DOCSLIB.ORG

Tone Parallels in Music for Film: the Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra By

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tone Parallels in Music for Film: the Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra By TONE PARALLELS IN MUSIC FOR FILM: THE COMPOSITIONAL WORKS OF TERENCE BLANCHARD IN THE DIEGETIC UNIVERSE AND A NEW WORK FOR STUDIO ORCHESTRA BY BRIAN HORTON Johnathan B. Horton B.A., B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Richard DeRosa, Major Professor Eugene Corporon, Committee Member John Murphy, Committee Member and Chair of the Division of Jazz Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Horton, Johnathan B. Tone Parallels in Music for Film: The Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra by Brian Horton. Doctor of Musical Arts (Performance), August 2017, 46 pp., 1 figure, 24 musical examples, bibliography, 49 titles. This research investigates the culturally programmatic symbolism of jazz music in film. I explore this concept through critical analysis of composer Terence Blanchard's original score for Malcolm X directed by Spike Lee (1992). I view Blanchard's music as representing a non- diegetic tone parallel that musically narrates several authentic characteristics of African- American life, culture, and the human condition as depicted in Lee's film. Blanchard's score embodies a broad spectrum of musical influences that reshape Hollywood's historically limited, and often misappropiated perceptions of jazz music within African-American culture. By combining stylistic traits of jazz and classical idioms, Blanchard reinvents the sonic soundscape in which musical expression and the black experience are represented on the big screen. My new work––Black Magic––is a musical response to the research found within this study. The through- composed piece is written in three movements for a studio orchestra. It is an homage to the musical, cultural, and entertainment contributions of African-Americans in the magical realm of Hollywood cinema. Copyright 2017 by Johnathan B. Horton ii ACKNOWLEDGEMENTS I would like to thank professors Rich DeRosa, Dr. John Murphy, Eugene Corporon, Tanya Darby, Brad Leali, the University of North Texas Division of Jazz Studies, and the College of Music faculty and student body for their support and encouragement in this musical endeavor. I would also like to thank Terence Blanchard for his wisdom of composing from the heart, and the art of telling a story through music. This work is dedicated to Anthony, Faith, Joyce, Celia, Earl (Pop Pop), Maybelle, and Johnny. Your spirit beyond this earthly realm continues to inspire and guide me. Forever forward… iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ........................................................................................................... iii LIST OF FIGURES AND MUSICAL EXAMPLES...................................................................... v CHAPTER 1. INTRODUCTION ................................................................................................... 1 Perception and Persuasion in the Diegetic Universe .......................................................... 6 CHAPTER 2. TERENCE BLANCHARD ................................................................................... 10 Sonic Irony - Terence Blanchard’s Film Score for Malcolm X (1992): A Contextual Analysis............................................................................................................................. 12 CHAPTER 3. BLACK MAGIC: A NEW WORK FOR STUDIO ORCHESTRA BY BRIAN HORTON ...................................................................................................................................... 25 Mvt. I. One Thousand, Three Hundred, And Sixty-Nine Illuminations ............................ 27 Mvt. II. All You Give Is All You Get, So Give It All You Got ........................................... 33 Mvt. III. In This Quiet Place, At This Final Hour, I Heard The Lamentations Of A Million Hearts ................................................................................................................... 36 CHAPTER 4. CONCLUSION...................................................................................................... 43 BIBLIOGRAPHY ......................................................................................................................... 44 iv LIST OF FIGURES AND MUSICAL EXAMPLES Page Figures Figure 3.1. Photo of the author with composer Terence Blanchard. January 7, 2017. Wyly Theatre, Dallas, TX ....................................................................................................................... 