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Corneta (instrumento) De Wikipedia, la enciclopedia libre Saltar a: navegación, búsqueda Corneta Tesitura Características Clasificación Instrumento de viento- metal Trompeta Instrumentos Trompeta pocket relacionados Trompeta piccolo Fliscorno Músicos Cornetistas La corneta es un instrumento musical de viento metal que imita la forma de un cuerno animal y es utilizada principalmente en el jazz y en la música clásica, principalmente en el siglo XIX en bandas militares europeas. El sonido se produce gracias a la vibración de los labios del intérprete en la parte denominada boquilla a partir de la columna del aire (flujo del aire). Antiguamente se utilizaba para dar el toque a las tropas de infantería del ejército y en los carnavales. Tal como la trompeta, la corneta está formada por 3 válvulas que permiten al músico ejecutar diferentes tonos. En el jazz fue muy utilizado durante el estilo New Orleans, aunque luego fue suplantado de a poco por la trompeta, aunque aún se utiliza en el jazz. Actualmente goza de gran popularidad en las Bandas de Cornetas y Tambores que principalmente participan en la Semana Santa en similitud a las bandas de carácter militar. En estos casos la corneta suele utilizarse sin pistones o válvulas, o con uno o dos traspositores. [editar] Cornetistas destacados Herbert L. Clarke Nat Adderley Bix Beiderbecke Bobby Hackett Don Cherry Enrique Norris Wild Bill Davison Louis Armstrong Graham Haynes George McCullum Herbert L. Clarke De Wikipedia, la enciclopedia libre Saltar a: navegación, búsqueda Herbert L. Clarke con su corneta. Herbert L. Clarke (12 de septiembre de 1867 – 30 de enero de 1945) fue un destacado cornetista estadounidense, director de orquesta y de banda de música y compositor. El legado de Clarke incluye algunas de las más populares composiciones para el instrumento, muchas grabaciones definitivas, así como una escuela de interpretación que no sólo hizo hincapié en la extrema aptitud técnica, sino también una mayor calidez y lirismo del tono. También produjo varios métodos de interpretación que aún son ampliamente utilizados por los estudiantes de instrumentos de viento-metal. Contenido [ocultar] 1 Biografía 2 Obras destacadas o 2.1 Composiciones para corneta solista o 2.2 Corneta y trombón o 2.3 Métodos de corneta o 2.4 Prosa 3 Véase también 4 Referencias 5 Enlaces externos [editar] Biografía Herbert Lincoln Clarke nació el 12 de septiembre de 1867 en Woburn, en el estado de Massachusetts. Era hijo del compositor y organista William Clarke. La familia Clarke se tenía que trasladar a menudo por los compromisos laborales de William, desde Massachusetts a Ohio, a Indiana, de regreso a Massachusetts y finalmente a Toronto en 1880. Los inicios musicales de Herbert fueron con el violín y en 1881 fue segundo violinista en la Toronto Philharmonic Society. Sin embargo, según su autobiografía, uno de los momentos formativos en su educación musical fue asistir a un concierto de The American Band de Providence (Rhode Island) en el Horticultural Pavilion de Toronto en 1881 y la asistencia a una actuación como cornetista solista de Bowen R. Church. Posteriormente, comenzó a practicar con la corneta de su hermano y consiguió un puesto como cornetista en la banda Queen’s Own Rifle en 1882. Entre 1884, cuando se graduó de la escuela secundaria, y 1887, Clarke alternó entre la interpretación de la viola y la corneta como segundo intérprete, cuando era necesario, en la orquesta English's Opera House de Indianápolis, donde su familia se había mudado. Trabajó en la tienda de John Kay en Toronto, mientras era el segundo corneta en el Queen's Own, y tocó orquesta Ontario Beach en el verano. Fue en 1887 cuando se incorporó como corneta solista a la banda ciudadana de Toronto, gracias a John Bayley. Pasó los próximos cinco años interpretando y dirigiendo en varias bandas en los alrededores de Toronto, como Taylor Safe Works Band, Heintzman Piano Company Band o Streetsville Ontario Band, y enseñando en el Toronto Conservatory of Music, donde también tocó en la Toronto Conservatory String Quartet, y en el Trinity College School de Port Hope, Ontario. En septiembre de 1889 se casó con Elizabeth (Lizzie) Loudon, con quien tuvo dos hijos: Vivian (Grace) en 1890 y James (Edward James Watkin) en 1892. En la primavera de 1892, salió de Canadá una vez más, después del éxito de audición con la Patrick Gilmore Band, con sede en Boston. En 1893, se unió a la banda de John Philip Sousa como corneta solista. Después de realizar una interpretación en la Exposición Universal de Chicago de ese mismo año, realizó una gira con varias bandas y continuó haciéndolo durante los siguientes cinco años. Durante este período, ocupó puestos temporales como segundo trompetista con la Orquesta Filarmónica de Nueva York y como trompetista principal en la Ópera del Metropolitan. También se divorció de Lizzie Loudon y se casó con Lillian Hause Bell, con quien tuvo dos hijos más, Ruby Bell y Herbert L. Clarke, Jr. En 1898 regresó a la banda de Sousa, con quien realizó