Tunde Jegede
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25 Years of the London Jazz Festival
MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay MUSIC FROM OUT THERE, IN HERE: 25 YEARS OF THE LONDON JAZZ FESTIVAL Emma Webster and George McKay Published in Great Britain in 2017 by University of East Anglia, Norwich NR4 7TJ, UK as part of the Impact of Festivals project, funded by the Arts and Humanities Research Council, under the Connected Communities programme. impactoffestivals.wordpress.com ACKNOWLEDGEMENTS This book is an output of the Arts and Humanities Research Council collaborative project The Impact of Festivals (2015-16), funded under the Connected Communities Programme. The authors are grateful for the research council’s support. At the University of East Anglia, thanks to project administrators CONTENTS Rachel Daniel and Jess Knights, for organising events, picture 1 FOREWORD 50 CHAPTER 4. research, travel and liaison, and really just making it all happen JOHN CUMMING OBE, THE BBC YEARS: smoothly. Thanks to Rhythm Changes and CHIME European jazz DIRECTOR, EFG LONDON 2001-2012 research project teams for, once again, keeping it real. JAZZ FESTIVAL 50 2001: BBC RADIO 3 Some of the ideas were discussed at jazz and improvised music 3 INTRODUCTION 54 2002-2003: THE MUSIC OF TOMORROW festivals and conferences in London, Birmingham, Cheltenham, 6 CHAPTER 1. 59 2004-2007: THE Edinburgh, San Sebastian, Europe Jazz Network Wroclaw and THE EARLY YEARS OF JAZZ FESTIVAL GROWS Ljubljana, and Amsterdam. Some of the ideas and interview AND FESTIVAL IN LONDON 63 2008-2011: PAST, material have been published in the proceedings of the first 7 ANTI-JAZZ PRESENT, FUTURE Continental Drifts conference, Edinburgh, July 2016, in a paper 8 EARLY JAZZ FESTIVALS 69 2012: FROM FEAST called ‘The role of the festival producer in the development of jazz (CULTURAL OLYMPIAD) in Europe’ by Emma Webster. -
Sona Jobarteh Sona Jobarteh Vocals, Kora Derek Johnson Guitar, Vocals
2019 20:00 19.11.Salle de Musique de Chambre Mardi / Dienstag / Tuesday Autour du monde Sona Jobarteh Sona Jobarteh vocals, kora Derek Johnson guitar, vocals Mamadou Sarr percussion, vocals Sidiki Jobarteh balafon Andi McLean bass, vocals Westley Joseph cajón, vocals ~90’ without intermission De Kamelleknécheler Martin Fengel Sona Jobarteh, la kora au féminin Vincent Zanetti L’influence du grand frère Au départ, c’est l’histoire de deux enfants, frère et sœur métisses nés de pères différents. Onze ans les séparent, mais ils partagent un même don évident pour la musique. L’aîné s’appelle Tunde Jegede, il est le fils d’Emmanuel Taiwo Jegede, un artiste nigérian en résidence au Keskidee Center de Londres, le premier centre de culture négro-africaine de Grande-Bretagne. Environnement propice pour cet enfant au talent précoce, qui y fait la rencontre de personnalités aussi marquantes que Bob Marley et Angela Davis, entre autres. Il en retire une vraie passion pour les musiques africaines, tandis que de son grand-père maternel, organiste d’église, il hérite l’amour de l’œuvre de Jean-Sébastien Bach. La cadette s’appelle Maya Sona, elle est la fille de Sanjally Jobarteh, un griot gambien virtuose de la kora, dont le propre père se trouve être Amadu Bansang Jobarteh, un des plus fameux maîtres de cet instrument en Gambie. C’est auprès de lui, justement, que le jeune Tunde Jegede s’initie à la kora depuis l’âge de dix ans. La petite fille grandit à Londres, mais dès sa plus tendre enfance, elle établit un lien très fort avec sa famille gambienne qu’elle visite régulièrement avec son frère. -
The Musical Society of Nigeria (Muson) Experience
IOSR Journal of Mathematics (IOSR-JM) e-ISSN: 2278-5728, p-ISSN: 2319-765X. Volume 15, Issue 1 Ser. II (Jan – Feb 2019), PP 38-49 www.iosrjournals.org The Growth and Development of Musical Talents in Nigeria: The Musical Society of Nigeria (Muson) Experience Dr. Sunday N. Nnamani Music Unit, Department Of Fine and Applied Arts/Music Federal University Ndufu Alike-Ikwo, Pmb 1010 Abakaliki Ebonyi State Corresponding Author: Dr. Sunday N. Nnamani Abstract: Musical talent is a gift of nature and a matter of aptitude not instinct. Some people are born with greater aptitude and they develop skills on musical instrument much faster than do others and rise to ability to consistently and doggedly work to improve, usually in tiny increments in all areas of musical talents. In the minds of many people this skill is unnecessary because you either have it or you don’t. This paper has carefully traced the trend of growth and development of musical talents in Nigeria as is anchored in the activities of the musical society of Nigeria,. It x-rayed in details one of the talented products of Muson, Tunde Jegede, a composer and multi instrumentalist in contemporary classical African and pop music Earlier on an in-depth analysis of the 53 number titles of the music of George Frederick Handel, Handle’s Messiah was done and later Tunde’s version which he called “African Messiah” was shown. It drew in particular on the sounds of the Kora- the West African harp lute and music in the griot tradition which is emphasizing the re-birth of Africanism in music. -