42 Examples Example 2.1. “Malcolm’s Theme,” Opening Credits from Malcolm X (1992, 00:00:38), author’s transcription, 2017. ....................................................................................................................... 14 Example 2.2. “Malcolm’s Theme,” Cops and Robbers from Malcolm X (1992, 00:18:16), author’s transcription, 2017. ......................................................................................................... 15 Example 2.3. “Malcolm’s Theme,” Cops and Robbers (continued) from Malcolm X (1992, 00:18:23), author’s transcription, 2017. ........................................................................................ 16 Example 2.4. “Malcolm’s Theme,” Back to Boston from Malcolm X (1992, 00:49:56), author’s transcription, 2017. ....................................................................................................................... 17 Example 2.5. “Malcolm’s Theme,” Black and White from Malcolm X (1992, 01:13:56), author’s transcription, 2017. ....................................................................................................................... 19 Example 2.6. “Malcolm’s Theme,” Black and White from Malcolm X (1992, 01:16:53), author’s transcription, 2017. ....................................................................................................................... 20 Example 2.7. “Malcolm’s Theme,” Going to Mecca from Malcolm X (1992, 02:34:04), author’s transcription, 2017. ....................................................................................................................... 22 Example 2.8. “Malcolm’s Theme,” Eulogy from Malcolm X (1992, 03:07:19), author’s transcription, 2017. ....................................................................................................................... 24 Example 3.1. One Thousand, Three Hundred, And Sixty-Nine Illuminations, mm. 1-9. ............. 28 Example 3.2. Theme for eOn Thousand, Three Hundred, and Sixty-Nine Illuminations, mm. 17- 24................................................................................................................................................... 29 Example 3.3. Theme voiced in the string section, One Thousand, Three Hundred, And Sixty-Nine Illuminations, mm. 29-35. ............................................................................................................. 30 Example 3.4. First variation of theme performed by horn. One Thousand, Three Hundred, And Sixty-Nine Illuminations, mm. 62-76. ........................................................................................... 31 v Example 3.5. Foreground, middleground, and background. One Thousand, Three Hundred, And Sixty-Nine Illuminations, mm. 184-196 ........................................................................................ 32 Example 3.6. Brass choral interlude. One Thousand, Three Hundred, And Sixty-Nine Illuminations, mm. 237-242. ......................................................................................................... 32 Example 3.7. Flute and piano duet. One Thousand, Three Hundred, And Sixty-Nine Illuminations, mm. 253-259. ......................................................................................................... 33 Example 3.8. Alto saxophone and piano. All You Give Is All You Get, So Give It All You Got, mm. 5-12. ...................................................................................................................................... 33 Example 3.9. Alto saxophone and piano. All You Give Is All You Get, So Give It All You Got, mm. 30-37. .................................................................................................................................... 34 Example 3.10. Score. All You Give Is All You Get, So Give It All You Got, mm. 103-110. ..... 35 Example 3.11. Auditory signifiers of the third movement in the solo backgrounds. All You Give Is All You Get, So Give It All You Got, mm. 75-82....................................................................... 36 Example 3.12. Oboe melody with percussion. In This Quiet Place, At This Final Hour, I Heard The Lamentations Of A Million Hearts, mm. 13-24. .................................................................... 37 Example 3.13. Unison melody. In This Quiet Place, At This Final Hour, I Heard The Lamentations Of A Million Hearts, mm. 97-108. ......................................................................... 38 Example 3.14. Clarinet solo adlibs. In This Quiet Place, At This Final Hour, I Heard The Lamentations Of A Million Hearts, mm. 109-116. ....................................................................... 39 Example 3.15. Climax. In This Quiet Place, At This Final Hour, I Heard The Lamentations Of A Million Hearts, mm. 192-201. .....................................................................................................
