Anthony Davis/Jason Robinson Duo
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USG Approves Budget Hike Reagan Tells Bork 'To Keep Going'
The Daily Campus Serving the Storrs Community Since 1896 Vol.XCI No. 23 The University of Connecticut Thursday, October 8,1987 Reagan tells Bork 'to keep going' WASHINGTON (AP) — Democratic senators declared President Reagan told Robert opposition: John Breaux of H. Bork yesterday, "I urge you Louisiana, Richard Shelby of to keep going" in the battle for Alabama, Alan Dixon of a seat on the Supreme Court, Illinois, J. James Exon of despite growing opposition to Nebraska, Wyche Fowler of Bork's nomination and Georgia, Lawton Chiles of speculation he might withdraw. Florida and Bob Graham of Through the day, Bork Florida. Thirteen Democratic shuttled between meetings with Southern senators have now Reagan and Republican leaders said they oppose the nominee, on Capitol Hill. He refused to a severe problem for White answer questions. House officials who hoped the "He will not decide anything conservative appeals court today, and said he would be in judge could pick up support in touch," said Tom Korologos, a the South. lobbyist brought in by the Sen. David Karnes, R-Neb., White House to help Bork. announced he would vote for Reagan himself was the nominee. emphatic, however. The Undergraduate Student Government President Kraig St. Pierre (center) gives Meanwhile, one of Bork's .pening remarks to USG members during last night's meeting, at which the president, who has repeatedly strongest supporters on the declared he wants a Senate vote assembly passed a $1,686 budget increase (Rob Palmer photo). Judiciary Committee, Sen. on Bork, told reporters who Charles Grassley, R-Iowt. questioned him briefly at blamed lethargy by Reagan and unrelated ceremonial events, "I White House officials for USG approves budget hike have not changed my position. -
The Academy of Vocal Arts
April 7, 2005 Contact: Matthew Levy 215-893-0140 [email protected] Philadelphia Music Project 2005 Grant Recipients Academy of Vocal Arts, $60,000 to support concert versions of Le Portrait de Manon and La Navarraise, two important but rarely performed verismo operas by Jules Massanet. Vocalists will include James Valenti (tenor), Ailyn Perez (soprano), Jennifer G. Hsuing (mezzo-soprano), and Keith Miller (baritone). Performances will take place at the Kimmel Center for the Performing Arts in January 2006. Annenberg Center for the Performing Arts, $160,000 over two years to engage the American Composers Orchestra (ACO) in a residency that will bring ACO’s acclaimed Orchestra Underground programs to the Annenberg Center for a series of six new music concerts. Guest artists and organizations participating in the project include Todd Reynolds (violin), Ryuichi Sakamoto (laptop), Bill T. Jones, So Percussion, Pilobolus, and the Ridge Theater. The residency will include educational and outreach activities, as well as a program of works by Philadelphia- area composers. Choral Arts Society of Philadelphia, $30,000 to host Maestro Dale Warland, the former music director and founder of the Dale Warland Singers, as guest conductor for a program of works by Howard Hanson, Rudi Tas, Arvo Pärt, Benjamin Britten, James MacMillan, Frank Ferko, Alexandre Gretchaninoff, Vytautus Miškinis, and Henryk Górecki. A regional choral conducting workshop is also planned with Mr. Warland and CASP’s Artistic Director, Matthew Glandorf. Doylestown School of Music and the Arts, $12,140 in support of Stretched Strings, a series of four concerts exploring acoustic guitar practice within a variety of styles, including Travis Picking, Classical, Fingerstyle, and Blues. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
'Frustrating, Unhappy Atmosphere' Cited As Cause of Recent
