DOCSLIB.ORG

Martin Luther King Jr. Convocation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Martin Luther King Jr. Convocation F R O S T B U R G S T A T E U N I V E R S I T Y StateLineswww.frostburg.edu/admin/foundation/news.htm For and about FSU people A publication of the FSU Office of Advancement Volume 33, Number 27, April 14, 2003 Copy deadline: noon Wednesday, 228 Hitchins or [email protected] Martin Luther King Jr. Convocation Lt. Gov. Steele to Speak at Convocation The Honorable Michael S. Steele, Lieuten- and to consider the role that each individual ant Governor of the State of Maryland, will can play in this effort. be the keynote speaker at the annual Lt. Governor Steele is the first African- Martin Luther King Convocation at FSU, to American elected to statewide public office be held Wednesday, April 16, from 11 a.m. in Maryland. He works closely with Governor to 12 p.m. in the Performing Arts Center Robert L. Ehrlich, other elected officials and Pealer Recital Hall. This event is free and community organizations in several areas open to the public. including economic development, minority The Convocation is an opportunity for business enterprise, education and commu- the campus and surrounding communities nity service. to reflect on the issues of human rights and For information on the MLK Convocation, human dignity for which Dr. King stood, to contact the FSU Office of the Provost at Lt. Gov. Michael S. Steele reaffirm the importance of seeking equality x4211. Percussion Circle Part Video Highlighting of Convocation Events King to be Shown Drumplay, a percussion circle with A powerful videotape on spoken poetry from Daniel Thompson, peace, “Trumpet of Con- the poet laureate of Ohio, will perform science,” will be shown on Monday, April 14, at 7 p.m. as part of Tuesday, April 15, at noon the Martin Luther King Jr. Convocation and 7 p.m. in room 201, Lane events. The presentation, which is free University Center. and open to the public, will be in the A 30-minute film, it Manicur Assembly Hall in the Lane highlights Dr. Martin Luther University Center. King’s 1967 Christmas sermon The band will be performing its on peace, stirring music and “rhythmprovisations” on world rhythms historic newsclips. Given the in a very special performance. Signed current world turmoil, his copies of their latest release, as well as Drumplay members, from left, are prophetic message is relevant limited-edition posters of Thompson’s James Onysko, Phil Kester and to our times. Following the poetry, will be available directly from Warren Levert. video, a 30-minute discussion the artists. Cleveland Free Times Music Awards, period will be moderated by Thompson’s poetry speaks to the Drumplay creates original music they Rev. Larry Neumark. The event is human condition. Often, his poems are call “rhythmprovisations” The group is sponsored by the Martin Luther King autobiographical in nature, and he is inspired by African, Afro-Cuban and Convocation Committee. prepared to talk a little bit about this Brazilian rhythms as aspect of his poetry and about his life well as Middle as a Freedom Rider. Eastern motifs. Their Speakers Drumplay celebrates over 10 years of new CD features the music-making, exploring world rhythms Indian “shruti box” Robert Moore to with the use of ashiko, congas, djembe, and wind instru- drumkit and miscellaneous percussion ments such as conch Present Lecture instruments such as balafon, and trident shells. The FSU African American Studies xylomarimba and vibraphone. Winner of For more informa- Program will sponsor a lecture, “The Best World Music Act 2002 in the Daniel tion, call x4411. Thompson Quality and Quantity of Contact: African Inside: Speakers ........................ 1-2 Art .................................. 3 Points of Pride ................... 4 Literature ....................... 2-3 Music ............................... 3 Scholarships ....................... 5 Theatre ............................. 3 Take Note ......................... 4 Calendar ........................... 6 StateLines / 2 Americans and Whites on College Puccini was an unrivalled master in Campuses” by Dr. Robert Moore III of combining passion, sensuality, tender- the FSU Department of Sociology. The ness, pathos and despair. Puccini has a Literature talk will be on Monday, April 14, at 7 highly developed sense of the relation- p.m. in the Leake Room of the Cordts ship between words and music. But in Writer, Novelist Brad Physical Education Building and is free “Madam Butterfly” the relationship is and open to the public. raised above the constraints of pure Watson to Speak For more information, contact Dr. realism. Award-winning writer Brad Watson Jean-Marie Makang, coordinator of Towards the end of the Second World will speak at FSU on Thursday, April 17, African American Studies, at x3089. War in the spring of 1945, a bundle of at 7 p.m. in the Leake Room, Cordts notes handwritten by Giacomo Puccini Physical Education Jimi Hendrix, Whiteness fortuitously come to light. This impor- Center. Sponsored tant discovery was