Brecon Jazz Futures
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Brethren Band Mutual Kumquat Sings from the Soul
. .. -,!'l' ' ,:J~-~,.-,e'~..,;:,1':,., :. , . ., . ' . ' . Church of the Brethren Brethren band Mutual Kumquat sings from the soul DECEMBER 2009 VOL.158 NO. 11 WWW.BRETHREN.ORG a . publish with the voice of thanksgiving, and tell of all thy wondrous worksn (Psa. 26: 7b KJV). Editor: Walt Wiltschek Publisher: Wendy McFadden News: Cheryl Brumbaugh-Cayford Subscriptions: Diane Stroyeck Design: The Concept Mill want a revolution. Well you know, We all want to change the world." That desire still continues for many more than four decades later, and the infectious spirit of "good times revolution music" lives on in popular Brethren band Mutual Kumquat. Cover photo by Heidi Beck. 8 Some like it 'quat: A visit with Mutual Kumquat Mutual Kumquat carries its Brethren roots into its music, and it has developed a dedicated following in parts of the denomination. As the band prepares to mark its 10th anniversary in 2010, it has a renewed focus and several new projects in the works. 12 Making a joyful noise How could a small church choir be re-energized? Psalm 100 provided an answer. 14 Lighting a lamp for peace The town of Taybeh is one of the few predom inantly Christian towns remaining in Palestine. It shared with an ecumenical "Living Letters" delegation one of the ways it is keeping hope alive. DEPARTMENTS 16 Revelation: An apocalyptic el)ding 2 From the Publisher Graydon F. Snyder says Revelation, with all its 3 In Touch symbols and imagery, may be the most com Editor's note: We apologize for 6 Reflections plex book in the Bible. -
Large-Print-Mag-Nov-19.Pdf
CHAPTER 11.19 ART Garth Evans But, Hands Have Eyes: Six decades of sculpture Until 26.01.20 ‘But, Hands Have Eyes’ is a solo exhibition featuring six decades of sculpture. Alongside works produced in the UK in the 1960s and 70s, Evans also presents a body of work for their UK premiere, that he has produced in the United States since his move there in 1981. The work of Garth Evans is integral to the history of British sculpture. Experimenting with the potential of scale, weight, medium and form, Evans’ work comprises both a formal and conceptual approach. He is always interested in interrogating established boundaries and, as a result, his sculptures are made from a diverse range of materials including ceramics, steel, leather and fibreglass. Evans states that many of his works, even when most abstract, are “triggers for, and containers of, particular identifiable memories”. Ultimately, Garth Evans’ works are ambiguous, multi-faceted and completely original. Talks at 4 16.11.19 FREE Are you interested in finding out a little bit more about our latest exhibition? Then why not join us for a free and informal guided tour! Our ‘Talks at 4’ are led by our wonderful gallery assistants and are a great way to delve a little deeper into our current exhibition by Garth Evans and his approach to his work. No two talks are the same so come along and be a part of the conversation. Art in the Bar Jon Pountney Waiting For The Light Until 14.02.20 ‘Waiting for the Light’ is a body of photographic works that capture a particular type of light; a harsh, acutely angled low sunlight that gives the scenes in Jon Pountney’s images a somewhat surreal and melancholy feel. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Petrarch and Boccaccio Mimesis
Petrarch and Boccaccio Mimesis Romanische Literaturen der Welt Herausgegeben von Ottmar Ette Band 61 Petrarch and Boccaccio The Unity of Knowledge in the Pre-modern World Edited by Igor Candido An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. The Open Access book is available at www.degruyter.com. ISBN 978-3-11-042514-7 e-ISBN (PDF) 978-3-11-041930-6 e-ISBN (EPUB) 978-3-11-041958-0 ISSN 0178-7489 This work is licensed under the Creative Commons Attribution NonCommercial-NoDerivatives 4.0 license. For more information, see http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2018 Igor Candido, published by Walter de Gruyter GmbH, Berlin/Boston Typesetting: Konvertus, Haarlem Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Dedicated to Ronald Witt (1932–2017) Contents Acknowledgments IX Igor Candido Introduction 1 H. Wayne Storey The -