ULb-LBGfi mm KJflBflSCCJII > (Ennnarttrut iatUj (EamjfltB Serving Storrs Since 1896 Vol. LXXXVI No. 47 The University of Connecticut Wednesday, November 10, 1982 Engineering professors: 'Frustrating, unhappy atmosphere' cited as cause of recent resignations from school By Christina Richardson morale in the School of En- UConn, where, he said, an salaries, and the recruitment ment creating a shortage of Staff Writer gineering as the primary rea- engineer is unable to pursue a of younger professors, prom- openings for students wishing son for their resignations. career. He resigned last pted Edward E. Balkovich to to take laboratory classes. He Three UConn Engineering For 11-year professor Ber- summer. resign in 1981. He said the cited a microcomputer lab professors who quit over the nard Carey, it is a frustrating, Questionable decisions morale in the school had course offered last year, for past two years have cited low unhappy atmosphere at concerning resources and declined in the four years he which two studenjs were was a professor here. turned down for each one that John R. White, professor got into the class, because State budget deficit projected since 1973. gave the same there wasn't enough equip- reasons and added that a gap ment to accomodate all the 6 between university and indus- students who applied. at $172 million for <83- 84 try salaries added to his frus- Carey also said there aren't trations at UConn. He quit at enough technicians to assist HARTFORD, (AP)--A business-backed group line as part of any budget balancing effort." the end of this summer. -
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. -
Jason Robinson and Anthony Davis Dates Available in 2012-2014
Jason Robinson and Anthony Davis dates available in 2012-2014 “[For Robinson and Davis,] mood and interplay are more important than volume or scale.” -Ron Wynn, JazzTimes Magazine “[A] consummate summation of the jazz tradition in its most conversational and fundamental form.” -Troy Collins, All About Jazz “almost Ellingtonian in their lapidary elegance and beauty, highlighting the richness of Davis’ chordal voicings and Robinson’s big, brawny, Ben Webster-ish tone on tenor.” -The Stash Dauber “[I]nspired by their mutual passion for the music of Duke Ellington and spohisticated blues forms in a variety of hues, [their duet] is by turns lyrical and edgy, inviting and challenging. It’s steeped in jazz traditions that are handily extended, which is Robinson’s raison d’etre for making music.” -George Varge, San Diego Union-Tribune Moody, stark, and emotionally charged. Captured on their critically acclaimed debut recording Cerulean Landscape (Clean Feed, 2010), Robinson and pianist Anthony Davis have collaborated for more than ten years as a duo. Telepathic interplay, inspired improvisation, and dynamic original compositions carry listeners to a brilliant and evocative soundscape marked by emotional subtlety, a vast array of sounds, and poignant melodicism. With Duke Ellington, Billy Strayhorn, and the post- 60s jazz avant-garde as central reference points, Robinson and Davis bring together their formidable experience in many different music worlds, spilling over the traditional boundaries of the horn/piano duo. One moment minimalist, another orchestral, another beautifully melodic – their duo invites us into a sound world of deep blues, a place of surreal horizons, intense emotions, and hypnotic melodies. -
Too Many Notes: Complexity and Culture in Voyager Lewis, George E
Too Many Notes: Complexity and Culture in Voyager Lewis, George E. Leonardo Music Journal, Volume 10, 2000, pp. 33-39 (Article) Published by The MIT Press For additional information about this article http://muse.jhu.edu/journals/lmj/summary/v010/10.1lewis.html Access Provided by University of California @ Santa Cruz at 09/27/11 9:42PM GMT W A Y S WAYS & MEANS & M E A Too Many Notes: Computers, N S Complexity and Culture in Voyager ABSTRACT The author discusses his computer music composition, Voyager, which employs a com- George E. Lewis puter-driven, interactive “virtual improvising orchestra” that ana- lyzes an improvisor’s performance in real time, generating both com- plex responses to the musician’s playing and independent behavior arising from the program’s own in- oyager [1,2] is a nonhierarchical, interactive mu- pears to stand practically alone in ternal processes. The author con- V the trenchancy and thoroughness tends that notions about the na- sical environment that privileges improvisation. In Voyager, improvisors engage in dialogue with a computer-driven, inter- of its analysis of these issues with ture and function of music are active “virtual improvising orchestra.” A computer program respect to computer music. This embedded in the structure of soft- ware-based music systems and analyzes aspects of a human improvisor’s performance in real viewpoint contrasts markedly that interactions with these sys- time, using that analysis to guide an automatic composition with Catherine M. Cameron’s [7] tems tend to reveal characteris- (or, if you will, improvisation) program that generates both rather celebratory ethnography- tics of the community of thought complex responses to the musician’s playing and indepen- at-a-distance of what she terms and culture that produced them. -
