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James Baldwin As a Writer of Short Fiction: an Evaluation
JAMES BALDWIN AS A WRITER OF SHORT FICTION: AN EVALUATION dayton G. Holloway A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1975 618208 ii Abstract Well known as a brilliant essayist and gifted novelist, James Baldwin has received little critical attention as short story writer. This dissertation analyzes his short fiction, concentrating on character, theme and technique, with some attention to biographical parallels. The first three chapters establish a background for the analysis and criticism sections. Chapter 1 provides a biographi cal sketch and places each story in relation to Baldwin's novels, plays and essays. Chapter 2 summarizes the author's theory of fiction and presents his image of the creative writer. Chapter 3 surveys critical opinions to determine Baldwin's reputation as an artist. The survey concludes that the author is a superior essayist, but is uneven as a creator of imaginative literature. Critics, in general, have not judged Baldwin's fiction by his own aesthetic criteria. The next three chapters provide a close thematic analysis of Baldwin's short stories. Chapter 4 discusses "The Rockpile," "The Outing," "Roy's Wound," and "The Death of the Prophet," a Bi 1 dungsroman about the tension and ambivalence between a black minister-father and his sons. In contrast, Chapter 5 treats the theme of affection between white fathers and sons and their ambivalence toward social outcasts—the white homosexual and black demonstrator—in "The Man Child" and "Going to Meet the Man." Chapter 6 explores the theme of escape from the black community and the conseauences of estrangement and identity crises in "Previous Condition," "Sonny's Blues," "Come Out the Wilderness" and "This Morning, This Evening, So Soon." The last chapter attempts to apply Baldwin's aesthetic principles to his short fiction. -
Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 11/09/2011 04:57 Pm
Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 11/09/2011 04:57 pm WNCU 90.7 FM Format: Jazz North Carolina Central University (Raleigh - Durham, NC) This Period (TP) = 11/02/2011 to 11/08/2011 Last Period (TP) = 10/25/2011 to 11/01/2011 TP LP Artist Album Label Album TP LP +/- Rank Rank Year Plays Plays 1 2 Jeff McLaughlin Quartet Blocks Owl Studios 2011 11 12 -1 2 27 Christian McBride Big The Good Feeling Mack Avenue 2011 9 3 6 Band 3 308 Pat Martino Undeniable: Live At Blues HighNote 2011 8 0 8 Alley 4 4 Dr. Michael White Adventures In New Basin Street 2011 7 9 -2 Orleans Jazz Pt. 1 4 8 Stefon Harris, David Ninety Miles Concord Picante 2011 7 8 -1 Sanchez, Christian Scott 4 14 Warren Wolf Warren Wolf Mack Avenue 2011 7 6 1 4 308 Houston Person So Nice HighNote 2011 7 0 7 8 4 Jay Ashby & Steve Davis Mistaken Identity MCG Jazz 2011 6 9 -3 8 10 Orrin Evans Freedom Posi-Tone 2011 6 7 -1 10 1 Roy Haynes Roy-Alty Dreyfus 2011 5 13 -8 10 3 Cedar Walton The Bouncer High Note 2011 5 10 -5 10 8 Afro Bop Alliance Una Mas OA2 2011 5 8 -3 10 20 Alan Leatherman Detour Ahead AJL 2011 5 4 1 10 20 Dave Valentin Pure Imagination HighNote 2011 5 4 1 10 43 Sir Roland Hanna Colors From A Giant's Kit IPO 2011 5 2 3 10 43 Denise Donatelli What Lies Within Savant 2008 5 2 3 17 4 Bill O'Connell Triple Play Plus Three Zoho 2011 4 9 -5 17 10 John Stein Hi Fly Whaling City Sound 2011 4 7 -3 17 18 Gerald Beckett Standard Flute Summit 2011 4 5 -1 17 20 Denise Donatelli When Lights Are Low Savant 2010 4 4 0 17 27 Sammy Figueroa Urban Nature -
Song Pack Listing