Cymraeg 2050: a Million Welsh Speakers, Annual Report 2019–20
Cymraeg 2050: A million Welsh speakers Annual report 2019–20 Cymraeg 2050: A million Welsh speakers, Annual report 2019–20 Audience Welsh Government departments; public bodies in Wales; third sector organisations in Wales; private sector companies in Wales; education institutions in Wales; organisations working to promote the use of Welsh; organisations working with families, children and young people, and communities; and other interested parties. Overview In order to fulfil the requirements of the Government of Wales Act 2006, Cymraeg 2050: A million Welsh speakers was launched in July 2017, when the previous strategy came to an end. The Government of Wales Act 2006 requires an annual report to be published to monitor progress against the Welsh Language Strategy. Further information Enquiries about this document should be directed to: Welsh Language Division Welsh Government Cathays Park Cardiff CF10 3NQ e-mail: [email protected] @Cymraeg Facebook/Cymraeg Additional copies This document is available on the Welsh Government website at www.gov.wales/welsh-language Related documents Welsh Language (Wales) Measure 2011; Cymraeg 2050: A million Welsh speakers (2017); Cymraeg 2050: A million Welsh speakers, Work programme 2017–21 (2017); Technical report: Projection and trajectory for the number of Welsh speakers aged three and over, 2011 to 2050 (2017); Welsh in education: Action plan 2017–21 (2017) Mae’r ddogfen yma hefyd ar gael yn Gymraeg. This document is also available in Welsh. © Crown copyright 2020 WG40819 Digital ISBN 978 1 80038 755 3 Contents Ministerial foreword 2 Context – Cymraeg 2050 5 Theme 1: Increasing the number of Welsh speakers 6 Theme 2: Increasing the use of the Welsh language 32 Theme 3: Creating favourable conditions – infrastructure and context 41 Conclusion 59 Ministerial foreword It’s a pleasure to publish the latest report on our language strategy, Cymraeg 2050: A million Welsh speakers. -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
Menter Bro Morgannwg Annual Report 2016 Foreword
MENTER BRO MORGANNWG ANNUAL REPORT 2016 FOREWORD Welcome to Menter Iaith Bro Morgannwg’s Annual new opportunities to promote the language. One Report 2016. Menter’s main aim is to increase the important development to be welcomed during opportunities for children and adults to meet, learn 2016 was to secure a new Framework Agreement and socialise through the medium of Welsh in the with the Vale of Glamorgan Council to develop Vale, as well as raising the profile of the language new services to strengthen the Welsh language across the County, and it has been another busy across communities in the Vale. This was a formal and productive year. recognition of the partnership work which was already happening and a commitment to continue From swimming lessons, gymnastic clubs and with that work. I would like to thank the Council’s storytime sessions for children, to gigs and Welsh Officers and Councillors for their co-operation learner groups for adults, Menter has provided a during the year. vast range of activities. Gŵyl Fach y Fro proved to be a great success in June of this year, bringing Thank you also to every member of the Welsh entertainment to Barry Island for all to Management Board for their presence and input, enjoy, as well as performances and contributions to Welsh Government, Vale of Glamorgan Council, from all of the Vale’s Welsh medium schools. Big Lottery Fund and the Arts Council of Wales for funding projects, and above all to Ffion Rhisiart, But we will not rest on our laurels and Menter Bro Siân Lewis and all Menter staff for their tireless Morgannwg are consistently looking to develop efforts. -
21. Joe Lovano
