On to Chicago: 1922–1924
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Against Expression?: Avant-Garde Aesthetics in Satie's" Parade"
Against Expression?: Avant-garde Aesthetics in Satie’s Parade A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF MUSIC In the division of Composition, Musicology, and Theory of the College-Conservatory of Music 2020 By Carissa Pitkin Cox 1705 Manchester Street Richland, WA 99352 [email protected] B.A. Whitman College, 2005 M.M. The Boston Conservatory, 2007 Committee Chair: Dr. Jonathan Kregor, Ph.D. Abstract The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener’s emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer’s aesthetical goal and the listener’s reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate. -
CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus. -
INTO the WOODSIN CONCERT Book by James Lapine Music and Lyrics by Stephen Sondheim
PRESENTS INTO THE WOODSIN CONCERT Book by James Lapine Music and Lyrics by Stephen Sondheim Directed by Michael Torontow NOVEMBER 14 -16, 2019 Georgian Theatre, Barrie | 705-792-1949 www.tift.ca Presented by | Season Partner Artistic Producer Arkady Spivak INTO THE WOODS Book by James Lapine Music and Lyrics by Stephen Sondheim Director Michael Torontow Music Director Wayne Gwillim Choreographer Lori Watson Set and Lighting Designer Joe Pagnan Costume Designer Laura Delchiaro Production Manager Jeff Braunstein Stage Manager Dustyn Wales Assistant Stage Manager Sam Hale Sound Designer Joshua Doerksen Props Master Vera Oleynikova CAST OF CHARACTERS Cast Baker-------------------------------------------------------------------------------------------------------------------------------Aidan deSalaiz Cinderella’s Prince, Wolf, Lucinda------------------------------------------------------------------------------------Griffin Hewitt Witch---------------------------------------------------------------------------------------------------------------------------------Alana Hibbert Rapunzel’s Prince, Florinda, Milky White-------------------------------------------------------------------------Richard Lam Baker’s Wife---------------------------------------------------------------------------------------------------------------Jamie McRoberts Jack’s Mother, Stepmother, Granny, Giant------------------------------------------------------------------Charlotte Moore Jack, Steward------------------------------------------------------------------------------------------------------------------Justin -
The Dinner Theatre of Columbia
The Dinner TheaTre of Columbia Presents SepTember 11 - november 15, 2015 The Dinner TheaTre of Columbia Presents Ragtime, the Musical Book by Terrence McNally Music by Lyrics by Stephen Flaherty Lynn Ahrens Based on “Ragtime” by E.L. Doctorow Directed & Staged by Toby Orenstein & Lawrence B. Munsey Musical Direction by Ross Scott Rawlings Choreography by Ilona Kesell Set Design by Light Design by Sound Design by David A. Hopkins Lynn Joslin Mark Smedley Costumes by Lawrence B. Munsey Ragtime, the Musical is presented through special arrangement with Music Theatre International, 421 West 54th Street, New York, NY 10019. 212-541-4684 www.MtiShows.com Video and/or audio recording of this performance by any means whatsoever is strictly prohibited. Fog & Strobe effects may be used in this performance. Toby’s Dinner Theatre of Columbia • 5900 Symphony Woods Road • Columbia, MD 21044 Box Office (410) 730-8311 • (301) 596-6161 • (410) 995-1969 www.tobysdinnertheatre.com PRODUCTION STAFF Directors .................................................................. Toby Orenstein & Lawrence B. Munsey Music Director/ Orchestrations............................................................ Ross Scott Rawlings Production Manager ................................................................................. Vickie S. Johnson Choreographer .................................................................................................. Ilona Kessell Scenic Designer ........................................................................................ -
The Solo Style of Jazz Clarinetist Johnny Dodds: 1923 – 1938
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The solo ts yle of jazz clarinetist Johnny Dodds: 1923 - 1938 Patricia A. Martin Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Martin, Patricia A., "The os lo style of jazz clarinetist Johnny Dodds: 1923 - 1938" (2003). LSU Doctoral Dissertations. 1948. https://digitalcommons.lsu.edu/gradschool_dissertations/1948 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]. THE SOLO STYLE OF JAZZ CLARINETIST JOHNNY DODDS: 1923 – 1938 A Monograph 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 Musical Arts in The School of Music By Patricia A.Martin B.M., Eastman School of Music, 1984 M.M., Michigan State University, 1990 May 2003 ACKNOWLEDGMENTS This is dedicated to my father and mother for their unfailing love and support. This would not have been possible without my father, a retired dentist and jazz enthusiast, who infected me with his love of the art form and led me to discover some of the great jazz clarinetists. In addition I would like to thank Dr. William Grimes, Dr. Wallace McKenzie, Dr. Willis Delony, Associate Professor Steve Cohen and Dr. -
