Mañana Se Presenta En El Lunario La Pianista De Jazz Hiromi Uehara Con the Trio Project

Total Page：16

File Type：pdf, Size：1020Kb

México D.F., martes 29 de septiembre de 2015 MAÑANA SE PRESENTA EN EL LUNARIO LA PIANISTA DE JAZZ HIROMI UEHARA CON THE TRIO PROJECT La acompañan otros dos gigantes de la música mundial: el bajista Anthony Jackson y el baterista Simon Phillips Se presentarán este 30 de septiembre y 1 de octubre en el foro alterno del Auditorio Nacional Tras debutar en México el año pasado con gran éxito, como parte de la programación especial para celebrar la primera década del Lunario, la pianista japonesa Hiromi Uehara retornará al Lunario este miércoles 30 de septiembre, junto al bajista Anthony Jackson y el baterista Simon Phillips, con quienes integra The Trio Project, concepto de jazz que fusiona a su propuesta sonora rock progresivo, hard bop, ragtime, blues y funk. Ofrecerá dos conciertos; el segundo el jueves 1 de octubre. La pianista llegará acompañada de nuevo por dos gigantes de la música internacional: Anthony Jackson, el genio del bajo de seis cuerdas, quien ha acompañado a músicos como Paul Simon, Pat Metheny, Steely Dan y Chick Corea. Por su parte, el baterista Simon Phillips, con raíces en el rock, ha colaborado con Toto, The Who, Judas Priest, Jeff Beck y Jack Bruce. La tecladista y compositora Hiromi Uehara ha sido reconocida por la energía que despliega sobre el escenario y su gran capacidad para la improvisación, que se ha convertido en su sello y la ha elevado a joven leyenda del jazz mundial. La prensa ha elogiado su trabajo; el diario británico The Guardian la calificó como “una de las más notables y virtuosas tecladistas del jazz contemporáneo”, el New Yorker se refirió a ella como simplemente “deslumbrante” y el New York Times la definió como “una presencia contundente en cualquier escenario”. La pianista cuenta con una sólida carrera como solista, pero The Trio Project le permite explorar su propio lenguaje melódico y armónico en el escenario, ofreciendo guiños a temas de Johan Sebastian Bach, Red Hot Chili Peppers, Oscar Peterson y Franz Liszt. Con este ensamble la pianista figura desde 2012 en las encuestas que cada año realiza la revista DownBeat entre la crítica especializada del género. 1 Hiromi Uehara estudió en el Berklee College of Music, en Boston, con el prestigiado pianista Ahmad Jamal. En 1996, con sólo 17 años, la japonesa fue invitada por Chick Corea para tocar con él. Grabó su primer álbum, Another Mind (2003) con el sello discográfico Telarc, con el que firmó contrato antes de graduarse. Apadrinada por el destacado pianista Oscar Peterson, Hiromi se ha ganado un lugar en la escena jazzística mundial y hoy cuenta con cuatro álbumes como solista, dos acreditados a Hiromi's Sonicbloom y tres a The Trio Project, ensamble con el que ofrecerá dos noches del mejor jazz internacional en el Lunario. Hiromi: The Trio Project se presenta en el Lunario (Reforma 50, Bosque de Chapultepec, costado poniente del Auditorio Nacional), el miércoles 30 de septiembre y el jueves 1 de octubre a las 21:00 horas. Boletos: $1600, 950, $850 y $700, a la venta en las taquillas del Auditorio Nacional y el Sistema Ticketmaster, 5325-9000. Más información: http://www.lunario.com.mx/prensa/ 2 .