entrusted to the by the FSU and Identity Philharmonic Academy of Bologna for Department of Dr. Jerome (Jerry) A. Miller, professor safe keeping, where it is still kept English and the of philosophy and chair of the Depart- today. The bundle enclosed, among Western Maryland ment of Philosophy at Salisbury Univer- others, about 40 pages of sketches of Writers’ Workshop, sity, will speak at FSU on the topic, Manon Lescaut’s first act (1890-91), and Watson’s talk is “Throwing Whiteness into Question: about 25 pages of the first act of free and open to Finding One’s Identity in African “Madama Butterfly” (1901-1902), the public. American Philosophy,” on Monday, April enclosing an early version of the Watson, a native libretto. The sketches of “Madama 21, at 7:30 p.m., in the Lane University Brad Watson of Meridian, Miss., Center Manicur Assembly Hall, 142. Butterfly,” dating back exactly a earned his MFA Miller’s presentation is about the century ago, are all of great interest. from the University of Alabama. A former experiences and difficulties of his The identification of these sketches, journalist with several Gulf Coast newspa- teaching, as a white professor, a course after a comparison with the final score, pers, he has taught at the University of in African American philosophy focused involves a series of problems and may Alabama and recently completed a five- on the theme of authentic selfhood. The give an idea of the complexity of year stint teaching creative writing at course begins with Jimi Hendrix’s “Star Puccini’s composing art. Harvard. Watson recently moved to Spangled Banner” and goes on to Verdi, who is teaching at FSU this Pensacola, where he teaches at the explore significant African American spring, has diplomas in Choral Music University of West Florida. thinkers. and Conducting, Band Instrumentation, His short fiction has been published in Miller received his Ph.D. in philoso- Composition and Orchestra Conducting. Story, Black Warrior Review, Greensboro phy from Georgetown University. For He was awarded the Doctor of Philoso- Review and Dog Stories. His short story seven years he was chair of SU’s phy from the University of Bologna. He collection, “Last Days of the Dog-Men,” MultiEthnic Concerns Committee and is an active composer, musicologist and won a Sue Kaufman Prize for First Fiction was instrumental in helping the Univer- orchestra conductor. He teaches Har- from the American Academy of Arts and sity develop its new mony, Counterpoint, Fugue, and Letters American Academy of Arts and “Diversity Initiative.” Composition at the Music Conservatory Letters and the Great Lakes Colleges For the past three in Adria and is the Artistic Counselor at Association New Writers Award. His first years, Dr. Miller has the Accademia Filarmonica in Bologna. novel, The Heaven of Mercury, was a chaired the Faculty The lecture is free and open to the finalist for the National Book Award. Initiatives Committee public. For more information, call the “Seamless...superb. Southern of the University Department of Music at x4109. storytelling is alive and well in Watson’s System of Maryland capable hands,” says Kirkus Reviews. (USM) Diversity Sodexho Environmental Books are available for signing by the Jerome Miller Network, which held author following the reading. For its first conference, Lecture to be Presented information, call Brad Barkley at x3092. “Teaching Diversity/Thinking Diversity,” FSU’s Department of Geography will last October at Towson University. In present a Sodexho Environmental Columbia Book Award addition to scholarly articles, he has Lecture on “Mid-Atlantic Regional published two books — The Way of Assessment of Potential Impacts from Winner to Read Poetry Suffering: A Geography of Crisis Climate Change” on Thursday, April 24, Reuben Jackson, nationally-known (Georgetown University Press) and In at 6:30 p.m. in Dunkle Hall Room 218. poet and educator, comes to FSU to give the Throe of Wonder: Intimations of the The speaker is Professor Ann Fisher a poetry reading on Tuesday, April 22, Sacred in the Post-Modern World (SUNY from Pennsylvania State University. at 7:30 p.m. in the Lane University Press) — and is currently completing Fisher is a strong advocate of envi- Center Atkinson Room, 201. The event work on a new manuscript, tentatively ronmental improvement as reflected in is free and open to the public. titled “In the Throe of the Future: her research and outreach activities. In Jackson’s book of poems, Fingering History, Culture and Normative Order.” addition, she works on several federally the Keys, won the Columbia Book This event is sponsored by the African sponsored programs, including projects Award. His poems have appeared in American Studies Program, the Student sponsored by U.S. Environmental such journals as The Indiana Review, Diversity Center, the Department of Protection Agency. Chelsea, Gargoyle, Visions, Jazzhouse Philosophy and the Office of Affirmative Professor Fisher’s presentation is free (the Jazz Journalist Association Action/Equal Employment Opportunity and open to the public.