News Release for Immediate
NEWS RELEASE FOR IMMEDIATE RELEASE: April 30, 2020 OFF-BROADWAY CAST OF “THE WHITE CHIP”, SEAN DANIELS’ CRITICALLY ACCLAIMED PLAY ABOUT HIS UNUSUAL PATH TO SOBRIETY, WILL DO A LIVE ONLINE READING AS A BENEFIT Performance Will Benefit The Voices Project and Arizona Theatre Company and is dedicated to Terrence McNally. In line with Arizona Theatre Company’s (ATC) ongoing commitment to bringing diverse creative content to audiences online, the original Off-Broadway cast of The White Chip will perform a live reading of Artistic Director Sean Daniels’ play about his unusual path to sobriety as a fundraiser for The Voices Project, a grassroots recovery advocacy organization, and Arizona Theatre Company. The benefit performance will be broadcast live at 5 p.m. (Pacific Time) / 8 p.m. (Eastern Time), Monday, May 11 simultaneously on Arizona Theatre Company’s Facebook page (@ArizonaTheatreCompany) and YouTube channel. The performance is free, but viewers are welcome to donate what they can. The performance will then be available for four days afterwards through ATC’s website and YouTube channel. All donations will be divided equally between the two organizations. A New York Times Critics’ Pick, The White Chip was last staged Off-Broadway at 59E59 Theaters in New York City, from Oct. 4 - 26, 2019. Tony Award-nominated director Sheryl Kaller, Tony Award-winning sound designer Leon Rothenberg and the original Off- Broadway cast (Joe Tapper, Genesis Oliver, Finnerty Steeves) will return for the reading. The Off-Broadway production was co-produced with Tony Award-winning producers Tom Kirdahy (Little Shop of Horrors, Hadestown) and Hunter Arnold (Little Shop of Horrors, Hadestown). -
Sarah EC Maines Marqui Maresca Michael Maresca Dianne Marks
THEATRE AND DANCE FACULTY Cassie Abate Sarah EC Maines Deb Alley Marqui Maresca Ana Carrillo Baer Michael Maresca Natalie Blackman Dianne Marks Greg Bolin Ana Martinez Linda Nenno-Breining Johnny McAllister Kaysie Seitz Brown Amanda McCorkle Elizabeth Buckley Anne McMeeking Trad Burns Brandon R. McWilliams Susan Busa Toby Minor Claire Canavan Jordan Morille Michael Costello Nadine Mozon Michelle Dahlenburg Michelle Nance Tom Delbello Charles Ney Cheri Prough DeVol Michelle Ney Tammy Fife Christa Oliver John Fleming Phillip Owen Misti Galvan William R. Peeler Kevin Gates Bryan Poyser Babs George Aimee Radics Kate Glasheen-Dentino Shannon Richey Brandon Gonzalez Melissa Rodriguez Shelby Hadden Jerry Ruiz Shay Hartung Ishii Sideny Rushing Cathy Hawes Colin Shay Yesenia Herrington Vlasta Silhavy Kaitlin Hopkins LeAnne Smith Randy Huke Shane K. Smith Marcie Jewell Alexander Sterns Erin Kehr Colin D. Swanson Lynzy Lab Caitlin Turnage Laura Lane Neil Patrick Stewart Nick Lawson Scott Vandenberg Eugene Lee Nicole Wesley Clay Liford Yong Suk Yoo STAFF Carl Booker Kim Dunbar Jessica Graham Tina Hyatt Dwight Markus Monica Pasut Jennifer Richards Lori Smith FRONT OF HOUSE STAFF Robert Styers Virtual Theatre Spring 2021 CAST MELCHIOR...............................................................Jeremiah Porter WENDLA.............................................................Kyra Belle Johnson MORITZ............................................................................Riley Clark Department of Theatre and Dance presents ILSE...........................................................................Micaela -
Trevor Tolley Jazz Recording Collection
TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre. -
There Is Talk About Paul's Family. an Older Brother/ Andrew, Played a [Tin] Fife, but Did Not Take up Another Instrument
.b'AU.LJ Cft.H.lN.&O Reel I [of 2]--Digest-Retype March 13, 1971 Also presents Jane Julian 1 The interview takes place at 1770 N- Dorgenois Street, Paul Barnes' home. There is talk about Paul's family. An older brother/ Andrew, played a [tin] fife, but did not take up another instrument. The fife was very v popular in New Orleans at that time. Also [Emile Barnes] played the fife. Paul played the fife at six years; Sidney Bechet played the fife. Andrew Barnes was accidentially sTaot. He was trying to stop a fight and got shot. He was three years older than Paul. EB is about ten years older than Paul. Andrew was called "Boose"/ [which rhymes with "moose"]. Nicknames were very popular in New Orleans at that time. Paul Barnes gives a list of his siblings: (oldest to youngest) Emile, called "Mealy" [according to EB, t1'iere is no correct spelling of this]; then came Emily, then Adam, then Andrew, called "Boose", then Alice, then Paul/ called "Polo" (common nickname for Paul in New Orleans then), and Frances, the youngest, a girl. She died at about five years; she was tlie first of the siblings to die. "She taken sick and she passed." PB's father played guitar, but not in a band. It was a musical family on both sides. His mother's sister [his aunt] played guitar. Her husband and children were Marreros: Simon Marrero, the oldest son, played bass? Billy Marrero, also known as Billy Moran, the husband, played Tbass, Jol'in, the next son, played banjo and guitar; Lawrence, the next son/ played banjo and guitar? Eddie, the next son, played bass. -
“If Music Be the Food of Love, Play On