Copy Link

Recommended publications

Pressemappe 2016
PRESSEMITTEILUNG / 2. März 2016 20 Jahre palatia Jazz Festival „The Finest in Jazz“ Mit dem Sommer 2016 findet in der Zeit vom 25. Juni bis Ende Juli die 20. Festivalsaison an den wohl schönsten historischen Spielstätten in der Weinpfalz statt. Internationale Jazzstars und Deutsche Jazzensembles bieten ein aufregendes Musikprogramm. Zum Einlass ab 18.00 Uhr beginnt jeweils das Jazzkulinarium, bei welchem sich jeder Gast mit Wein und feinen Speisen auf die Konzertabende einstimmen kann. Am 19. Juni 1997 startete das erste Jazzfestival in der Weinstadt Deidesheim. Seinerzeit gab es in der Pfalz kaum Konzerte, die Jazz und jazzaffine Musik vorstellten. Bereits das erste Festival war binnen weniger Tage ausverkauft. Die Deidesheimer Winzerbetriebe stellten ihre schönen Weine vor und das älteste Gasthaus der Pfalz, „Die Kanne“ aus Deidesheim präsentierte eine genußvolle Auswahl von Speisen aus der mediterran‐pfälzischen Küche. Vor der Deidesheimer Stadthalle fand ein kulinarischer Markt statt, der ebenso Teil des Rahmenprogramms war und als „Markt der Genüsse“ bis heute weiterhin durchgeführt wird. Im ersten Festival spielten Albert Mangelsdorff, Wolfgang Dauner, Christof Lauer – sowie Klaus Doldingers Passport, Barbara Dennerlein und Tab Two mit Helmut Hattler und Joo Kraus. Der Anfang war gemacht. Das Festival hieß zu diesem Zeitpunkt Jazzette – Deidesheimer Jazztage und wurde noch ein weiteres Jahr unter diesem Namen fortgesetzt, bis es 1999 pfalzweit an einzigartigen historischen Plätzen der Pfalz unter dem Namen „palatia Jazz“ fortgesetzt wurde. Eine Konzertreihe von jährlich 10‐12 Konzerten – diese an unterschiedlichsten und unverwechselbaren Orten der Weinpfalz, wie die Villa Ludwigshöhe, die Klosterruine Limburg in Bad Dürkheim, der Krönungssaal in der Burg Trifels, der Festsaal im Hambacher Schloss, am Deutschen Weintor, im Park von Schloss Wachenheim usw.
[Show full text]
Reflection on Existing Cultural Imprint of Bruce Lee Lam Kwan-Yu Jeffrey
Reflection on Existing Cultural Imprint of Bruce Lee Lam Kwan-yu Jeffrey Further on my class presentation ‘Cultural Construction of Bruce Lee on Mass Media’, I would like to review my psychological change on perceiving existing cultural imprint of Bruce Lee after the MCS course via this paper. First of all, I would examine my feel throughout getting in touch with Bruce’s material in the course and reference, followed by dissecting why I would think that way, inducing the feeling. It would be a ‘feel, and think why’ process. I believe that would give some answers or reference for the reason of popularity of Bruce among the 80’s, after four decades of his death. Besides, I would source out the hidden culture imprint of Bruce around my life on different objects and analyse the formulation and impact of them to the world, enhancing my class presentation. It is mainly covered with a Hong Kong band Chochukmo, Japanese Jazz Pianist Hiromi Uehara, a video work from my current company and virtual character copied from him. I would like to find out the new influence of Bruce in recent years not directed by him, but created by the existing cultural construction of him authored by different parties of various fields. In the very first lessons, I once refused to admit there is any hagiography of Bruce. I believed it is his sincerity and bravery that attracts mass media to focus on him. I was too ideal before realizing how he is being consumed. As being born on the same birthday with him, I thought I could do the same like him, passing on his own spirit.
[Show full text]
The Jazz Educator's Magazine
OCTOBER 2019 OCTOBER THE JAZZ EDUCATOR’S MAGAZINE $4.99 Composing With Colors jazzedmagazine.com INSIDE Focus Session: Developing a Great Vibrato ‘Tearing Down the Silos’: Inside Aspen’s New Jazz ‘Boot Camp’ Collaboration Between Jazz Aspen Snowmass and the Frost School of Music spotlight C o m p o s i n g w i t h C o l o r s ALL PHOTOS COURTESY TELARC/CONCORD MUSIC GROUP MUSIC TELARC/CONCORD COURTESY PHOTOS ALL azz pianist and composer cover of a tune the pianist had Hiromi Uehara is a whirling been dying to do: the “Cantina Theme” from Star Wars. And the Jdervish of musical energy. Her By Bryan Reesman diverse recorded repertoire over the duo performed it their own special style last 16 years verifi es that claim. While she which went beyond the original melody. has released a fair number of solo albums, she Her collaboration with Castaneda is typical of also revels in collaborating with equally talented peers who how Hiromi interprets jazz, in which she implements diff erent allow her to widen her horizons. She already shares a Grammy approaches that range from the melodic to the textural. On her Award for performing with The Stanley Clarke Band on their 2010 new solo piano album Spectrum, one track fi nds her interpreting self-titled album, which won Best Contemporary Jazz Album at Gershwin in her own inimitable way while another has a boogie the Grammy Awards in 2011. feel to it. Going back in her catalog yields the same kind of re- I fi rst saw Hiromi live at the Montreal Jazz Festival in 2017 sults, with “Kung Fu World Champion,” from her sophomore al- where she played a concert with harp player Edmar Castaneda, bum Brain, serving up a dissonant, funky vibe.
