TAGUNGSPROGRAMM FG2017 LWI.Compressed

Total Page:16

File Type:pdf, Size:1020Kb

TAGUNGSPROGRAMM FG2017 LWI.Compressed ! ! Festival für Festival Jazz und für Jazz Kirche 2017 im Rahmen des 21. und Liturgiewissenschaftlichen Fachgesprächs an der Kirche FESTIVAL!FÜR!JAZZ!UND!KIRCHE!2017! Universität Leipzig 2017 im Rahmen des 21. Liturgiewissenschaftlichen Fachgesprächs an der Universität Leipzig TAGUNGSPROGRAMM Musikalische Gebete über Choräle der Reformationszeit 21. Liturgiewissenschaftliches Fachgespräch über Donnerstag, 02.03., 20.00 Uhr / THOMASKIRCHE / Eintritt frei JAZZ NACHTGESANG Freitag, 03.03., 21.00 Uhr / PETERSKIRCHE LEIPZIG / Eintritt frei ORGELIMPROVISATIONSNACHT CD-RELEASE CONCERT: Thomas Stahr Trio (Leipzig) feat. Improvisation und die Klangfarben des mit Gebeten zur Passionszeit Sabine Helmbold - Vocals / Hannes Dullinger - Drums & Loops Daniel Beilschmidt (Leipzig) / Helmut Hoeft (Berlin) / Johannes Landgren (Göteburg) -≈- Evangelischen Gottesdienstes Christian Scheel (Nienburg/Weser) / Daniel Stickan (Lüneburg) Christoph Georgii (Karlsruhe) - Piano / Chanda Rule (Wien) - Vocals Beat Rink (Aphorismen, Basel) / Yoora Lee (Gesang, Leipzig) und weitere Jazzsolisten Liturgie: Katrin Oxen (Wittenberg) / Daniel Walther (Leipzig) Ike Sturm (New York) - Bass / Dan Forshaw (London) - Sax ! vom 02.-05. März 2017 ! www.liturgiewissenschaft.org! www.liturgiewissenschaft.org! ! ! ! ! Deutsche Uraufführung Festival „Wagnis“ Festival für Jazz Choralsuite zum für Jazz Reformationsjubiläum und und Kirche Kirche Europäische Uraufführung 2017 2017 “Eternal, Victorious, Light: im Rahmen des 21. im Rahmen des 21. Liturgiewissenschaftlichen A Jazz Passion and Resurrection” Liturgiewissenschaftlichen Fachgesprächs Fachgesprächs an der Universität Die Passion Jesu Christi erzählt in Klangfarben des an der Universität Leipzig Jazz mit den Komponisten und Solisten aus Chicago Leipzig ! So, 05.03., 20:00 Uhr DREIKÖNIGSKIRCHE Hauptstr. 23, 01097 Dresden SA 04.03., 20.00 Uhr HEILANDSKIRCHE Lindenau-Plagwitz (Eintritt frei) Tord Gustavsen: MASS Jazzensemble und Vokalsolisten der Hochschule für Musik Hannover Deutsche Uraufführung Bobby Schiff - Piano / Andy Tecson - Altsax / Ken Jandes - Tenorsax Blue Church Choir der HfM Dresden Victor Sepulveda Rodriguez & Conference of S(w)ing - Jazzchor der Tord Gustavsen (Oslo) - Klavier Konservatorien Leipzig und Dresden / Leitung: Sabine Helmbold Uwe Steinmetz (Berlin) - Saxophon Dirigat und Gesamtleitung: Dr. Raphael Thöne Dirigat: Keno Hankel (Dresden) und Esther Kaiser (Berlin) www.liturgiewissenschaft.org! www.liturgiewissenschaft.org! ! www.liturgiewissenschaft.org! ! ! Leipzig, den 28.02.2017 Liebe Teilnehmerinnen und Teilnehmer des 21. Liturgiewissenschaftlichen Fachgesprächs, es gilt mannigfaltig Dank zu sagen! Zunächst Ihnen allen, dass Sie an dieser Thematik interessiert sind und die oftmals weiten Reisen auf sich genommen haben. Mein großer Dank gilt dem ganzen Team der Theologischen Fakultät und unseres Institutes um Frau Schelske und Frau Böhner, Herrn Wagner und allen