Legacy Business Registry Case Report HEARING DATE: MARCH 21, 2018
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Analysis of Selected Percussion Literature: Concerto
ANALYSIS OF SELECTED PERCUSSION LITERATURE: CONCERTO FOR VIBRAPHONE AND ORCHESTRA BY NEY ROSAURO, SURFACE TENSION BY DAVE HOLLINDEN, URBAN SKETCHES FOR PERCUSSION TRIO BY LON W. CHAFFIN, TAKE FIVE BY PAUL DESMOND, AND DT SUPREME BY AUSTIN BARNES by AUSTIN LEE BARNES B.M.E., Fort Hays State University, 2010 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2012 Approved by: Major Professor Dr. Kurt Gartner Copyright AUSTIN LEE BANRES 2012 Abstract This is a report for anyone playing or teaching anyone of the following pieces: Concerto for Vibraphone and Orchestra by Ney Rosauro, Surface Tension by Dave Hollinden, Urban Sketches for Percussion Trio by Lon W. Chaffin, Take Five by Paul Desmond, or DT Supreme by Austin Barnes. The repertoire is analyzed by the method given in Jan Larue’s book Guidelines for Style and Analysis. The report includes interpretive decisions, technical considerations, harmonic analysis, and form. Table of Contents List of Figures ................................................................................................................................ vi List of Tables ................................................................................................................................ vii Dedication .................................................................................................................................... viii CHAPTER 1 - Concerto for Vibraphone -
Changemakers: Biographies of African Americans in San Francisco Who Made a Difference
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Leo T. McCarthy Center for Public Service and McCarthy Center Student Scholarship the Common Good 2020 Changemakers: Biographies of African Americans in San Francisco Who Made a Difference David Donahue Follow this and additional works at: https://repository.usfca.edu/mccarthy_stu Part of the History Commons CHANGEMAKERS AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE Biographies inspired by San Francisco’s Ella Hill Hutch Community Center murals researched, written, and edited by the University of San Francisco’s Martín-Baró Scholars and Esther Madríz Diversity Scholars CHANGEMAKERS: AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE © 2020 First edition, second printing University of San Francisco 2130 Fulton Street San Francisco, CA 94117 Published with the generous support of the Walter and Elise Haas Fund, Engage San Francisco, The Leo T. McCarthy Center for Public Service and the Common Good, The University of San Francisco College of Arts and Sciences, University of San Francisco Student Housing and Residential Education The front cover features a 1992 portrait of Ella Hill Hutch, painted by Eugene E. White The Inspiration Murals were painted in 1999 by Josef Norris, curated by Leonard ‘Lefty’ Gordon and Wendy Nelder, and supported by the San Francisco Arts Commission and the Mayor’s Offi ce Neighborhood Beautifi cation Project Grateful acknowledgment is made to the many contributors who made this book possible. Please see the back pages for more acknowledgments. The opinions expressed herein represent the voices of students at the University of San Francisco and do not necessarily refl ect the opinions of the University or our sponsors. -
Academiccatalog 2017.Pdf
New England Conservatory Founded 1867 290 Huntington Avenue Boston, Massachusetts 02115 necmusic.edu (617) 585-1100 Office of Admissions (617) 585-1101 Office of the President (617) 585-1200 Office of the Provost (617) 585-1305 Office of Student Services (617) 585-1310 Office of Financial Aid (617) 585-1110 Business Office (617) 585-1220 Fax (617) 262-0500 New England Conservatory is accredited by the New England Association of Schools and Colleges. New England Conservatory does not discriminate on the basis of race, color, religion, sex, age, national or ethnic origin, sexual orientation, physical or mental disability, genetic make-up, or veteran status in the administration of its educational policies, admission policies, employment policies, scholarship and loan programs or other Conservatory-sponsored activities. For more information, see the Policy Sections found in the NEC Student Handbook and Employee Handbook. Edited by Suzanne Hegland, June 2016. #e information herein is subject to change and amendment without notice. Table of Contents 2-3 College Administrative Personnel 4-9 College Faculty 10-11 Academic Calendar 13-57 Academic Regulations and Information 59-61 Health Services and Residence Hall Information 63-69 Financial Information 71-85 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 87 Music-in-Education Concentration 89-105 Graduate Programs of Study Master of Music Vocal Pedagogy Concentration Graduate Diploma Professional String Quartet Training Program Professional -
For Immediate Release