[Show full text]
A Jazz Night with Hiromi (23 & 24 December) and a Viennese New Year (30 & 31 December)
PRESS RELEASE FOR IMMEDIATE RELEASE Date: 18 December 2019 The HK Phil Conjures Up a Festive Mood with Two Stylish Programmes: A Jazz Night with Hiromi (23 & 24 December) and A Viennese New Year (30 & 31 December) [18 December 2019, Hong Kong] For the upcoming festive season, the Hong Kong Philharmonic Orchestra (HK Phil) brings two stylish programmes to audience in Hong Kong. In anticipation of Christmas celebrations, composer/jazz pianist HIROMI joins hands with fellow Japanese conductor Ryusuke Numajiri to share her music in two nights of jazz at the Hong Kong Cultural Centre Concert Hall on 23 & 24 December. And to bid farewell to the year 2019, British conductor Christopher Warren-Green teams up with Canadian/American coloratura soprano Sharleen Joynt to bring our audience a Viennese New Year in Hong Kong. Two performances will take place at the Hong Kong Cultural Centre Concert Hall: one each on 30 & 31 December. ********** A Jazz Night with HIROMI (23 & 24 December) “Jazz pianist and composer Hiromi Uehara is a whirling dervish of musical energy. Her diverse recorded repertoire over the last 16 years verifies that claim.” --- Jazzed Magazine What better Christmas present to suggest than to enjoy a dazzling display of virtuosity and compelling showmanship by HIROMI. On the two nights leading up to Christmas itself, the star Japanese jazz pianist and composer HIROMI brings her music to the stage of the HK Phil with conductor Ryusuke Numajiri, himself a strong advocate of contemporary music. Arguably the most famous musician in the Japanese jazz scene, HIROMI made her debut in 2003 and has 13 albums to her credit to date.
[Show full text]
Hiromi a Japanese Jazz Prodigy finds Her Voice As She Returns to a Healing Home
MAY 2011 ISSUE MMUSICMAG.COM SPOTLIGHT sakiko nomura hiromi A Japanese jazz prodigy finds her voice as she returns to a healing home When a devastating earthquake had the impression that music makes people and tsunami struck Japan in March, many happy. i loved making people happy and touring artists canceled their plans to visit. wanted to keep doing that.” Japanese classical and jazz pianist hiromi, her latest album, Voice, is making people however, rearranged her touring plans to happy around the world. the album’s title, come home. “Bands have just stopped hiromi says, suggests its overall concept. coming, and i respect that decision,” “i wanted to capture people’s inner voices, she says from tokyo, where she has just and the screaming is represented in the completed a string of 18 benefit concerts. repeated piano notes,” she emphasizes. “i “But things are totally functioning in tokyo. wanted a three-dimensional sound. it was MAY 2011 sometimes the news broadcasts are much almost like the voice of the people was coming M MUSIC & MUSICIANS more dramatic than what it is. We have to me from here, there and everywhere, a normal life, but we’re trying to recover from every angle.” MAGAZINE emotionally and psychologically. there is hiromi plays other tracks, such as the not that much physical damage in tokyo, but groove-oriented “Flashback” and the moody, we have psychological damage.” minimalist “delusion,” with a controlled fury. Born hiromi uehara in hamamatsu, “When i listen to the album i can feel the story Japan, hiromi began playing classical piano from the first to last track, and that was what at 5 before gravitating toward jazz when i was the happiest about,” she says.