Load more

Recommended publications
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • Relationship with Percussion Instruments
    Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument.
    [Show full text]
  • Cajón 1 Cajón
    Cajón 1 Cajón A cajón (Spanish pronunciation: [kaˈxon], "crate," "drawer," or "box") is a box-shaped percussion instrument originally from Peru, played by slapping the front face (generally thin plywood) with the hands. Origins and evolution The cajón is the most widely used Afro-Peruvian musical instrument since the late 18th century.[1] Slaves of west and central African origin in the Americas, specifically Peru, are considered to be the source of the cajón drum; though the instrument is common in musical performance throughout the Americas. The cajón was most likely developed in coastal Peru during the early 19th century or before,[1] where it is associated with several Afro-Peruvian genres. The instrument reached a peak in popularity by 1850, and by the end of the 19th century cajón players were experimenting with the design of the instrument by bending some of the planks in the cajón's body to alter the instrument's patterns of sound vibration.[1] Knowing that the cajón comes from slave musicians in the Spanish Modified cajón; traditional cajones have the hole at the colonial Americas, there are two complementary origin theories back, opposite the tapa for the instrument. It is possible that the drum is a direct descendant of a number of boxlike musical instruments from west and central Africa, especially Angola, and the Antilles. These instruments were adapted by Peruvian slaves from the Spanish shipping crates at their disposal.[2] In port cities like Matanzas, Cuba they used cod-fish shipping crates. Elsewhere, small dresser drawers became instruments. Another theory posits that slaves simply used boxes as musical instruments to combat contemporary Spanish colonial bans on music in predominantly African areas.[3] In this way, cajóns could easily be disguised as seats or stools, thus avoiding identification as musical instruments.
    [Show full text]
  • Alfred 2008-2009
    Alfred 2008-2009 Percussion Catalog • 2008-2009 PERCUSSION learn•teach•play music CATALOG Alfred Publishing Co., Inc. USA/Canada: P.O. Box 10003, Van Nuys, CA 91410-0003 Asia: 15 Queen St. #04-08, Tan Chong Tower, Singapore 188537 30% total recycled fi ber Australia: P.O. Box 2355, Taren Point NSW 2229 Printed in USA Germany: Hansestraße 99, 51149 Köln U.K.: Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX U(a38081*MRTMRp(u alfred.com 00-104085 / wo 82110 Alfred Publishing Co., Inc. P.O. Box 10003 Van Nuys, CA 91410-0003 alfred.com 08 percussion catalog cover 2_kp.indd 1 4/11/08 8:48:58 AM CONTENTS 1 DW DVDs ...............................................................................................................................2 Personality Titles A—Z .........................................................................................................4 Drumset Methods, Collections, Duets/Solos .................................................................19 Drum & Snare Drum Methods, Collections, Duets/Solos .................................................................................................32 Keyboard Percussion Methods, Collections, Solos, Duets/Trios, Ensembles ........................................................................................38 Percussion Ensemble Collections ...................................................................................43 Individual Percussion Ensembles ...................................................................................44 Multiple Percussion Solos