FOR IMMEDIATE RELEASE June 15, 2010 Contact: Joyce Evans San Jose Jazz Office: 408-288-7557 x2310 [email protected] SAN JOSE JAZZ ANNOUNCES ARTISTS FOR 21ST AT&T SAN JOSE JAZZ FESTIVAL Silicon Valley's Premier Summer Event Brings All-Star International Lineup to Downtown San Jose, August 13-15, 2010 San Jose, CA – San Jose Jazz today announced the artist roster for the upcoming AT&T San Jose Jazz Festival. Held the second weekend in August, this year's line up has an international flavor coupled with a diverse lineup that will please lovers of all genres of music. Past festivals have drawn over 100,000 people from Silicon Valley, California, and across the United States. "San Jose is becoming a world-class, international city and this edition of the jazz festival mirrors that growth from a regional event to one that is gaining recognition and fame across the globe," said Geoff Roach, CEO of San Jose Jazz. "As jazz continues to evolve into many different formats and forms, the goal of the festival is to embrace and showcase the artists driving the art form. We seek to present music not only from internationally known artists but also from the world-class talent that exists here in the Bay Area." Festival highlights include: Standards Updated - Modern takes on the classic jazz repertoire John Handy John is a consummate world musician and teacher who’s devoted his life to using music to elevate the human spirit. His soulful and fiery saxophone style is instantly recognizable to generations of jazz fans world-wide. -
B.C. Jazz Legend Performing with Ensemble Vivant Group by Mary Cocivera
B.C. jazz legend performing with Ensemble Vivant group by Mary Cocivera Ensemble Vivant, a group of five musicians, will take the stage at the Kelowna Community Theatre Thursday to weave some musical magic, ranging from Bach to Piazzolla. Known for its wide-ranging genre diversity, the Toronto-based ensemble will feature music with a distinctly Latin flavour. Jazz musician Don Thompson returns to his native British Columbia for this Kelowna gig. Born and raised in Powell River, he started his 50 year musical career with piano lessons, but started jamming with jazz musicians in his teens and moved to Vancouver in the early 1960s to play bass in Lloyd Arntzen's Dixieland quartet. When the neck broke off his borrowed bass, he bought his own bass and became one of the go-to bassists for countless studio sessions in Vancouver. He taught himself to play vibraphone and was the only vibes player in all of Vancouver at the time. Thompson moved to California in the late 1960s, to play and tour with saxophonist John Handy. As a pianist, bassist, percussionist, composer, arranger and producer, he is described as a musician who can move flawlessly from vibes to bass to piano and sound virtuosic on each instrument. Thompson played in Jim Hall's trio, George Shearing's band and has collaborated with Moe Koffman, Ed Bickert, Rob McConnell, Lenny Breau, Sarah Vaughan, Kenny Wheeler, Art Farmer, Phil Dwyer and many others. He has performed in Europe, Japan, Great Britain, South America and at every major jazz festival in North America. -
Charlie Puth Youtube Sensation to Pop Prince B787 HANDSET & NAVIGATION GUIDE
choose from over entertainment options* 1000 inflight entertainment guide | august 2018 ready player one spielberg takes us on a virtual reality fantasy adventure the miracle season turning tragedy into triumph voicenotes: charlie puth youtube sensation to pop prince B787 HANDSET & NAVIGATION GUIDE choose from over entertainment options* Impian - Dream Touch Navigation 1000 CONTENTS Passengers can touch/select the items on the screen to make inflight entertainment guide | AUGUST 2018 Royal Brunei Airlines are proud to a selection. Details of the touchable/selectable items on each offer our passengers a wide range of screen are available in the Screen Element Glossary section of entertainment options. Please refer to our 04 MOVIES FEATURE: LIMELIGHT new Impian magazine for details on the the GRD. films, television, music and games we have Ready Player One B ready player one available this month for your amusement. Key Definitions – Handset spielberg takes us on a virtual reality fantasy adventure the miracle season turning tragedy into triumph voicenotes: charlie puth Enjoy your flight. UP: This arrow key is used to browse through the various items/ C youtube sensation to pop prince 06 MOVIES description pages. Q The best Hollywood and foreign films DOWN: This arrow key is used to browse through the various DOA SAFAR (TRAVEL PRAYER) items/description pages in the Interactive. E In the name of Allah, Most Gracious, Most Merciful screening this month. A M F Praise be to Allah, the Cherisher and Sustainer of the Worlds, LEFT/RIGHT: These arrow keys are used to browse through the D and may peace be upon our Honourable Prophet and Messenger 25 TELEVISION FEATURE: HIGHLIGHT various items/description pages in the Interactive. -
Jazz at the Crossroads)
MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
July-August 2012