Load more

Recommended publications
  • November 30, 2020 Jazz Album Chart
    Jazz Album Chart November 30, 2020 TW LW 2W Peak Artist Title Label TW LW Move Weeks Reports Adds 1 1 1 1 Artemis 3 weeks at No. 1 / Most Reports Artemis Blue Note 310 291 19 10 51 0 2 2 2 1 Gregory Porter All Rise Blue Note 277 267 10 13 38 0 3 4 13 3 Yellowjackets Jackets XL Mack Avenue 259 236 23 5 49 4 4 7 6 4 Peter Bernstein What Comes Next Smoke Sessions 244 222 22 6 48 0 4 5 4 4 Javon Jackson Deja Vu Solid Jackson 244 235 9 7 47 1 6 6 8 5 Joe Farnsworth Time To Swing Smoke Sessions 229 229 0 9 40 0 7 8 3 1 Christian McBride Big Band For Jimmy, Wes and Oliver Mack Avenue 217 213 4 14 38 0 8 25 40 8 Brandi Disterheft Trio Surfboard Justin Time 211 155 56 3 47 3 9 9 15 9 Alan Broadbent Trio Trio In Motion Savant 209 206 3 5 47 2 10 14 12 10 Isaiah J. Thompson Plays The Music Of Buddy Montgomery WJ3 207 187 20 7 38 1 11 3 5 3 Conrad Herwig The Latin Side of Horace Silver Savant 203 242 -39 10 39 0 12 13 6 3 Eddie Henderson Shuffle and Deal Smoke Sessions 198 192 6 14 35 0 13 12 11 3 Kenny Washington What’s The Hurry Lower 9th 189 194 -5 14 34 1 14 10 13 6 Nubya Garcia Source Concord Jazz 188 199 -11 13 35 1 15 19 17 15 Ella Fitzgerald The Lost Berlin Tapes Verve 185 172 13 6 41 0 16 16 16 15 Chien Chien Lu The Path Chien Chien Music 175 185 -10 8 38 2 17 21 21 17 Uptown Jazz Tentet What’s Next Irabbagast 170 164 6 6 37 1 18 20 26 18 Richard Baratta Music In Film: The Reel Deal Savant 166 170 -4 4 40 1 Provogue / Mascot Label 19 30 78 19 George Benson Weekend in London Group 165 146 19 2 35 7 20 18 19 17 Teodross Avery Harlem Stories:
    [Show full text]
  • João Pedro Valladão Pinheiro Improving the Quality of the User
    João Pedro Valladão Pinheiro Improving the Quality of the User Experience by Query Answer Modification Dissertação de Mestrado Dissertation presented to the Programa de Pós–graduação em Informática of PUC-Rio in partial fulfillment of the requirements for the degree of Mestre em Informática. Advisor : Prof. Marco Antonio Casanova Co-advisor: Profa. Elisa Souza Menendez Rio de Janeiro April 2021 João Pedro Valladão Pinheiro Improving the Quality of the User Experience by Query Answer Modification Dissertation presented to the Programa de Pós–graduação em Informática of PUC-Rio in partial fulfillment of the requirements for the degree of Mestre em Informática. Approved by the Examination Committee: Prof. Marco Antonio Casanova Advisor Departamento de Informática – PUC-Rio Profa. Elisa Souza Menendez Co-Advisor Campus Xique-Xique – Instituto Federal de Educação, Ciência e Tecnologia Baiano Prof. Antonio Luz Furtado Departamento de Informática – PUC-Rio Prof. Luiz André Portes Paes Leme Departamento de Ciências da Computação – UFF Rio de Janeiro, April 30th, 2021 All rights reserved. João Pedro Valladão Pinheiro João Pedro Valladão Pinheiro holds a bachelor degree in Computer Engineering from Pontifical Catholic University of Rio de Janeiro (PUC-Rio). His main research topics are Semantic Web and Information Retrieval. Bibliographic data Pinheiro, João Pedro V. Improving the Quality of the User Experience by Query Answer Modification / João Pedro Valladão Pinheiro; advisor: Marco Antonio Casanova; co-advisor: Elisa Souza Menendez. – 2021. 55 f: il. color. ; 30 cm Dissertação (mestrado) - Pontifícia Universidade Católica do Rio de Janeiro, Departamento de Informática, 2021. Inclui bibliografia 1. Computer Science – Teses. 2. Informatics – Teses. 3. Pergunta e Resposta (QA).