    [Show full text]
  • Drumtalk Email Hal Leonard to Make Sure Blasts, Our Monthly Storefront Retailers Present Herald Newsletter, These Products Most Effec- Dealer Trade Shows, Tively
    5 MAIN REASONS WHY RETAILERS SOURCE TECHNOLOGY & GEAR FROM THE HAL LEONARD MI PRODUCTS DIVISION 1 Great Product Brands It starts with great products. We only distribute popular, proven-best sellers that create faster turns and higher customer satisfaction. Award-Winning Extensive Product Training 2 Customer Service 3 From our knowledgeable sales reps to our exacting Hal Leonard provides volumes of training mate- fulfillment team, our award-winning service gives rials including videos via our YouTube chan- retailers confidence that they are buying the right nel (named “HalLeonardTech”), in-store clinics, products and will get them in a timely, consistent demos at trade shows, and printed materials. manner. Our 24/7 online support and online This helps retail- chat service provides multiple ways ers and their staff for retailers to submit, track and understand what confirm every aspect of their they are buying and order easily. That is why help their custom- Hal Leonard has been ers get the right named MMR Magazine’s product. No other Dealers’ Choice Print gear distributor pro- Music Publisher of the vides this level of Year winner every year support. since 1997. Effective 4 clear communication 5 Merchandising Hal Leonard communicates in multiple ways to Kiosks, displays, posters, ensure retailers know about our products, special and branded point-of-sale services, seasonal specials, and new releases. materials are provided by Via DrumTALK email Hal Leonard to make sure blasts, our monthly storefront retailers present Herald newsletter, these products most effec- dealer trade shows, tively. We also offer a demo school state shows, unit program that allows fliers, phone calls, you to show products out and store visits – of the box.
    [Show full text]
  • Owner's Manual
    OWNER’S MANUAL OWNER’S MANUAL SimmonsDrums.net www.simmonsdrums.net OWNER’S MANUAL SAFETY INSTRUCTIONS THE LIGHTNING FLASH WITH ARROWHEAD SYMBOL WITHIN AN EQUILATERAL TRIANGLE IS INTENDED TO ALERT THE USER TO THE PRESENCE OF UNINSULATED DANGEROUS VOLTAGE WITHIN THE PRODUCT’S ENCLOSURE THAT MAY BE OF SUFFICIENT MAGNITUDE TO CONSTITUTE A RISK OF ELECTRIC SHOCK TO PERSONS. THE EXCLAMATION POINT WITHIN AN EQUILATERAL TRIANGLE IS INTENDED TO ALERT THE USER TO THE PRESENCE OF IMPORTANT OPERATING AND MAINTENANCE(SERVICING) INSTRUCTIONS IN THE LITERATURE ACCOMPANYING THE PRODUCT. APPARATUS SHALL NOT BE EXPOSED TO DRIPPING OR SPLASHING AND THAT NO OBJECTS FILLED WITH LIQUIDS, SUCH AS VASES, SHALL BE PLACED ON THE APPARATUS. 1. Read these instructions. 12. Use only with the cart, stand, tripod, 2. Keep these instructions. bracket, or table specified by the 3. Heed all warnings. manufacturer, or sold with the 4. Follow all instructions. apparatus. When a cart is used, 5. Do not use this apparatus near water. use caution when moving the cart/ 6. Clean only with dry cloth. apparatus combination to avoid injury Figure 1 7. Do not block any ventilation openings. Install in accor- from tip-over (Figure1). dance with the manufacturer’s instructions. 13. Unplug this apparatus during lightning storms or when 8. Do not install near the heat sources such as radiators, heat unused for a long periods of time. registers, stoves, or other apparatus (including amplifiers) 14. Refer all servicing to qualified service personnel. Servicing that produce heat. is required when the apparatus has been damaged in any 9. Do not defeat the safety purpose of the polarized or way, such as power-supply cord or plug is damaged, liquid grounding-type plug.