Chapter 1: Introduction 1
TATE STREET, THAT GREAT STREET: CULTURE, COMMUNITY, AND MEMORY IN GREENSBORO, NORTH CAROLINA by Ian Christian Pasquini A thesis submitted to the faculty of The University of North Carolina at Charlotte in partial fulfillment of the requirements for the degree of Master of Arts in History Charlotte 2015 Approved by: ____________________________ Dr. Aaron Shapiro ____________________________ Dr. John Cox ____________________________ Dr. Dan Dupre ii ©2015 Ian Pasquini ALL RIGHTS RESERVED iii ABSTRACT IAN CHRISTIAN PASQUINI. Tate Street, That Great Street: Culture, Community, and Memory in Greensboro, North Carolina (Under the direction of DR. AARON SHAPIRO) Tate Street represents a cultural center in Greensboro, North Carolina. This work outlines the varying social groups, organizations, and institutions that defined Tate Street’s cultural identity between 1960 and 1990. Tate’s venues and spaces acted as backdrops to the cultural shifts on Tate Street. Three venues act as subjects through which to research Tate Street. Through a collection of interviews, art, video, magazines, newspapers, and pictures, this work connects with historical memory to outline Tate’s local and national historical significance. The work connects with a historical documentary made up of interviews as well as primary source materials to engage with Tate’s historical actors. iv DEDICATION Engaging with Tate’s history required the dedication of a small village of interested parties. I would be remiss in not thanking Tate’s community at large – many people have offered both their time and energy to assisting this project and will remain unheralded. This work is a reflection of the strength of Tate’s community which has both inspired and welcomed my inquiries. -
TIRESIAN SYMMETRY (Cuneiform Rune 346) Format: CD
Bio information: JASON ROBINSON Title: TIRESIAN SYMMETRY (Cuneiform Rune 346) Format: CD Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: JAZZ / AVANT-JAZZ Saxophonist/Composer Jason Robinson Takes a Mythic Journey with New Album: Tiresian Symmetry featuring Robinson with All-Star Band: George Schuller, Ches Smith, Marty Ehrlich, Liberty Ellman, Drew Gress, Marcus Rojas, Bill Lowe, JD Parran A ubiquitous and often pivotal figure in the stories and myths of ancient Greece, the blind prophet Tiresias was blessed and cursed by the gods, experiencing life as both a man and a woman while living for hundreds of years. In saxophonist/composer Jason Robinson’s polydirectional masterpiece Tiresian Symmetry, he doesn’t seek to tell the soothsayer’s story. Rather for his seventh album as a leader, he’s gathered an extraordinary cast of improvisers to investigate the nature of narrative itself in a jazz context. The music’s richly suggestive harmonic and metrical relationships elicit a wide array of responses, but ultimately listeners find their own sense of order and meaning amidst the sumptuous sounds. For Robinson, a capaciously inventive artist who has flourished in a boggling array of settings, from solo excursions with electronics and free jazz quartets to roots reggae ensembles and multimedia collectives, Tiresian Symmetry represents his most expansive project yet. “I was attracted to the myth of the soothsayer, who tells the future even when it’s not welcome information,” Robinson says. “But on a more technical level I was intrigued by the numerical relationships. -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Searchings Permalink https://escholarship.org/uc/item/1wv0j95z Author Duan, Ran Publication Date 2015 Supplemental Material https://escholarship.org/uc/item/1wv0j95z#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California i UNIVERSITY OF CALIFORNIA, SAN DIEGO Searchings A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Music by Ran Duan Committee in charge: Professor Chinary Ung, Chair Professor Anthony Davis Professor Lei Liang 2015 i ii Copyright Ran Duan, 2015 All rights reserved. ii iii The Thesis of Ran Duan is approved and it is acceptable in quality and form for publication on microfilm and electronically: ___________________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Chair University of California, San Diego 2015 iii iv TABLE OF CONTENTS Signature Page……………………………………………………………………… iii Table of Contents………………………………………………………….