TRACK LISTING BY TITLE Packs 1-86 Kwizoke Karaoke listings available - tel: 01204 387410 - Title Artist Number "F" You` Lily Allen 66260 'S Wonderful Diana Krall 65083 0 Interest` Jason Mraz 13920 1 2 Step Ciara Ft Missy Elliot. 63899 1000 Miles From Nowhere` Dwight Yoakam 65663 1234 Plain White T's 66239 15 Step Radiohead 65473 18 Til I Die` Bryan Adams 64013 19 Something` Mark Willis 14327 1973` James Blunt 65436 1985` Bowling For Soup 14226 20 Flight Rock Various Artists 66108 21 Guns Green Day 66148 2468 Motorway Tom Robinson 65710 25 Minutes` Michael Learns To Rock 66643 4 In The Morning` Gwen Stefani 65429 455 Rocket Kathy Mattea 66292 4Ever` The Veronicas 64132 5 Colours In Her Hair` Mcfly 13868 505 Arctic Monkeys 65336 7 Things` Miley Cirus [Hannah Montana] 65965 96 Quite Bitter Beings` Cky [Camp Kill Yourself] 13724 A Beautiful Lie` 30 Seconds To Mars 65535 A Bell Will Ring Oasis 64043 A Better Place To Be` Harry Chapin 12417 A Big Hunk O' Love Elvis Presley 2551 A Boy From Nowhere` Tom Jones 12737 A Boy Named Sue Johnny Cash 4633 A Certain Smile Johnny Mathis 6401 A Daisy A Day Judd Strunk 65794 A Day In The Life Beatles 1882 A Design For Life` Manic Street Preachers 4493 A Different Beat` Boyzone 4867 A Different Corner George Michael 2326 A Drop In The Ocean Ron Pope 65655 A Fairytale Of New York` Pogues & Kirsty Mccoll 5860 A Favor House Coheed And Cambria 64258 A Foggy Day In London Town Michael Buble 63921 A Fool Such As I Elvis Presley 1053 A Gentleman's Excuse Me Fish 2838 A Girl Like You Edwyn Collins 2349 A Girl Like -
A Period of Rapid Evolution in Bass Playing and Its Effect on Music Through the Lens of Memphis, TN
A period of rapid evolution in bass playing and its effect on music through the lens of Memphis, TN Ben Walsh 2011 Rhodes Institute for Regional Studies 1 Music, like all other art forms, has multiple influences. Social movements, personal adventures and technology have all affected art in meaningful ways. The understanding of these different influences is essential for the full enjoyment and appreciation of any work of art. As a musician, specifically a bassist, I am interested in understanding, as thoroughly as 1 http://rockabillyhall.com/SunRhythm1.html (date accessed 7 /15/11). possible, the different influences contributing to the development of the bass’ roles in popular music, and specifically the sound that the bass is producing relative to the other sounds in the ensemble. I am looking to identifying some of the key influences that determined the sound that the double and electric bass guitar relative to the ensembles they play in. I am choosing to focus largely on the 1950’s as this is the era of the popularization of the electric bass guitar. With this new instrument, the sound, feeling and groove of rhythm sections were dramatically changed. However, during my research it became apparent that this shift involving the electric bass and amplification began earlier than the 1950’s. My research had to reach back to the early 1930’s. The defining characteristics of musical styles from the 1950’s forward are very much shaped by the possibilities of the electric bass guitar. This statement is not taking away from the influence and musical necessity that is the double bass, but the sound of the electric bass guitar is a defining characteristic of music from the 1950s onward. -
COMPLETE CATALOG with All Information
Available Pat Martino transcription books: PM #1 € 9,95/$ 15,95 Pat Martino: Solos 1968-1974 Bebop & Beyond: Sideman Years I (40 pages) PM #2 € 9,95/$ 15,95 Pat Martino: Solos 1963-1964 Swing To Bop: Sideman Years II (42 pages) PM #3 € 9,95/$ 15,95 Pat Martino: Solos 1964/1965 More Swing To Bop: Sideman Years III (38 pages) PM #4 € 9,95/$ 15,95 Pat Martino: Solos 1965 - 1967 Organ Standards: Sideman Years IV (41 pages) PM #5 € 9,95/$ 15,95 Pat Martino: Solos 1973-1977 In The Seventies: Sideman Years V (43 pages) PM #6 € 9,95/$ 15,95 Pat Martino: EL HOMBRE [1967] (34 pages) PM #7 € 9,95/$ 15,95 Pat Martino: STRINGS! [1967] (27 