As Fate Would Have It Pat Sajak and Vanna White would have been quite at home in New Orleans in January 1828. It was announced back then in L’Abeille de Nouvelle-Orléans (New Orleans Bee) that “Malcolm’s Celebrated Wheel of Fortune” was to “be handsomely illuminated this and to-morrow evenings” on Chartres Street “in honour of the occasion”. The occasion was the “Grand Jackson Celebration” where prizes totaling $121,800 were to be awarded. The “Wheel of Fortune” was known as Rota Fortunae in medieval times, and it captured the concept of Fate’s capricious nature. Chaucer employed it in the “Monk’s Tale”, and Dante used it in the “Inferno”. Shakespeare had many references, including “silly Fortune’s wildly spinning wheel” in “Henry V”. And Hamlet had those “slings and arrows” with which to contend. Dame Fortune could indeed be “outrageous”. Rota Fortunae by the Coëtivy Master, 15th century In New Orleans her fickle wheel caused Ignatius Reilly’s “pyloric valve” to close up. John Kennedy Toole’s fictional protagonist sought comfort in “The Consolation of Philosophy” by Boethius, but found none. Boethius wrote, “Are you trying to stay the force of her turning wheel? Ah! Dull-witted mortal, if Fortune begins to stay still, she is no longer Fortune.” Ignatius Reilly found “Consolation” in the “Philosophy” of Boethius. And Boethius had this to say about Dame Fortune: “I know the manifold deceits of that monstrous lady, Fortune; in particular, her fawning friendship with those whom she intends to cheat, until the moment when she unexpectedly abandons them, and leaves them reeling in agony beyond endurance.” Ignatius jotted down his fateful misfortunes in his lined Big Chief tablet adorned with a most impressive figure in full headdress. -
7. a Pdf-Book About Johnny Dodds
BY<3. E. LAMBERT 780.92 D6422L 66-08387 Lambert Johnny Dodds KINGS OF JAZZ Johnny Dodds BY G. E. LAMBERT A Perpetua Book A. 5. BARNES AND COMPANY, INC. NEW YORK <) CasseU & Co. Ltd. 1961 PERPETUA EDITION 1961 Printed in the United States of America CONTENTS PART PAGE 1 HIS LIFE 1 2 HIS RECORDINGS 18 3 HIS CONTRIBUTION TO JAZZ 65 SELECTED DISCOGRAPHY 79 6608387 HIS LIFE In the years when New Orleans was the premier centre of jazz that is from around 1900 to the closing of the Story- ville red light district in 1918 it was a city flooded with music. Every possible occasion picnics, advertising, trips on the Mississippi was provided with music; every place of diversion the bars, theatres, brothels and gambling joints had its musicians. Parades by the various organi- zations had their brass bands, which also played for the unique New Orleans funerals, and dance orchestras of all types were to be heard within the city limits. In the Creole and Negro districts there was scarcely a family who did not boast of several part-time musicians, and there were hundreds of skilled local professionals playing in the various parade bands, jazz bands, society bands and riverboat orchestras. To judge from the material collected by later historians, the doings of the favourite musicians of the city were looked upon with the same interest which 1 the mass of people today accord to sporting heroes and popular cinema or television personalities. There were trumpet players known for their vivacious playing and stamina on the long parades, and others who specialized in the dirges played on the way to and at the graveside; one trumpet player will be remembered for his volume and exuberance in the lower-class dance-halls, another for his unique ability and power of expression on the blues. -
Dr. Michael White: Biography
DR. MICHAEL WHITE: BIOGRAPHY Dr. Michael White is among the most visible and important New Orleans musicians today. He is one of only a few of today’s native New Orleans born artists to continue the authentic traditional jazz style. Dr. White is noted for his classic New Orleans jazz clarinet sound, for leading several popular bands, and for his many efforts to preserve and extend the early jazz tradition. Dr. White is a relative of early generation jazz musicians, including bassist Papa John Joseph, clarinetist Willie Joseph, and saxophonist and clarinetist Earl Fouche. White played in St Augustine High School’s acclaimed Marching 100 and Symphonic bands and had several years of private clarinet lessons from the band’s director, Edwin Hampton. He finished magna cum laude from Xavier University of Louisiana with a degree in foreign language education. He received a masters and a doctorate in Spanish from Tulane University. White began teaching Spanish at Xavier University in 1980 and also African American Music History since 1987. Since 2001 he has held the Charles and Rosa Keller Endowed Chair in the Humanities at Xavier. He is the founding director of Xavier’s Culture of New Orleans Series, which highlights the city’s unique culture in programs that combine scholars, authentic practitioners, and live performances. White is also a jazz historian, producer, lecturer, and consultant. He has developed and performed many jazz history themed programs. He has written and published numerous essays in books, journals, and other publications. For the last several years he has been a guest coach at the Juilliard Music School (Juilliard Jazz).