21. Joe Lovano o other jazz musician Bailey, Bill Hardman, the from Cleveland has great tenor player Joe N ever achieved the Alexander, and Jim Hall." world-wide acclaim that Because of his family, Tony saxophonist Joe Lovano got decided to remain in in the 1990s and early 2000s. Cleveland. But he was so He was voted "Jazz Artist respected that he often shared of the Year" by DownBeat bandstands with such artists magazine critics and readers as Stan Getz and Flip Phillips in 1995, 1996 and 2001. He when they came to Cleveland. was named "International Drummer Lawrence Artist of the Year" by Jazz "Jacktown" Jackson, who Report magazine in 1995. frequently played with the DownBeat called Cleveland elder Lovano, said, "He native Lovano "the very wasn't as advanced (as Joe epitome of the ' 90s became). He didn't have the professional jazzman." same command of his DownBeat 's Larry instrument, but Tony was a Blumenfeld wrote, "The sheer hell of a saxophone player!" breadth and ambition of When Joey, as he was Lovano's artistic endeavors called, was about 10, his reflect a consistent level of father began giving his son achievement. Lovano raises serious lessons and he began the level of the game and of listening to his father' s those around him." Joe Lovano records , particularl y The DownBeat article saxophonists Sonny Stitt, said Lovano "knows his history, not just the history of John Coltrane and Lester Young, and trumpeter Miles the music, but the value of his personal history." Davis. When Joe was II, his father bought him a King That personal history began in Cleveland where Super 20 tenor saxophone. -
Steve Wilson 10 2011 Prel
For Immediate Release October 31, 2011 With Four Sold-Out Shows at Kennedy Center Jazz Club, NPR Coverage, and Rave Previews & Reviews, Steve Wilson Continues to Build a Remarkable Career New CD Planned for 2012 Acclaimed jazz saxophonist Steve Wilson recently opened the 2011/2012 season at Kennedy Center Jazz Club with four sold-out sets, live coverage by NPR, rave previews & reviews and more. Wilson continues to sculpt an impressive career as a headliner, sideman, educator and jazz historian, and remains one of the most well-liked, in- demand and respected figures in jazz. Standing ovations greeted Wilson’s sets at the Kennedy Center, and shows were recorded for broadcast next year on NPR’s JazzSet with Dee Dee Bridgewater, adding to Wilson’s extensive NPR presence, as outlined below. While in Washington D.C., Wilson showed his ongoing dedication as an educator and mentor, with a workshop at the Ellington School and a sold-out clinic for middle school students at the KC Jazz Club with his quartet, discussing the evolution of jazz from swing to be-bop, and Charlie Parker's influence in that movement. Recent, Current and Upcoming performances: - Wilson made his ‘Detroit debut’ as a leader, performing with his own band, during September’s Detroit Jazz Festival. Rapturous reviews ran in major daily The Detroit Free Press (see below). - Wilson just traveled home from Europe, where he toured with the Maria Schneider Orchestra. - A few days after his return from Europe, Wilson leaves for Japan with Terumasa Hino & Lewis Nash Japan-US All-Star Big Band, featuring Renee Rosnes, Terrell Stafford, Gary Smulyan, Peter Washington and Jimmy Green. -
Leaves of Grass
Leaves of Grass by Walt Whitman AN ELECTRONIC CLASSICS SERIES PUBLICATION Leaves of Grass by Walt Whitman is a publication of The Electronic Classics Series. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any pur- pose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. Leaves of Grass by Walt Whitman, The Electronic Clas- sics Series, Jim Manis, Editor, PSU-Hazleton, Hazleton, PA 18202 is a Portable Document File produced as part of an ongoing publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Jim Manis is a faculty member of the English Depart- ment of The Pennsylvania State University. This page and any preceding page(s) are restricted by copyright. The text of the following pages are not copyrighted within the United States; however, the fonts used may be. Cover Design: Jim Manis; image: Walt Whitman, age 37, frontispiece to Leaves of Grass, Fulton St., Brooklyn, N.Y., steel engraving by Samuel Hollyer from a lost da- guerreotype by Gabriel Harrison. Copyright © 2007 - 2013 The Pennsylvania State University is an equal opportunity university. Walt Whitman Contents LEAVES OF GRASS ............................................................... 