pages) PM #8 € 9,95/$ 15,95 Pat Martino: EAST! [1968] (35 pages) PM #9 € 9,95/$ 15,95 Pat Martino: FOOTPRINTS [1972] (36 pages) PM #10 € 9,95/$ 15,95 Pat Martino: LIVE! [1972] (29 pages) PM #11 € 9,95/$ 15,95 Pat Martino: CONSCIOUSNESS [1974] (38 pages) PM #12 € 9,95/$ 15,95 Pat Martino: WE'LL BE TOGETHER AGAIN [1976] (34 pages) PM #13 € 9,95/$ 15,95 Pat Martino: JOYOUS LAKE [1976] (32 pages) PM #14 € 14,95/$ 22,95 Pat Martino: THE RETURN [1987] (58 pages) PM #15 € 5,95/$ 8,95 P.M.'s solos on Bob Kenmotsu's BRONX TALE [1994] (17 pages) PM #16 € 9,95/$ 15,95 Pat Martino: INTERCHANGE [1994] (44 pages) PM #17 € 9,95/$ 15,95 Pat Martino: NIGHTWINGS [1994] (32 pages) PM #18 € 9,95/$ 15,95 Pat Martino: THE MAKER [1994] (32 pages) PM #19 € 9,95/$ 15,95 Pat Martino: STONE BLUE [1998] (36 pages) PM #20 € 9,95/$ 15,95 Pat Martino: EXIT [1976] (35 pages) PM #21 € 19,95/$30,95 Pat Martino: LIVE AT YOSHI's [2000] (70 pages) PM -
BUG: Moby Special at BFI Southbank
PRESS RELEASE: May 2011 11/38 BUG: Moby Special at BFI Southbank On June 1 the smash hit, audio visual event BUG will celebrate the career of the multi-award- winning and internationally renowned musician Moby, with an exclusive event dedicated to his work, to date, at BFI Southbank. This month BUG is delighted to mark the arrival of Moby’s new album Destroyed, with a retrospective of the artist’s output and involvement in moving image, including memorable videos such as Natural Blues, We Are All Made of Stars, Bodyrock, Run On and Honey. This dedicated evening will reflect on Moby’s remarkable career and his collaborations with such directors as David Lynch, David LaChapelle, Mike Mills, Jonas Åkerlund and Roman Coppola. BUG host Adam Buxton will also reveal some of the videos made for the new album and talk to Moby on stage at BFI Southbank. Festivities continue into the evening with DJs and music in the benugo bar. After 4 years of sell-out shows at BFI Southbank and further afield, BUG continues to celebrate music video creativity and innovation with another artist-led special show. Previous artist specials have celebrated the work of Massive Attack, UNKLE and most recently, Royksopp. Now celebrating its fifth successful year, BUG events are presented on a bi-monthly basis at BFI Southbank, hosted by Adam Buxton and featuring leading guest directors from the world of music video. Tickets for this special event are in huge demand. Tickets are £13, with concessions at £9.75 (Members pay £1.50 less) at www.bfi.org.uk/southbank or by calling 020 7928 3232. -
Songs by Artist
DJU Karaoke Songs by Artist Title Versions Title Versions ! 112 Alan Jackson Life Keeps Bringin' Me Down Cupid Lovin' Her Was Easier (Than Anything I'll Ever Dance With Me Do Its Over Now +44 Peaches & Cream When Your Heart Stops Beating Right Here For You 1 Block Radius U Already Know You Got Me 112 Ft Ludacris 1 Fine Day Hot & Wet For The 1st Time 112 Ft Super Cat 1 Flew South Na Na Na My Kind Of Beautiful 12 Gauge 1 Night Only Dunkie Butt Just For Tonight 12 Stones 1 Republic Crash Mercy We Are One Say (All I Need) 18 Visions Stop & Stare Victim 1 True Voice 1910 Fruitgum Co After Your Gone Simon Says Sacred Trust 1927 1 Way Compulsory Hero Cutie Pie If I Could 1 Way Ride Thats When I Think Of You Painted Perfect 1975 10 000 Maniacs Chocol - Because The Night Chocolate Candy Everybody Wants City Like The Weather Love Me More Than This Sound These Are Days The Sound Trouble Me UGH 10 Cc 1st Class Donna Beach Baby Dreadlock Holiday 2 Chainz Good Morning Judge I'm Different (Clean) Im Mandy 2 Chainz & Pharrell Im Not In Love Feds Watching (Expli Rubber Bullets 2 Chainz And Drake The Things We Do For Love No Lie (Clean) Wall Street Shuffle 2 Chainz Feat. Kanye West 10 Years Birthday Song (Explicit) Beautiful 2 Evisa Through The Iris Oh La La La Wasteland 2 Live Crew 10 Years After Do Wah Diddy Diddy Id Love To Change The World 2 Pac 101 Dalmations California Love Cruella De Vil Changes 110 Dear Mama Rapture How Do You Want It 112 So Many Tears Song List Generator® Printed 2018-03-04 Page 1 of 442 Licensed to Lz0 DJU Karaoke Songs by Artist -