numerosas giras y más tarde se convirtió en asistente de director de Sousa, reemplazando a Arthur Pryor. Después de la salida de Pryor de la banda de Sousa en 1903 para formar su propia banda de concierto, Clarke dirigió la banda de Sousa en muchas sesiones de grabación para el sello discográfico Victor Talking Machine Company. Además, pasó el tiempo probando y desarrollando instrumentos para Conn Instruments en Elkhart, Indiana, y realizó un número considerable de grabaciones como solista para los sellos discográficos Victor, Edison, Columbia, y finalmente Brunswick. Renunció a la banda de Sousa en septiembre de 1917 y regresó a Canadá para dirigir a la Anglo-Canadian Leather Company Band en Huntsville de Ontario desde 1918 a 1923. Durante ese tiempo dirigió muy poco, centrado sus esfuerzos no sólo en dirección, sino también en la composición y la creación de su propia escuela de interpretación de corneta en Chicago. En 1923, se trasladó a Long Beach (California), debido al estado de salud de su esposa y dirigió la Long Beach Municipal Band hasta 1943. En abril de 1934, fue elegido Presidente de la Asociación Americana de Directores de Bandas. Desde 1936 hasta su muerte en 1945, desarrolló una amistad y dio lecciones privadas a Claude Gordon. Sus cenizas fueron enterradas en el Cementerio del Congreso en Washington D. C., cerca de la tumba de John Philip Sousa. Sus documentos y recuerdos se conservan en el Sousa Archives and Center for American Music en la Universidad de Illinois en Urbana-Champaign. [editar] Obras destacadas [editar] Composiciones para corneta solista Clarke compuso más de 50 obras para corneta solista, muchas de las cuales han tenido varias ediciones. Aquí están sus más famosas piezas, con la fecha de la primera publicación incluida. Bride of the Waves (1904) Sounds from the Hudson (1904) Caprice Brilliante (1908) Southern Cross (1911) The Carnival of Venice (1912) Sounds from the Hudson (Valse Brilliante) (1914) The Debutante (1917) Stars in a Velvety Sky (1919) From The Shores Of The Mighty Pacific [editar] Corneta y trombón Cousins Side Partners [editar] Métodos de corneta Elementary Studies (1909) Technical Studies (1912) Characteristic Studies (1915) Setting Up Drills (1929) [editar] Prosa Herbert L. Clarke escribió en 1934 una autobiografía titulada How I Became A Cornetist. Nat Adderley De Wikipedia, la enciclopedia libre Saltar a: navegación, búsqueda Este artículo o sección necesita referencias que aparezcan en una publicación acreditada, como revistas especializadas, monografías, prensa diaria o páginas de Internet fidedignas. Puedes añadirlas así o avisar al autor principal del artículo en su página de discusión pegando: {{subst:Aviso referencias|Nat Adderley}} ~~~~ Nat Adderley Datos generales Nombre real Nathaniel Adderley Nacimiento 25 de noviembre de 1931 Origen Tampa, Florida Muerte 2 de enero de 2000 Información artística Género(s) Hard bop Soul jazz Instrumento(s) Corneta Artistas Cannonball Adderley, Johnny relacionados Griffin, Ron Carter, Sonny Fortune Nathaniel Adderley (25 de noviembre de 1931 en Tampa, Florida - 2 de enero de 2000 en Lakeland, Florida), fue un cornetista estadounidense de soul jazz y hard bop, hermano del saxofonista Cannonball Adderley. Durante la década de los 50 fue parte del grupo de su hermano, en el que también estaban Lionel Hampton y J. J. Johnson. En 1959 se unió al quinteto nuevo que había formado su hermano, en el que permaneció hasta la muerte de Cannonball en 1975. En este grupo compuso sus primeras canciones: "Work song", "Jive samba" y "The old country". Tras la muerte de su hermano formó sus propios grupos y se involucró activamente en la grabación de material nuevo. En esta época trabajó con Ron Carter, Sonny Fortune, Johnny Griffin, Antonio Hart y Vincent Herring, y ayudó al desarrollo del festival de jazz Child of the Sun, en la Universidad de Florida en Lakeland. Murió el 2 de enero del año 2000 en su casa en Lakeland, y fue enterrado al lado de su hermano en el cementerio Southside de Tallahassee, Florida. Su hijo, el teclista Nathaniel Adderley Jr., fue el director musical de Luther Vandross durante bastante tiempo. [editar] Discografía esencial Work Song (con Wes Montgomery, Bobby Timmons, Percy Heath, y Sam Jones) (1960) Mercy! Mercy! Mercy! (con el Cannonball Adderley Quintet) Country Preacher (directo con el Cannonball Adderley Quintet) (1969) Autobiography (1964) Soul Zodiac (1972) A Little New York Midtown Music (1978) Mercy, Mercy, Mercy! '95 (1995) Bix Beiderbecke De Wikipedia, la enciclopedia libre Saltar a: navegación, búsqueda Este artículo o sección necesita referencias que aparezcan en una publicación acreditada, como revistas especializadas, monografías, prensa diaria o páginas de Internet fidedignas. Puedes añadirlas así o avisar al autor principal del artículo en su página de discusión pegando: {{subst:Aviso referencias|Bix Beiderbecke}} ~~~~ Leon Bismark Beiderbecke, "Bix" Beiderbecke, (Davenport (Iowa), 10 de marzo de 1903 - Nueva York, 6 de agosto de 1931), cornetista estadounidense de jazz tradicional.