[Show full text]
Hiromi: the Trio Project Presentará Su Disco Spark En Marzo
Ciudad de México, martes 14 de febrero de 2017 HIROMI: THE TRIO PROJECT PRESENTARÁ SU DISCO SPARK EN MARZO Podría ser la última oportunidad para escuchar a este ensamble, pues sus integrantes anunciaron que harán una pausa indefinida Integrado por la pianista Hiromi Uehara, el baterista Simon Phillips y el bajista Hadrien Feraud, quien sustituye a Anthony Jackson La agrupación presentará su álbum más reciente, los próximos 30 y 31 de marzo Tras impactar con su virtuosismo y sofisticado estilo a las audiencias y la crítica internacionales, la pianista y compositora japonesa de jazz Hiromi Uehara y The Trio Project regresarán el 30 y 31 de marzo al Lunario, para presentar su más reciente disco, titulado Spark (2016). Podría ser la última oportunidad para escuchar el poderoso sonido de este ensamble en el foro alterno del Auditorio Nacional, pues sus integrantes anunciaron que posteriormente harán una pausa indefinida. A través de casi siete años, The Trio Project, originalmente conformado por la pianista Hiromi Uehara, el bajista Anthony Jackson y el baterista Simon Phillips, se consolidó como uno de los ensambles contemporáneos de jazz más trascendentes, gracias a su refrescante propuesta sonora en la que fusiona rock progresivo, hard bop, ragtime, blues y funk. En esta ocasión, Hadrien Feraud estará en el bajo, en sustitución de Anthony Jackson, quien por motivos de salud no podrá participar en este concierto. Sin embargo, tanto Feraud como Hiromi Uehara y Simon Phillips han prometido un concierto dinámico, con el que la improvisación cruzará la línea de lo ordinario, para rendir homenaje a Anthony Jackson, a quien el bajista considera una de sus mayores influencias.
[Show full text]
The Overview Treatment of Odd Meters in the History of Jazz Sopon Suwannakit1 Abstract Rhythmic Development of Jazz Has Grown In
RMJ Vol. 9 No. 1 Jan.-June 2014 The Overview Treatment of Odd Meters in The History of Jazz Sopon Suwannakit 1 _______________________________________________________________________________________________________ Abstract Odd meters were experimented variously in the album Time Out by Dave Brubeck Quartet. The audiences accepted it widely during the launching period especially the tunes “Take Five” composed by Paul Desmond and “Blue Rondo à la Turk” composed by Dave Brubeck. This article discuses how odd meters become more acceptable in jazz which has been nominated by duple and quadruple meters for long. Ranging the musicians from James Fats Waller, Reese Europe, and Stan Kenton to Jonathan Kreisberg, Maria Schneider, and Hiromi Uehara, It shows the history of time signature usage in jazz, development, and the relationship between early and contemporary irregular meter approaches. Keywords: jazz, odd meter, irregular meter, complex meter _______________________________________________________________________________________________________ Rhythmic development of jazz has grown in many directions throughout the history. Time signature usage is one of the directions. In 1959, the Dave Brubeck Quartet launched the album Time Out, where each tune in the album employs an unusual meter in jazz history (Ward 2000, 412). Two tunes from the album, “Take Five” and “Blue Rondo à la Turk” (Dave Brubeck Quartet 1959), became extremely popular among many groups of listeners. This is the turning point of time signature usage in jazz. After the impact of the album, we have seen that odd meters, keep being employed by later jazz musicians such as Stan Kenton, Maria Schneider, and Jonathan Kreisberg. The question is how were odd meters pushed out into the spotlight as the two popular tunes from Time Out did in jazz history, which had been dominated by simple duple and simple quadruple meter for a long time.