Album Reviews
— — flnn^^ r^isi:: . ;z Cash ALBUM REVIEWS iiiiiiiMiM IlllBMfflffll ll l l lilliW The Nov Capitol THE FLAMINGOS/THEIR HITS THEN AND *= THE NEW CLASSIC SINGERS— T/ ( lasvit NOW—Philips PH.VI 200-206/PHS 600-206 ST 2440 Singer-/ This latest offering by the Flamingos is in no . On this set, the New Classic Singers sing not one particular mood or tempo. It is all up to date, words but easy flowing one-syllable sounds that danceable music built on a firm r&b foundation. emphasize and enhance the melody. This package, “I Only Have Eyes For You” and the more recent which contains such songs as “A Lover’s Con- “Boogaloo Party” are 2 of their singles on this certo,” was produced, arranged, and conducted by release which is also highlighted by “The Yellow Hank Levine. Two other blue ribbon tracks are Rose Of Texas” and “Brooklyn Boogaloo.” The set “Sukiyaki” and “Bye Bye Blues.” A fine item for should move into prominence quickly. listening pleasure. JAZZ PICK THE GOSPEL ACCORDING TO ST. MATTHEW Original Motion — Picture Score—Mainstream Portrait of W V»* 54000/S 4000 PORTRAIT OF WES—Wes Montgomery Trio Riverside 492 One of the latest films dealing with the life guitarist Montgomery, backed by of Christ, Pier Paolo Pasolini’s “The Gospel Jazz Wes Mel Rhyne and drummer George Brown, According To St. Matthew” has received a high organist reaffirms his fans’ faith in his excellence with this degree of acclaim from the critics and should track set of both classic and self-penned score well in this original motion picture score six pieces. -
2018 Institute Application Final
THELONIOUS MONK INSTITUTE OF JAZZ PERFORMANCE AT THE UCLA HERB ALPERT SCHOOL OF MUSIC APPLICATION FOR ADMISSION - CLASS ENTERING FALL 2018 Eligibility The Thelonious Monk Institute of Jazz Performance accepts up to eight (8) extremely talented jazz musicians into a two-year Master’s program, designed to enhance their musicianship and develop their artistic vision through intensive study with renowned jazz masters, combined with a unique performance-based education. The program aims to create a learning environment in which gifted jazz musicians can create and experiment musically without the artistic and financial pressures of the working world. All applicants must be planning to pursue a career as a performing and/or recording jazz musician. Applicants should note that the program requires a two-year commitment, during which time the program must take priority over all other music touring, teaching and recording opportunities. An advanced level of performance skills, including sight-reading ability, is required. International applicants must submit a TOEFL score. Applications may be submitted to study the following instruments: saxophone, trumpet, trombone, piano, electric guitar, acoustic bass, vibraphone, violin, drums, and vocals. Applicants who double or play secondary instruments and those who compose may be given extra consideration. The musicians accepted to attend the Thelonious Monk Institute of Jazz Performance must complete the full two-year program of study. The Thelonious Monk Institute of Jazz Performance encourages applications from all candidates without regard to race, color, religion, gender, age, national or ethnic origin, sexual orientation, mental or physical handicap, or veteran status in administration of its educational policies, admissions policies, scholarship programs and other activities. -
The Object of This Paper Is to Prove That the Importance of Jaco Pastorius