    [Show full text]
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • Teaching the Levees
    Teaching The Levees 7 Times-Picayune staff graphic by Emmett Mayer III; staff photos by Ellis Lucia, Alex Brandon, and Devaunshi Mahadevia Teaching The Levees A Curriculum for Democratic Dialogue and Civic Engagement 7 MARGARET SMITH CROCCO, Editor Teachers College Columbia University New York R This work is dedicated to the residents of the Gulf States, who survived the ravages of Hurricane Katrina by helping one another, and to those who died so tragically. R Published by Teachers College Press, 1234 Amsterdam Avenue, New York, NY 10027 Copyright © 2007 Teachers College, Columbia University. All rights reserved. This publication was made possible by a grant from the Rockefeller Foundation. Grateful acknowledgment is made to the following sources for permission to use their materials: Afro-American Newspapers Archives and Research Center for excerpt The Opportunity Agenda for reprinting of “The Opportunity from “Spike Lee captures pain, hope of Hurricane Katrina Agenda’s six core values” survivors,” by Zenitha Prince (August 26, 2006) Pew Research Center for reprinting of “Katrina has only modest AlterNet for excerpt from “Media hurricane is so much hot air,” by impact on basic public values” (September 22, 2005) Rory O’Connor (September 14, 2005) The Poynter Institute for excerpts from “Best practices: Images of The American Conservative for an excerpt from “The emperor’s new disaster and how they were captured,” by David Frank consensus,” by Scott McConnell (October 10, 2005) (September 3, 2005), and from “Katrina photos: A gallery & notes Associated Press for excerpts from “For now the offi cial Hurricane from photo editors,” by Kenny Irby (September 4, 2005) Katrina death toll stands at 1,697” (October 29, 2006) and from Reuters News Service for excerpt from “US censoring Katrina “Up to 35,000 kids still having major Katrina problems,” by Janet coverage,” by Deborah Zabarenko (September 8, 2005) McConnaughey (February 2, 2007) Joni Seager for excerpt from “Natural disasters expose gender divide,” Philip S.
    [Show full text]
  • Wynton Marsalis Happy Birthday Transcription Pdf Free
    Wynton Marsalis Happy Birthday Transcription Pdf Free 1 / 4 Wynton Marsalis Happy Birthday Transcription Pdf Free 2 / 4 3 / 4 Print and download Caravan sheet music by Wynton Marsalis arranged for Trumpet or Piano. Instrument/Piano/Chords, and Transcribed Solo in Bb Major. Your high-resolution PDF file will be ready to download in the original published key . Song Spotlight Signature Artists Sales and Promotions Free Sheet Music.. Sep 6, 2018 . Marsalis at the Oskar Schindler Performing Arts Center Seventh Annual Jazz Festival in 2009. Background information. Birth name, Wynton.. essential and the necessary references are in general noted in the pdf. to present this unique collection of transcriptions which he has compiled over a span of . Several years before Wynton Marsalis gained headlines for helping to revive . Baker took the Armstrong role, comfortably confounding the date on his birth.. Transcription of Wynton Kelly's piano solo on the Bb blues tune "Kelly Blue" from . Wynton Marsalis and the Jazz at Lincoln Center Orchestra Monday, March 18, . Father of Jazz Though the precise birth of jazz is still shrouded in mystery,.. Chords for Wynton Marsalis Playing Happy Birthday - transcription of the improvisation. Play along with guitar, ukulele, or piano with interactive chords and.. Amazon.com: Wynton Marsalis - Omnibook: for B-flat Instruments . members save up to 20% on diapers, baby food, & more Baby Registry Kids Birthdays . on orders over $25or get FREE Two- Day Shipping with Amazon Prime . Trumpet Omnibook: For B-Flat Instruments Transcribed Exactly from Artist Recorded Solos.. 12 2016 . Wynton Marsalis - Moanin Trumpet Solo [Free PDF] 02:22 .
    [Show full text]
  • NEWS RELEASE Contact: Emily Everett at 413-545-4482 Or [email protected]
    NEWS RELEASE Contact: Emily Everett at 413-545-4482 or [email protected] FOR IMMEDIATE RELEASE: October 20, 2015 WHAT: The Ambrose Akinmusire Quartet WHEN: Thursday, November 19, 7:30 p.m. WHERE: Bowker Auditorium, UMass Amherst TICKETS: Call 1-800-999-UMAS or 545-2511 for tickets or buy online at www.fineartscenter.com/ IMAGES: To download images relating to this press release please go online to https://fac.umass.edu/Online/PressImages AWARD-WINNING TRUMPETER AMBROSE AKINMUSIRE BRINGS QUARTET TO BOWKER AUDITORIUM “With a chameleonic tone that can sigh, flutter or soar, Akinmusire sounds less like rising star than one that was already at great heights and just waiting to be discovered.” – Los Angeles Times Composer and trumpeter Ambrose Akinmusire is usually busy collecting prestigious awards from jazz festivals around the globe. He’ll take some time to bring his all-star quartet to UMass Amherst, performing at Bowker Auditorium on Thursday, November 19 th at 7:30 p.m. The New Yorker calls Akinmusire “a thrilling trumpeter and astute bandleader [with a] unique spark in his playing.” He is fast moving to the front ranks of progressive jazzmen, earning both the Doris Duke Impact Award and the Doris Duke Artist Award in the past two years. Appearing as part of the FAC’s Billy Taylor Jazz Residency, Akinmusire will also be an artist in residence in the area for the week of his performance. This will include teaching masterclasses at local high schools and colleges. In addition, Akinmusire will sit in with the Northampton Jazz Workshop as a special guest artist on Tuesday, November 17 at City Sports Grille (525 Main Street, Northampton).