[Show full text]
227 Svend Asmussen 100 År
# 227 Medlemsblad for Radio Jazz Venner Februar-Marts `16 SVEND ASMUSSEN 100 ÅR RETURN TO FOREVER SONNY CLARK JAZZ I REPRISEN II CURT JØRGENSENS 78´ERE TRIBUTE TO BIX RADIO JAZZ PÅ 102,9 MHZ | PÅ NETTET: RADIOJAZZ.DK | ELLER EVT. VIA KABEL EFTERMIDDAGSJAZZ MANDAG – FREDAG KL. 16-17 KUN PÅ 102,9 MHZ FM OG 104,5 MHZ PÅ KABEL Radio Jazz Bladet #227 Radio Jazz Ansvarshavende redaktør: Erik Raben. Programredaktionen Kommentarer og artikler til bladet: Søren Damving. [email protected]. Tlf. 24 83 66 07 Tlf.26 27 27 49. sø[email protected] Deadline: 15/3-2016 Brian Petro. Tlf. 29 80 45 57. [email protected] RADIO JAZZ VENNER SørenSvagin. Bestyrelsen for Radio Jazz Venner: Tlf. 41 42 62 11. [email protected] Mogens Thorborg (formand) SørenThrane. Søren Thrane (kasserer) Tlf. 26 37 92 11. [email protected] Tom Buhmann Ole Matthiessen Bestyrelse Brian Petro Michael Thrane (Formand) Kontakt: [email protected] Tom Buhmann (næstformand) Helen Jensen, Mogens Thorborg, Ole Matthiessen, Radio Jazz Bladet udgives af Foreningen Radio Jazz Erik Raben, Brian Petro. Venner og udsendes til Foreningens medlemmer Regnskabsfører: Per Hermansen 5x/år. Medlemskab kr. 200,-/halvår (feb. og aug.) Webmaster: Niels Wamberg Danske Bank, konto 1551 9738495 Kontakt: [email protected] Tilmelding: [email protected] eller tlf.: 26 37 92 11. Postadresse Hjemmeside: www.radiojazz.dk Hammershusgade15, 2.sal. 2100 København Ø Radio Jazz Venner, Hammershusgade 15, 2.sal Studie- og Besøgsadresse 2100 København Ø Aldersrogade 6D, 2100 København Ø. (indg. i gården) Forside: Svend Asmussen (2006) Foto: Jan Persson. Tlf. 33 32 90 01 (i sendetiden) [email protected] I anledning af hans 100 års fødselsdag – lyt til Radio Jazz den 13/2 kl.
[Show full text]
September 2021 Downbeat 1
SEPTEMBER 2021 DOWNBEAT 1 SEPTEMBER 2021 VOLUME 88 / NUMBER 9 President Kevin Maher Editor & Publisher Frank Alkyer Contributing Editor Ed Enright Contributing Editor Daniel Margolis Creative Director Žaneta Čuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Hawkins ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
[Show full text]
Applying the Linear Concept of Contemporary Drumming: a Portfolio of Recorded Performances and Exegesis
University of Adelaide Elder Conservatorium of Music Faculty of Humanities and Social Sciences Applying the Linear Concept of contemporary drumming: a portfolio of recorded performances and exegesis. By Holly Ellen Thomas a1147998 Submitted in fulfilment of the requirements for the degree of Master of Philosophy (Music) November 2013 2 Table of Contents Abstract………………………………………………………………….………..p.3 Declaration…………………………………………………………….………….p.4 Acknowledgements………………………………………………….………......p.5 List of Music Examples…………………………………………….…………....p.6 List of Audio Examples…………………………………………….……….…...p.8 Introduction………………………………………………………….…….………p.9 Part A Recorded Performances A.1 DVD 1 (Recital 1)………………………………………….…………….p.12 A.2 DVD 2 (Recital 2)………………………………………….…………….p.14 Part B Exegesis B.1 Linear Concept…………………………………………….……..……..p.18 B.2 Commentary on DVD 1………………………………………………...p.24 B.3 Commentary on DVD 2………………………………………………...p.29 Conclusion……………………………………………………………………….p.34 List of Sources…………………………………………………………………..p.38 Appendices Appendix A: ‘A Slippery Slope’ (H.Thomas)………………………….p.41 Appendix B: ‘Luigi’s Lament’ (H.Thomas)…………………………….p.43 3 Abstract This submission for the degree of MPhil in Musical Performance at the Elder Conservatorium of Music, University of Adelaide, is the outcome of a performance- based research project that aims to identify, explore and apply the Linear Concept of contemporary drumming. The investigative approach has been one of analysis followed by synthesis. The initial stage had a focus on aural analysis of existing sound recordings. The creative synthesis was achieved through new performances, in a contemporary jazz setting. The significance of the project is in the creation of performances that develop this interesting but hitherto underdeveloped rhythmic principle. The direct outcomes are presented through the medium of two, 60-minute audio-visual DVD recordings, supported by an explanatory 5,000-word exegesis.