Guildhall School Annual Report 2019/2020
gsmd.ac.uk Annual Report 2019/20 About us Welcome Guildhall School delivers world-leading professional Welcome to the Guildhall School training in music, drama and production arts, working of Music & Drama Annual Report in dynamic partnership with leading artists, companies for 2019/20. and ensembles. The School enjoys a unique historic We foster exploration, innovation role in the cultural life of the City and entrepreneurship among both of London, yet our perspective is staff and students, and seek to global and forward-looking. Our embed leading edge research into state of the art performance and the impact of the arts and the role teaching spaces, eminent staff and of artists in the 21st century. progressive curriculum attract students from over 60 countries to Our mission is to empower artists to realise their full potential; to The story of this year at Guildhall outstanding online productions I am immensely proud of the pursue their ambitions as the next School is a story of two halves: that have demonstrated superb accomplishments of the School generation of world-class artists. develop distinctive artistic citizens who enrich the lives of others and strong delivery on our strategic resourcefulness and ingenuity. community during the period make a positive impact in the world. objectives until March 2020, covered by this Annual Report – with subsequent disruption to By adapting to change with but I am not surprised. The arts gsmd.ac.uk the usual rhythm of the School energy and imagination, we have have come through many historical and rapid establishment of new created new ways of working challenges, and performing artists patterns of learning, teaching and which I believe will turn out to demonstrate incredible citizenship performance in the wake of the be evolutionary leaps for training in times of change, making all COVID-19 pandemic. -
Song of the Prophets: a Requiem for the Climate
Song of the Prophets: A Requiem for the Climate Wednesday 9 June 2021 Christian Aid Chineke! Foundation St Paul’s Cathedral #SongOfTheProphets Christian Aid exists to create a world where everyone can live a full life, free from poverty. We are a global movement of people, churches and local organisations who passionately champion dignity, equality and justice worldwide. We are the changemakers, the peacemakers, the mighty of heart. Contact us Christian Aid 35 Lower Marsh Waterloo London SE1 7RL T: +44 (0) 20 7620 4444 E: [email protected] W: caid.org.uk 2 Welcome to Song of the Prophets: A Requiem for the Climate Wednesday 9 June 2021 ‘ [Prophets] show us what a renewed humanity and a renewed earth, a different present and a different future, might really look like’ Taken from Christian Aid’s theological paper, Song of the Prophets: A Global Theology of Climate Change 3 Contents Page 6 Message from Amanda Khozi Mukwashi, Chief Executive of Christian Aid Page 7 Message from Chi-chi Nwanoku OBE, Founder and Artistic & Executive Director of Chineke! Page 8 Programme Page 9-13 About the music Page 15-16 Song of the Prophets and Christian Aid’s climate change work Page 17-18 Our campaign for climate justice and how to get involved Page 19 Acknowledgements 4 CELEBRATING 75 YEARS OF CHRISTIAN AID A COLLECTION OF DEFIANT PRAYERS FOR JUSTICE AND A BETTER WORLD, FEATURING CONTRIBUTIONS FROM ROWAN WILLIAMS • AMANDA KHOZI MUKWASHI RHIDIAN BROOK • JOHN BELL • RACHEL TREWEEK WALTER BRUEGGEMANN • AND MANY MORE AVAILABLE NOW AT WWW.SPCK.ORG.UK AND ALL GOOD ONLINE RETAILERS spck.org.uk /SPCKpublishing @SPCKpublishing @SPCK_publishing Welcome from Amanda Khozi Mukwashi Welcome. -
Tunde Jegede