    [Show full text]
  • A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
    MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris
    [Show full text]
  • JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009
    JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009 Annotations and citations (Law) -- Arizona. SHEPARD'S ARIZONA CITATIONS : EVERY STATE & FEDERAL CITATION. 5th ed. Colorado Springs, Colo. : LexisNexis, 2008. CORE. LOCATION = LAW CORE. KFA2459 .S53 2008 Online. LOCATION = LAW ONLINE ACCESS. Antitrust law -- European Union countries -- Congresses. EUROPEAN COMPETITION LAW ANNUAL 2007 : A REFORMED APPROACH TO ARTICLE 82 EC / EDITED BY CLAUS-DIETER EHLERMANN AND MEL MARQUIS. Oxford : Hart, 2008. KJE6456 .E88 2007. LOCATION = LAW FOREIGN & INTERNAT. Consolidation and merger of corporations -- Law and legislation -- United States. ACQUISITIONS UNDER THE HART-SCOTT-RODINO ANTITRUST IMPROVEMENTS ACT / STEPHEN M. AXINN ... [ET AL.]. 3rd ed. New York, N.Y. : Law Journal Press, c2008- KF1655 .A74 2008. LOCATION = LAW TREATISES. Consumer credit -- Law and legislation -- United States -- Popular works. THE AMERICAN BAR ASSOCIATION GUIDE TO CREDIT & BANKRUPTCY. 1st ed. New York : Random House Reference, c2006. KF1524.6 .A46 2006. LOCATION = LAW TREATISES. Construction industry -- Law and legislation -- Arizona. ARIZONA CONSTRUCTION LAW ANNOTATED : ARIZONA CONSTITUTION, STATUTES, AND REGULATIONS WITH ANNOTATIONS AND COMMENTARY. [Eagan, Minn.] : Thomson/West, c2008- KFA2469 .A75. LOCATION = LAW RESERVE. 1 Court administration -- United States. THE USE OF COURTROOMS IN U.S. DISTRICT COURTS : A REPORT TO THE JUDICIAL CONFERENCE COMMITTEE ON COURT ADMINISTRATION & CASE MANAGEMENT. Washington, DC : Federal Judicial Center, [2008] JU 13.2:C 83/9. LOCATION = LAW GOV DOCS STACKS. Discrimination in employment -- Law and legislation -- United States. EMPLOYMENT DISCRIMINATION : LAW AND PRACTICE / CHARLES A. SULLIVAN, LAUREN M. WALTER. 4th ed. Austin : Wolters Kluwer Law & Business ; Frederick, MD : Aspen Pub., c2009. KF3464 .S84 2009. LOCATION = LAW TREATISES.
    [Show full text]
  • 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.