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    Furman Humanities Review Volume 30 April 2019 Article 8 2019 Breaching the Iron Curtain: Louis Armstrong, Cultural Victory, and Cold War Ambassadorship Quincy Mix '19 Follow this and additional works at: https://scholarexchange.furman.edu/fhr Part of the Arts and Humanities Commons Recommended Citation Mix, Quincy '19 (2019) "Breaching the Iron Curtain: Louis Armstrong, Cultural Victory, and Cold War Ambassadorship," Furman Humanities Review: Vol. 30 , Article 8. Available at: https://scholarexchange.furman.edu/fhr/vol30/iss1/8 This Article is made available online by Journals, part of the Furman University Scholar Exchange (FUSE). It has been accepted for inclusion in Furman Humanities Review by an authorized FUSE administrator. For terms of use, please refer to the FUSE Institutional Repository Guidelines. For more information, please contact [email protected]. BREACHING THE IRON CURTAIN: LO UIS ARMSTRONG, CULTURAL VICTORY, A D COLD WAR AMBASSADORSHJP Everyone is familiar with hard power . We know that militmy and economic might often get others to change their posi­ tion ... But sometimes yo u can get the outcomes yo u want with­ out tangible threats or payoffs ... This soft power-getting oth­ ers to want the outcomes that you want-c o-opts peopl e rather than coerces them .. .[It} rests on the ability to shape the pref erences of others.' Quincy Mix Analyses of the Cold War tend to dwell almost solely on its hard power dynam ics. Arms treaties, military inva­ sions, supply blockades-these often receive most of, if not all, the attention in academic discour se. Yet, as political sci­ entist Joseph Nye, Jr., makes abundantly clear, "[t]he Cold War was won by a mixture of hard and soft power" with the latter manifested in a wide array of U.S.
  • Free Jazz CD Listening Notes-Chase

    Free Jazz CD Listening Notes-Chase

    Listening Notes JS 581/IMPRV 481 Jazz Styles: Free Jazz and the Avant Garde Fall 2005 Key: Track number. Title (composer) leader-instrument, musicians-instrument, recording location, recording date (month/day/year), (r=reissue title:) CD or LP title CD 1, Part 1: Precursors of free jazz and the avant-garde 1. Tough Truckin' (Duke Ellington) DE-p, Cootie Williams-t, Rex Stewart-ct, Joe "Tricky Sam" Nanton- tbn, Lawrence Brown-tbn, Juan Tizol-v tbn, Johnny Hodges-ss, Harry Carney-bari, Otto Hardwick-as, Hayes Alvis-b, Billy Taylor-b, Sonny Greer-d Chicago, 3/5/1935 (r) Classics Chronological 1935-1936 An early ostinato-based piece. Also note the attention that Ellington's soloists gave to timbre and envelope (attack, change of timbre and loudness over time, and decay), like many others who began their careers in early jazz of the 1920s. Wide variation of timbre and envelope were less often used as expressive devices (except by a few players) in late swing, bebop and early modern jazz of the late 1930s through the 1950s. Exceptions during that period, especially in rhythm and blues, were viewed by many in the jazz world as unsophisticated, vulgar, and/or a means of pandering to audiences' bad taste. In the 1960s, avant-garde players reclaimed wide variations in timbre and envelope as important expressive parameters. 2. The Clothed Woman (Duke Ellington) DE-p, Harold Baker-t, Johnny Hodges-as, Harry Carney-bari, Junior Raglin-b, Sonny Greer-d NYC, 12/30/1947 (r) Classics Chronological 1947-1948 Ellington's piano playing blends aspects of his stride roots with pedal effects and surprising sonorities -- an example of making the familiar seem strange through exaggeration or isolation of elements.