    [Show full text]
  • How to Shop the Catalog
    How to Shop the Catalog Click on the musical instrument title or picture to quick link to it’s location in the online store. a season for giving F WINTER COLLECTION Like the skills needed to create these handcrafted musical instruments, these gifts will be passed from generation to generation G MOUNTAIN DULCIMER New Design These Mountain Dulcimers are one of our brand A new designs. They feature a scroll peghead, an improved strum hollow, and arches on the underside of the fretboard for improved sound. • DMARSH4 $259 D CUTAWAY DULCIMER The CutAway Dulcimer is very similar in B appearance and sound to the standard dulcimer except it is thinner on one side. This allows it to be played “guitar style”. It can also be played in the lap position like a traditional mountain dulcimer. • DMCRT4 $259 WILDWOOD DULCIMER Fun, lightweight, and easy to play, our Wildwood C C Dulcimer has the rich sound of a mountain dulcimer with just a little bit of banjo twang. The body style of the Wildwood allows it to be played like a guitar instead of the traditional “flat in the lap” position of the mountain dulcimer. • DMW $200 • DMWFS $259 BOWED PSALTERY The Bowed Psaltery creates an ethereal and D mysterious sound. This zither’s ancestry dates back to the ancient lyre, but the modern derivation is less than 100 years old. • PSSRR $170 • PSARR $229 • PSBRR $289 KANJIRA H E A South Indian frame drum, the traditional Kanjira E was made using skin of the now endangered Monitor Lizard. The 7” Skyndeep lizard graphic drum head creates a similar look and feel.
    [Show full text]
  • Ethnic Hand Drums
    3RFS eTALK February 2007 — Page 1 of 1 Uncommon Instruments Played by Groups we Love, Part I . — Percussion It’s in the Beat. Edited by Harry {doc} Babad Now I’m sure that you, as I’ve done many times, wonder at the strange instruments that folks play, as listed on their CDs. Ignoring oddities like spoons or Jimmy Dancers, I’ve become interested in instruments of percussion of African, South American, Baltic, pan-Arabic, Persian, and other mid-eastern origins. The many unusual string instruments of ethnic origin whose sounds are so different from the more ubiquitous guitar, banjo, and mandolins in contemporary use have also attracted me. Or I wondered, when attending a renaissance faire, what those musicians are doing with those weird looking, at times un-amplified, instruments from which they coax such great sounds. If you live in the Tri-Cities, check out Ye Merrie Greenwood Faire, June 30 th and July 1 st in Howard Amon Park. Marjorie books some great musical performers, and the Elizabethan era (1558–1603) was one of the earliest for folk music. [http://greenwood_players.home.comcast.net/%5D /.] Most of today’s dumbness about the differences in hand drums used in percussion became apparent while checking out the instruments played by Balkan, Celtic and Nautical groups whose CDs I own. I recently got my new Lark in the Morning [LIM] catalog [ http://LarkintheMorning.com ], and checked their website which contains some great articles, and of course photos, of the quality instruments they sell. A bit of the material in the LIM articles helped serve as a source of information for this article.
    [Show full text]
  • BFD Percussion Manual.Pdf
    BFD Percussion 2. Follow the on-screen instructions until the ‘Installation Path’ stage appears. Welcome and thank you for purchasing BFD Percussion! Please read through this manual carefully. The installation process and the Hit types used in this expansion pack differ from 3. Select your BFD folder: this is the previous products in the BFD range. Reading through this manual will ensure that you get the folder which contains the Data folder in most out of the sounds. which the sample data resides. Make sure you select the BFD folder, and The FXpansion team not BFD/Data or any other folder. If www.fxpansion.com you do not select the correct folder, the Installation new sounds will not be available within BFD. Click Next when you’re ready to • BFD v1.5.45 or higher is required in order to use BFD Percussion. Please make sure it is proceed. properly installed before you proceed. Obtain the latest version from your FXpansion.com user account. • The data on the BFD Percussion DVDs is compressed (using a zero-loss algorithm), to facilitate the delivery of the highest possible level of detail. You must run the installers in order to successfully install the sounds. You cannot simply copy the data to your hard drive. 4. You now need to specify the Installation • Mac users: during the installation process, you may be asked for your Admin password. You Size: you can specify the detail level must have Admin rights in order to install this software. and which Kit-Pieces to install. • First, select a detail level.
