—Extra Friday at. a Navy who was Secretary of the 11 26 m.. 1 32. 3:38 and 5 44 p.m. Cortelyou, Benter. leader; Ale*. assistant "Escape Me Never," at 7:47 and 9 41 Morris, Season Ends Treasury under President Theodore leader. National, Where Saturday. pm. Roosevelt, yesterday announced his I/oe»'* Fox— The Elame Within." States Marine retirement as of I he Con- Concert by 'he United president, at 11 a.m. 1 40. 4 25. 7:10 and 9:55 RV E. rip S. MELTHER. Band at the United States Capitol at solidated Gas Co. of New York. shows 8t 6:05 pm. -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-130