[Show full text]
"Chick" Corea (Born June 12, 1941)[3] Is an American Jazz and Fusion Pianist, Keyboardist, and Composer
MUNI 20150504 – Chick Corea 1 – obecné informace a výběr nahrávek (od strany 4) Armando Anthony "Chick" Corea (born June 12, 1941)[3] is an American jazz and fusion pianist, keyboardist, and composer. Many of his compositions are considered jazz standards. As a member of Miles Davis' band in the 1960s, he participated in the birth of the electric jazz fusion movement. In the 1970s he formed Return to Forever.[3] Along with Herbie Hancock, McCoy Tyner, and Keith Jarrett, he has been described as one of the major jazz piano voices to emerge in the post–John Coltrane era. Armando Corea was born in Chelsea, Massachusetts. He is of southern Italian and Spanish descent.[6][7] His father, a jazz trumpet player who had led a Dixieland band in Boston in the 1930s and 1940s, introduced him to the piano at the age of four. Growing up surrounded by jazz music, he was influenced at an early age by bebop and stars such as Dizzy Gillespie, Charlie Parker, Bud Powell, Horace Silver, and Lester Young. At eight Corea also took up drums, which would later influence his use of the piano as a percussion instrument. He eventually decided to move to New York City, where he studied musical education for one month at Columbia University and six months at Juilliard. He quit after finding both disappointing, but liked the atmosphere of New York, and the music scene became the starting point for his professional career. Corea's first major professional gig was with Cab Calloway. Corea started his professional career in the 1960s playing with trumpeter Blue Mitchell and Latin musicians such as Herbie Mann, Willie Bobo and Mongo Santamaría.
[Show full text]
Analisis Improvisasi Piano Jazz Hiromi Uehara Pada Lagu “Sonata No
ANALISIS IMPROVISASI PIANO JAZZ HIROMI UEHARA PADA LAGU “SONATA NO. 8 OP. 13 SECOND MOVEMENT” KARYA L.V. BEETHOVEN TUGAS AKHIR Program Studi S1 Seni Musik Oleh : R Ricky Franata NIM. 1211902013 Semester Gasal 2016/2017 JURUSAN MUSIK FAKULTAS SENI PERTUNJUKAN INSTITUT SENI INDONESIA YOGYAKARTA 2017 i UPT Perpustakaan ISI Yogyakarta UPT Perpustakaan ISI Yogyakarta MOTTO DAN PERSEMBAHAN Menjadimahluk yang menitikkan jejak di Semesta dengan sebuah karya atau apapun itu “Karya tulis ini saya persembahkan untuk Keluarga dan diri saya di masa mendatang.” iii UPT Perpustakaan ISI Yogyakarta Kata Pengantar Puji syukur kepada yang maha esa dan terima kasih kepada kedua orangtua saya yang telah melahirkan, merawat, mendidik, dan mewariskan DNA terbaik yang diharapkan bagi seorang anak. Karya tulis ini merupakan Tugas Akhir untuk memenuhi dan melengkapi syarat penyelesaian Program Studi S-1, Jurusan Musik, minat utama Pop Jazz, Fakultas Seni Pertunjukkan, Institut Seni Indonesia Yogyakarta. Di tengah padatnya aktivitas yang penuh dengan resolusikedepan saya bersyukur bisa menyelesaikan tugas akhir ini. Untuk itu saya berterima kasih kepada banyak pihak, baik kepada staf akademik Institut Seni Indonesia Yogyakarta maupun orang-orang terdekat yang telah membantu kelancaran penulisan ini: 1. Dr. Andre Indrawan. M.Hum., M.Mus. selaku Ketua Jurusan Musik, Fakultas Seni Pertunjukan ISI Yogyakarta yang telah mengijinkan dan membantu penulis menempuh pendidikan selama tercatat sebagai mahasiswa. 2. A. Gathut Bintarto Triprasetyo S. Sos., S. Sn, M.A. selaku Sekretaris Jurusan Musik Institut Seni Indonesia Yogyakarta yang telah membantu kelancaran penulis menempuh pendidikan selama tercatat sebagai mahasiswa. iv UPT Perpustakaan ISI Yogyakarta 3. Prima Dona Hapsari., S. Sn., M. Hum. selaku dosen wali yang telah membantu dan mendampingi penulis selama menempuh kuliah di Institut Seni Indonesia Yogyakarta.
[Show full text]