    [Show full text]
  • Garritan World Instruments Complete Instrument List
    Garritan World Instruments Complete Instrument List Garritan: World Instruments Complete Instrument List Africa: Sakara India: Sangban Arghul Bansuri 1 Sanza Mijwiz 1 Bansuri 2 Sistrum Mijwiz 2 Pungi Snake Charmer Tama (Talking Drum) Adodo Shenai Televi African Log Drum Shiva Whistle Tonetang (Stir Drum) Apentima Basic Indian Percussion Udu Drums Ashiko Chenda Begena Balafon Chimta Bolon Basic African Percussion Chippli Domu Bougarabou Dafli Kora Dawuro Damroo Ngoni Djembe Dhol Dondo China: Dholak Doun Ba Bawu Ghatam Atoke Di-Zi Ghungroo Axatse Guanzi Gong (Stinging Gong) Gankokwe Hulusi Hatheli Kagan Sheng Kanjeera Kpanlogo 1 Large Suona Khartal Kpanlogo 2 Medium Xiao Khol Kpanlogo 3 Combo Basic Chinese Percussion Manjeera Sogo Bianzhong Murchang Fontomfrom Bo Mridangam Gome Chinese Cymbals Naal Gyil Chinese Gongs Nagara Ibo Datangu Lion Drum Pakhawaj Kalimbas Pan Clappers Stir Drum Kenkeni Temple Bells Tablas Kpoko Kpoko Temple Blocks Tamte Krin Slit Drum Choazhou Guzheng Tasha Likembe Erhu Tavil Mbira Guzheng Udaku Morocco Drum Pipa Electric Sitar Nigerian Log Drum Yueqin Sarangi Sarangi Drone Thai Gong Uilleann Pipes Sitar Tibetan Cymbals Bone Flute 1 Tambura Tibetan Singing Bowls Bone Flute 2 Japan: Tibetan Bells Irish Flute Tingsha Shepherds Folk Pipe 1 Hichiriki Dan Tranh Shepherds Folk Pipe 2 Knotweed Flute Dan Ty Ba Bodhran Shakuhachi Gopichand Hang Drum Chanchiki Jaw Harps Chu-daiko Europe: Rattle Cog Daibyoshi Double Flute Hira-Daiko Dvojnice Double Flute Latin America: Hyoushigi Double Flute Drone Andean Panpipes Ko-Daiko
    [Show full text]
  • West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston
    West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston by Jason John Squinobal Batchelor of Music, Music Education, Berklee College of Music, 2003 Master of Arts, Ethnomusicology, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2009 ffh UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jason John Squinobal It was defended on April 14, 2009 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Dr. Joseph K. Adjaye, Professor, Africana Studies Dissertation Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2009 iii West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston Jason John Squinobal, PhD University of Pittsburgh, 2009 Abstract This Dissertation is a historical study of the cultural, social and musical influences that have led to the use of West African music in the compositions and performance of Art Blakey, Yusef Lateef, and Randy Weston. Many jazz musicians have utilized West African music in their musical compositions. Blakey, Lateef and Weston were not the first musicians to do so, however they were chosen for this dissertation because their experiences, influences, and music clearly illustrate the importance that West African culture has played in the lives of African American jazz musicians. Born during the Harlem Renaissance each of these musicians was influenced by the political views and concepts that predominated African American culture at that time.
    [Show full text]
  • African Dancing and Drumming in the Little Village of Tallahassee, Florida Andrea-Latoya Davis-Craig
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Building Community: African Dancing and Drumming in the Little Village of Tallahassee, Florida Andrea-Latoya Davis-Craig Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATER, AND DANCE BUILDING COMMUNITY: AFRICAN DANCING AND DRUMMING IN THE LITTLE VILLAGE OF TALLAHASSEE, FLORIDA By ANDREA-LA TOYA DAVIS-CRAIG A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 Copyright © 2009 Andrea-La Toya Davis-Craig All Rights Reserved The members of the Committee approve the Dissertation of Andrea-La Toya Davis-Craig defended on 03-19-2009. ____________________________________ Pat Villeneuve Professor Directing Dissertation ____________________________________ Patricia Young Outside Committee Member ____________________________________ Marcia Rosal Committee Member ____________________________________ Tom Anderson Committee Member Approved: __________________________________ David Gussak, Chair, Department of Art Education The Graduate School has verified and approved the above named committee members. ii I am because you are. Dedicated to: My grandmother Aline Mickens Not a day goes by that I don’t think of you. I love you grandma. My grandmother Lottie Davis I never met you, but I know my dad and know that he is a reflection of you. My parents Lt. Col. Walter and Andrea Davis Your unyielding support, sacrifice, and example have taught me anything is possible. & My ancestors You fought the fight so that I could walk in the light.
    [Show full text]