TUNDE JEGEDE SELECTED CREDITS KHARTOUM OFFSIDE (2019) THE EMIDY PROJECT (2018) (The Emidy Project was officially recognised by UNESCO as a world Slave Heritage Narrative of historical and cultural significance) THE FIRST GRADER (2010) 500 YEARS LATER (2005) FRANZ FANON: BLACK SKIN, WHITE MASK (1996) BIOGRAPHY Tunde Jegede is a composer, producer, cellist and kora player who has been steeped in the traditions of European and African Classical music for the last 30 years. From an early age, Tunde was uniquely schooled in both Western and African Classical Music. He attended the Purcell School of Music, UK's first specialist music school conservatoire and also studied the music of the Kora (African Harp-Lute) and the Griot tradition under the Gambian Master of the Kora, Amadu Bansang Jobarteh. From this unusual parallel education, Tunde gained a deep understanding and appreciation of both forms of music and their distinct legacies, and all these strands and influences have since informed his music and work as an instrumentalist, teacher, and international classical composer. As a child Tunde wrote poetry at the Keskidee Centre, where his father was the resident artist. There at the UK 's first Black Arts Centre, he was surrounded by singers, writers and poets such as Bob Marley, Linton Kwesi Johnson, Edgar White, Len Garrison and Walter Rodney. At the same time he was also a chorister in a boys’ choir that toured Cathedrals across the country and all these early influences contributed to his growing perception of music and the word. By the age of 15 Tunde had been exposed to various musical idioms and his love of Western and African Classical music, gave birth to a growing interest in Jazz and its related art-forms. -
London Metropolitan Archives Ogle-L'ouverture
LONDON METROPOLITAN ARCHIVES Page 1 BOGLE-L'OUVERTURE PUBLICATIONS LIMITED {BLACK CARIBBEAN PUBLISHERS AND BOOKSELLERS} LMA/4462 Reference Description Dates CORPORATE MEMORANDUM AND ARTICLES OF ASSOCIATION AND CERTIFICATES LMA/4462/A/01/001 Memorandum and Articles of Association 1974-1975 Incorporation and Share Capital Includes annotated draft copies and correspondence 1 file LMA/4462/A/01/002 Certificate of Incorporation 1969-1974 Includes company name registration letter 1 file LMA/4462/A/01/003 Certificate of Registration 1981 Shop name changed from Bogle-L'Ouverture Bookshop to Walter Rodney Bookshop 1 file MINUTES AND PLANNING NOTES LMA/4462/A/02/001 First Meeting of the Directors and first Annual 1974 General Meeting Minutes (unsigned) 2 documents LMA/4462/A/02/002 Minutes 1991-1993 1 volume LMA/4462/A/02/003 Editorial Board and General Minutes 1995-1996 (handwritten and typed) Includes a book report, 'Reap the Forgotten Harvest' 1 file LMA/4462/A/02/004 Monthly Meetings 1993-1997 Including first meeting of the Editorial Board 1 file LMA/4462/A/02/005 Bogle-L'Ouverture Press Formation 1991 Includes draft notes on publishing policies 1 file LMA/4462/A/02/006 Organisational Chart detailing the operations of 1984-1985 the business 1 file LONDON METROPOLITAN ARCHIVES Page 2 BOGLE-L'OUVERTURE PUBLICATIONS LIMITED {BLACK CARIBBEAN PUBLISHERS AND BOOKSELLERS} LMA/4462 Reference Description Dates LMA/4462/A/02/007 Directors Meeting minutes 1986 Approval of Co-operative Bank loan 1 document LMA/4462/A/02/008 Publishing Contract Agreement: schedule of 1987 territories 1 file LMA/4462/A/02/009 Payment request and letter to debtors (Signed 198- by Morgan Dalphinis) Payment request. -
2017–18 Season Week 5 Beethoven GRIEG
2017–18 season andris nelsons music director week 5 beethoven grieg Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus supporting sponsorlead sponsor supporting sponsorlead thomas adès artistic partner Better Health, Brighter Future There is more that we can do to help improve people’s lives. Driven by passion to realize this goal, Takeda has been providing society with innovative medicines since our foundation in 1781. Today, we tackle diverse healthcare issues around the world, from prevention to care and cure, but our ambition remains the same: to find new solutions that make a positive difference, and deliver better medicines that help as many people as we can, as soon as we can. With our breadth of expertise and our collective wisdom and experience, Takeda will always be committed to improving the Takeda Pharmaceutical Company Limited future of healthcare. www.takeda.com Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 5 7 bso news 1 7 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 2 5 this week’s program Notes on the Program 28 The Program in Brief… 29 Ludwig van Beethoven 34 A Note from Director Bill Barclay 35 Edvard Grieg 36 Synopsis of the Plot 41 To Read and Hear More… Guest Artists 45 Ken-David Masur 55 Kristina Todesco 47 Bill Barclay 55 Kathleen Doyle 48 Camilla Tilling 57 Karen Perlow 49 Will Lyman 57 David Reiffel 49 Caleb Mayo 59 Nicole Pierce 51 Daniel Berger-Jones 59 Giselle Ty 51 Caroline Kinsolving 61 Leslie Sears 52 Georgia Lyman 61 Tanglewood Festival 52 Kathleen Parks Chorus 53 Risher Reddick 63 James Burton 53 Bobbie Steinbach 68 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information program copyright ©2017 Boston Symphony Orchestra, Inc.