What Does Donna Lee Mean? An Analysis of the Construction of Meaning in Music Uri González Uppsala Universitet Institutionen för musikvetenskap C-uppsats Ht 2004 Handledare: Lars Berglund Abstract This essay examines the construction of the meaning of bassist Jaco Pastorius’ solo on Charlie Parker’s composition Donna Lee (Pastorius 1976) according to musicologist Jean- Jacques Nattiez’ semiological tripartition theory. After the application of Nattiez’ approach, the following conclusions can be established: 1. At the time of its conception, 1976, Donna Lee represented both a big step forward in the developments of the instrumental possibilities of the electric bass. In its refusal to submit to exclusively rhythmic tasks it gradually became an increasingly soloistic voice. This arrived to the point where it actually was conceivable for a bass player to take upon a three chorus long solo on a classic jazz standard. 2. Despite this innovative spirit which drives Pastorius artistic output, his Donna Lee pays hommage to the jazz tradition and to the group of stylistic constraints that today characterize what is known as bebop. 3. The final meaning of Donna Lee and of any other musical text goes beyond its historical vicissitudes and its immanent structures. Meaning is not imposed by the exterior but is constructed by the individual mind in a perception that is creative and over-productive in a circular dialog with the environment. The essay will also make reference to the theories of musical semioticians and cognitive psychologists such as James Gibson, Robert Hatten, Ruben Lopez Cano, José Antonio Marina, among others. Table of contents ABSTRACT ............................................................................................................................ -
Monterey Jazz Festival
DECEMBER 2018 VOLUME 85 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes 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; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; -
Butler University School of Music Duckwall Artist Series Open Sky Bird at 100: a Tribute to Charlie Parker
BUTLER UNIVERSITY SCHOOL OF MUSIC DUCKWALL ARTIST SERIES presents OPEN SKY BIRD AT 100: A TRIBUTE TO CHARLIE PARKER Matt Pivec, saxophones Jesse Wittman, bass Sandy Williams, guitar Kenny Phelps, drums Steve Allee, piano Eidson-Duckwall Recital Hall Tuesday, October 13, 2020 • 7:30 P.M. The fourteenth program of the Butler University School of Music 2020-21 season PROGRAM Repertoire will be announced from the stage. BIOS MATT PIVEC As a performer of jazz and popular music, Matt has worked with Ray Charles, Aretha Franklin, The Temptations, Dave Rivello, Bob Brookmeyer, Peter Erskine, Maria Schneider, Julia Dollison, Melvin Rhyne, the Buselli-Wallarab Jazz Orchestra, the Indianapolis Symphony Orchestra, the Rochester Philharmonic Pops Orchestra, and the national touring companies of Hairspray, 42nd Street, and The Producers. As a band leader and soloist, Matt has performed at jazz festivals and venues throughout the United States. He has three albums to his credit: Live at Snider Hall, Psalm Songs, and the recently released Time and Direction. Currently, Matt is the Director of Jazz Studies at Butler University where he leads the Jazz Ensemble and teaches courses in the jazz studies curriculum. Under his direction, Butler ensembles have performed with world-renowned guest artists such as Kurt Elling, Christian McBride, Bobby Sanabria, Donny McCaslin, Fred Sturm, Melvin Rhyne, Steve Allee, Ted Poor, and the Wee Trio. Matt received the Doctor of Musical Arts (Saxophone Performance and Literature) and Master of Music (Jazz Studies and Contemporary Media) degrees from the Eastman School of Music in Rochester, New York. While at Eastman, Matt studied with Ramon Ricker.