13 BOOK I. INSCRIPTIONS..................................................... 14 One’s-Self I Sing .......................................................................................... 14 As I Ponder’d in Silence............................................................................... -
WJEC GCE AS/A LEVEL in MUSIC
GCE AS/A LEVEL WJEC GCE AS/A LEVEL in MUSIC APPROVED BY QUALIFICATIONS WALES SPECIFICATION Teaching from 2016 For award from 2017 (AS) For award from 2018 (A level) This Qualifications Wales regulated qualification is not available to centres in England. GCE AS and A LEVEL MUSIC 1 WJEC GCE AS and A LEVEL in MUSIC For teaching from 2016 For AS award from 2017 For A level award from 2018 This specification meets the GCE AS and A Level Qualification Principles which set out the requirements for all new or revised GCE specifications developed to be taught in Wales from September 2016. Page Summary of assessment 2 1. Introduction 5 1.1 Aims and objectives 5 1.2 Prior learning and progression 6 1.3 Equality and fair access 7 1.4 Welsh Baccalaureate 7 1.5 Welsh perspective 7 2. Subject content 8 2.1 AS units 9 2.2 A2 units 19 3. Assessment 34 3.1 Assessment objectives and weightings 34 3.2 Arrangements for non-exam assessment 35 4. Technical information 39 4.1 Making entries 39 4.2 Grading, awarding and reporting 40 Appendix A: Units 1 and 4: Assessment information 41 Appendix B: Units 2 and 5: Assessment information 49 Appendix C: List of musical terms 60 GCE AS and A LEVEL MUSIC 2 GCE AS and A LEVEL MUSIC (Wales) SUMMARY OF ASSESSMENT This specification is divided into a total of 6 units, 3 AS units and 3 A2 units. Weightings noted below are expressed in terms of the full A level qualification. -
SFJF Summer 2020 PR
For Immediate Release SFJAZZ Announces Programming for 38th San Francisco Jazz Festival & 2020 Summer Sessions 38th San Francisco Jazz Festival Runs June 9 - June 21, 2020 2020 Summer Sessions Runs July 9-August 16, 2020 Festival and Summer Sessions tickets go on sale to SFJAZZ Members Friday, February 28, 11:00AM PST General On-sale Friday, March 6, 11:00AM PST (San Francisco, CA, February 18, 2020) – SFJAZZ today announced summer programming for the 38th San Francisco Jazz Festival running June 9 to June 21, 2020 and the Summer Sessions concert series running July 9 to August 16, 2020. Beginning in 1983 as a two-day event originally called the Jazz in the City, the San Francisco Jazz Festival has continually expanded over the past 38 years to become a globally renowned institution presenting the greatest names in music from around the world. The 38th Annual San Francisco Jazz Festival will present 43 shows over 13 days in 4 different venues around San Francisco’s Hayes Valley neighborhood. This year’s festival will feature Deltron 3030, Gonzalo Rubalcaba, Terri Lyne Carrington’s Social Science with Angela Davis, GoGo Penguin, Delvon Lamarr, Matthew Whitaker, Howard Wiley, Joachim Cooder, David Grisman, Shabaka and the Ancestors, Christian McBride, Edna Vazquez, John Scofield, Dave Holland, Issac Delgado, SFJAZZ Collective, KOKOROKO, Jane Monheit, Lavay Smith, Kim Nalley, and more. SFJAZZ Summer Sessions presents Savion Glover, Seu Jorge & Rogê, Sandy Cressman, Claudia Villela, Keb’Mo’, Villalobos Brothers, Diana Gameros, Tommy Castro, Marcia Ball, CJ Chenier, Elvin Bishop, Charlie Musselwhite, Ruthie Foster, Mimi Fox, Pamela Rose, Terrie Odabi, Chick Corea & The Spanish Heart Band, Dee Dee Bridgewater, Bill Charlap, Joey Alexander, Nubya Garcia, Herb Alpert, and more.