……….. iv List of Figures ……………………………………………………...……………..... v List of Supplemental Files ……………………………………………………....... viii Abstract of the Thesis………………………………………………………….…… ix Spectral Illuminations on Edgard Varèse’s Ionisation…………………………….. 1 Hearing Chinese: a survey of dialects and their musical applications…………….. 17 Style and Genre in Lear on the 2nd Floor……………………………….…………. -
UNIVERSITY of CALIFORNIA, SAN DIEGO How Music Travels: the Opera Blood Hunger Child a Dissertation Submitted in Partial Satisfac
UNIVERSITY OF CALIFORNIA, SAN DIEGO How Music Travels: the Opera Blood Hunger Child A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Jon Forshee Committee in charge: Professor Anthony Davis, Chair Professor Katharina Rosenberger, Co-Chair Professor Norman Bryson Professor Amy Cimini Professor Aleck Karis Professor Lei Liang 2017 Copyright Jon Forshee, 2017. All rights reserved. The Dissertation of Jon Forshee is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Chair University of California, San Diego 2017 iii TABLE OF CONTENTS Signature Page…………………………………………….……………………………iii Table of Contents……………………………………………………………………….iv List of Supplemental Files……………….…………..…………………………….…...v List of Figures…………………………………………………………………………...vi Vita……………………………………………………………………………….…..….vii Abstract of the Dissertation……………………………………………………...…...viii How Music Travels - The Opera Blood, Hunger, Child: Introduction…….…………1 Chapter 1: Sources and Background……….………………………………………...7 Chapter 2: The Story….……………………………………………………...………..15 Chapter 3: The Libretto in Verse…..………………………………………………… 19 Chapter 4: Vocal Types and Orchestration….……………………………………….31 Chapter 5: Transcription as Creative Practice...…………………………………….34 Chapter 6: Esu-Legba and the Orisha…...………………………………………….36 Chapter 7: The Story within the Story……………………………………………….54 References…………………………………………………………………………..…58 iv LIST OF SUPPLEMENTAL FILES Blood | Hunger | Child, Chamber Opera -
Tuition Hike: Nine Percent by John B
Dons Upset St. Mary's Lehmann Lashes Out In Interview Meet KRONTs Emerald Yeh See Page 10 See Page 8 See Page 13 1 ) San Francisco Volume 85, Number 12 FOGHORWednesdayN, Febuary 1,198 9 Tuition Hike: Nine Percent By John B. Shanley At the final senate meeting of the fall semester, Fr. Lo Schiavo, president, Dr. Carmen Jordan-Cox, vice president for student development, and Bill Nutting, vice president for business and finance, presented a summary of the plan ning and budgeting proposals for the upcoming school year. Among the proposals was an increase in tuition. Nutting reviewed the four forces 15,000crediiho-irs in off-campus affecting tuition; i.e., enrollment programs with graduate and un dependency, enrollment decline, dergraduate enrollment remaining increase in costs, and marketing of essentially the same. fees. Also, due to the WASC Thc fiat rate tuition will increase committee's recommendations to 9 percent from $4,175 to $4,551. hire more full-time faculty, the The per unit price will also rise 9 cost of off-campus programs in USF is maintaining a 17:1 student-to-teacher ratio and plans to keep that level despite a percent from $305 to $332. creased significantly. $6-7 million shortfall due to a steep decline in off-campus credit hours. Fr. Lo Schiavo commented that Carmen Jordan-Cox has said inevitable raiser in tuition and fees that off-campus programs subsi face students. dize undergraduate programs. "The bottom line is we need Student Opposition more money," said Lo Schiavo. The announcement of thc fee Executive Retreat Opens Doors "The School of Education is half increase was met with opposition Five Faculty aucnded the retreat as an under of what it was five years ago and from members of ASUSF.