    [Show full text]
  • 124-130 WEST 125TH STREET up to Between Adam Clayton Powell Jr and Malcolm X Blvds/Lenox Avenue 22,600 SF HARLEM Available for Lease NEW YORK | NY
    STREET RETAIL/RESTAURANT/QSR/MEDICAL/FITNESS/COMMUNITY FACILITY 3,000 SF 124-130 WEST 125TH STREET Up To Between Adam Clayton Powell Jr and Malcolm X Blvds/Lenox Avenue 22,600 SF HARLEM Available for Lease NEW YORK | NY ARTIST’S RENDERING 201'-10" 2'-0" 1'-4" 19'-5" 1'-5" 3" SLAB 2'-4" 21'-0" 8" 16'-1" 15'-6" 39'-9" 4'-9" 46'-0" 5'-5" DISPLAY CLG 1'-3" 5'-8" 40'-5" OFFICE 12'-0" 47'-7" B.B. 7'-1" 72'-6" 13'-2" D2 4'-4" 4'-0" 10'-2" 74'-2" 11'-4" 42'-3" 11'-2" 4'-9" 8'-4" 1'-3" 17'-6" 11" 2'-4" 138'-11" 5'-11" 1'-11" 7'-1" 147'-1" GROUND FLOOR GROUND 34'-9" 35'-1" 1'-4" 34'-8" 2x4 33'-10" 2x4 CLG. PARAMOUNT CLG. 12'-3" 124 W. 125 ST 11'-10" 24'-6" 23'-6" DISPLAY CTR 22'-11" D.H. 10'-10" 16'-0" 8'-11" 1'-4" 2'-5" 4'-2" GAS MTR EP EP ELEC 1'-5" 2'-10" 4" 7" 1'-4" 6" 1'-6" 11" 7'-0" 52'-0" 12'-11" 1'-2" CLG. 1'-10"1'-0" 3'-2" D2 10'-3" 36'-10" UP7" DN 11" 4'-8" 2x4 2'-3" 5'-3" DISPLAY CTR 13'-8" 6'-3" 7'-0" CLG. 7'-0" 7'-3" 7'-11" UP 11" 11'-8" 9'-10" 9'-10" AJS GOLD & DIAMONDS 2'-9" 6" 2x4 4" 7'-4" 126 W. 125 ST 2'-4" 2'-8" 2'-4" CLG.
    [Show full text]
  • The Use of Music in the Cinematic Experience
    Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 The seU of Music in the Cinematic Experience Sarah Schulte Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Film and Media Studies Commons, Music Commons, and the Psychology Commons Recommended Citation Schulte, Sarah, "The sU e of Music in the Cinematic Experience" (2019). Honors College Capstone Experience/Thesis Projects. Paper 780. https://digitalcommons.wku.edu/stu_hon_theses/780 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. SOUND AND EMOTION: THE USE OF MUSIC IN THE CINEMATIC EXPERIENCE A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Honors College Graduate Distinction at Western Kentucky Univeristy By Sarah M. Schulte May 2019 ***** CE/T Committee: Professor Matthew Herman, Advisor Professor Ted Hovet Ms. Siera Bramschreiber Copyright by Sarah M. Schulte 2019 Dedicated to my family and friends ACKNOWLEDGEMENTS This project would not have been possible without the help and support of so many people. I am incredibly grateful to my faculty advisor, Dr. Matthew Herman. Without your wisdom on the intricacies of composition and your constant encouragement, this project would not have been possible. To Dr. Ted Hovet, thank you for believing in this project from the start. I could not have done it without your reassurance and guidance.
    [Show full text]
  • Kol Nidre: Variations on a Theme a GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT
    Kol Nidre: Variations on a Theme A GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT Teachers’ Guide This guide accompanies resources that can be found at: http://teachgreatjewishbooks.org/resource-kits/kol-nidre-variations- theme. Introduction Kol Nidre is a legal formula recited in the evening service that begins the holiday of Yom Kippur, the Jewish day of atonement. This ritual recitation may have been developed in the early medieval period as a response to Jews being forced to convert, either to Christianity or Islam. The text absolves those who recite it from vows in God’s name made under duress, so that the breaking of such vows is not counted as a sin. Its dramatic recitation and musical setting lend it an emotional intensity that has allowed the prayer to develop resonances beyond the stated meaning of the text. The High Holidays—the celebration of the new year on the Jewish calendar, which includes Rosh Hashanah and Yom Kippur—have in general come to signify a return to tradition and to religious duties that may have been neglected over the past year, and Kol Nidre serves as a climactic moment of this return. This kit gathers together examples of the use of Kol Nidre in modern Jewish literature, music, and film, asking students to consider how the prayer has come to stand for adherence to and return to Jewish tradition, and what precisely that return entails. Cover image: Cover of sheet music for an arrangement of Kol Nidre by Solomon Schenker, 1913. Courtesy of the Center for Jewish History, https://www.flickr.com/photos/center_for_jewish_history/4991049347.
    [Show full text]