July • August, 2012 Issue 343 jazz &blues report now in our 38th year San Francisco Jazz Festival Sonny Rollins July • August 2012 • Issue 343 SFJAZZ ANNOUNCES 30TH ANNIVERSARY SAN FRANCISCO JAZZ FESTIVAL LINEUP FOR FALL 2012 San Francisco - SFJAZZ, one of the nation’s leading non-profit jazz organi- zations, celebrates the 30th anniversary of the San Francisco Jazz Festival this fall, with a star-studded lineup of concerts kicking off on August 25th and running through December 7th. The landmark season will feature shows by Esperanza Editor & Founder Spalding, Sonny Rollins, Ornette Coleman, Diane Reeves, Branford Marsalis, Bill Wahl Gilberto Gil, along with countless other talented artists. This year’s festival will Layout & Design Bill Wahl feature the following series: Jazz Continuum: Operations Jim Martin • August 25: 2011 Best New Artist Grammy Winner Esperanza Spalding Pilar Martin • September 28: Brecker Brothers Band Reunion with Randy Brecker, Mike Contributors Stern & Dave Weckl Michael Braxton, Mark Cole, Dewey Forward, Nancy Ann Lee, Peanuts, • September 29: ‘80s Miles Revisited, from Miles Smiles with Wallace Roney, Wanda Simpson, Mark Smith, Duane Bill Evans, Robben Ford, Joey DeFrancesco, Darryl Jones & Omar Hakim Verh, Emily Wahl and Ron Wein- • October 5: A solo by Branford Marsalis stock. • October 11: Singular artist Marcus Miller • October 28: Belgian harmonica player Grégoire Maret and his quartet Brilliance From Brazil: Check out our constantly updated website. Now you can search for • October 19: Brazilian pianist Elaine Elias CD Reviews by artists, titles, record • October 25: Musical revolutionary GilbertoPhoto Gil by Martin Philbey labels, keyword or JBR Writers. 15 • November 3: A rare unplugged piano performance by Ivan Lins years of reviews are up and we’ll be Jazz Giants: going all the way back to 1974. -
Jazzletter PO Box 240, Ojai CA 93024-0240
Gene Lees jazzletter PO Box 240, Ojai CA 93024-0240 March 1999 Vol. 18 No. 3 The Immortal Joker vibrations. In the frequencies of light, they are processed as vision, interpreted as colors. We have no way of knowing whether you Part Two process the frequency of yellow into what I would call green and I process what you call blue into what I call red. Instruments, but not we, can detect vibrations in the radio and x-ray frequencies, leading to major advances in astronomy, although as has been observed—I think by Sir James .Jeans—the universe is not only stranger than you think, it is stranger than you can think. When one touches an object with a fingertip and finds it hot or cold, your nerve endings are merely reacting to the frequency of molecular motion within it. When we process vibrations in an approximate frequency range of I00 to 15,000’cycles, we call it sound, and by a process of its coherent organizing, we make what we call music. All beginning music students are taught that it is made up of- three elements, melody, harmony, and rhythm. This is a usage of convenience, like Newton’s physics, but in a higher sense it is wrong. Music consists of only one element, rhythm, for when you double the frequency of the vibration of A 440, to get A 880, you have jumped the tone up an octave, and other mathematical variants will give you all the tones of the scale. As for harmony, the use of several tones simultaneously, this too is a rhythmic phenomenon, for the beats put out by the second tone reinforce (or interfere with) those ofthe first. -
1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement. -
Menlo Park's Dr. Herb Wong Is a Legend in Jazz Circles. the Music
ALL THAT JAZZ Menlo Park’s Dr. Herb Wong is a legend in jazz circles. The music lover has been friends with some of the greatest musicians of the 20th century. When many might retire, this hep octogenarian is still going strong as a powerful force in the music industry. text by EVAN PRICCO • photography by JACK HUTCHESON fter meeting studying the great albums and musicians. and I immediately began to play these with Menlo And Wong became my mentor during albums. Not just playing them but study- Park resident our few meetings, and now I’m going ing them in their entirety. Notes, styles, Dr. Herb to ask him my pertinent question: “What instruments, everything,” Wong says. As Wong several is your all-time favorite jazz album?” children often do, Wong and his brother A times over a Without hesitation, and before the final played games to keep each other compa- period of a few word left my throat, Wong replies, “Kind ny. Whereas most would play hide and months in late 2006, I finally worked up of Blue,” Miles Davis, 1959. Miles was seek, they would play “name that jazz the nerve to ask the ultimate question. the visionary looking to the future, and tune.” Actually, he would play name that To me, Wong is jazz. His words are the that is the perfect album, jazz or other- note, musician, song, album, and instru- notes, history, venues, and the personali- wise.” I believe jazz has spoken. ment as fast as he could. His brother ties. His stories include personal conver- Wong was born in Oakland, Cali- would start a record, and immediately sations with Duke Ellington, Miles fornia, in 1926.