freiwilligen Helfern, die uns nun nach monatelangen Vorarbeiten sicher und wohldurchdacht durch die Tagung begleiten. Ein herzlicher Dank gilt auch der Unterstützung durch die Pressestelle der VELKD, namentlich Herrn Holfert und Team, für den Plakat- und Flyerdruck und Versand. Dann danke ich allen unseren institutionellen Partnern, Musikhochschulen, Konservatorien, Universitäten, Kirchgemeinden und Jazzinitiativen die durch ihre Unterstützung unsere Veranstaltung zum Klingen bringen und dazu beitragen, dass unser Treffen aus den Tagungsräumen in die Kirchen der Stadt ausstrahlen kann. Alle Logos dieser Partner finden sich auf den Plakaten und Flyern als ein bunter Cluster. Ich hoffe sehr, dass entstandene Verbindungen sich vertiefen und weitere Vernetzungen ermöglichen können. Uns allen wünsche ich auch im Namen von Alexander Deeg und Christian Lehnert viele neue inspirierende Einsichten, Begegnungen und spirituelle Jazz-Momente, ob es berauschende Orgelimprovisationen sind, die gemeinsamen Morgengebete zur beginnenden Passionszeit, introspektive abendliche Choralimprovisationen, ein triumphierendes vorösterliches Erlebnis in der Jazz Passion von Andy Tecson oder das Mitschwingen im leisen und fragenden „Alleluia“ in der Messe von Tord Gustavsen. Herzlich, Ihr Uwe Steinmetz INHALT S. 1-6 Tagungsprogramm DE/EN S. 7-8 Geleitwort von Dr. Horst Gorski S. 9-10 Jazz und Gottesdienst / Dr. Johann Hinrich Claussen S. 11-14 Jazz und Glaube / Uwe Steinmetz S. 15-18 Musik zwischen Himmel und Erde / Uwe Steinmetz S. 19-24 Orgelimprovisationsnacht mit Gebeten zur Passionszeit S. 25-26 Morgengebet am 03.03.2017 S. 27-29 Jazz Nachtgesang am 03.03.2017 S. 30-33 Morning Prayer in Jazz (ELCA) / 04.03.2017 S. 34-37 Saint Peter´s Jazz Vesper NYC / 04.03.2017 S. 38 WAGNIS - Eine Jazz-Suite zum Reformationsjubiläum / 04.03.2017 S. 39-49 Victorious, Eternal, Light, a Jazz Passion and Resurrection / 04.03.2017 S. 50-51 Tord Gustavsen: MASS / 05.03.2017 Improvisation und die Klangfarben des Evangelischen Gottesdienstes 21. Liturgiewissenschaftliches Fachgespräch 2017 ! Für Anreisende am Mittwoch: Mittwoch, 01.03., 19.30 Uhr, Peterskirche Ökumenische Stunde der Besinnung zum Aschermittwoch mit Jazzimprovisationen DONNERSTAG, 2. MÄRZ FREITAG, 3. MÄRZ Hörsaal der Theologischen Fakultät, Hörsaal der Theologischen Fakultät Martin-Luther-Ring 3, Erdgeschoss Martin-Luther-Ring 3, Erdgeschoss 10.00 Netzwerktreffen BLUE CHURCH 09.00 Tagzeitengebet in Jazz (bis 12.00) mit Albrecht Guendel-vom Hofe (Berlin), Birgitta Flick (Berlin) und 14.30 Kaffee, Begrüßung und Empfang Uwe Steinmetz (Berlin) (im 1. OG) 09.30 Improvisieren im Gottesdienst 15.00 Eröffnung des Fachgesprächs und PD Dr. Julia Koll (Loccum) thematische Einführung 10.45 Kaffee & Tee Prof. Dr. Alexander Deeg (Leipzig), 11.15 Zur soziokulturellen Bedeutung Dr. Christian Lehnert (Leipzig), von Jazz für die Kirche Uwe Steinmetz (Berlin) Prof. Dr. Hans Martin Gutmann 16.15 Tee & Kaffee (im 1. OG) (Hamburg) 16.45 Songs without Words: Some 12.30 Mittagspause Theological Reflections on Liturgical Jazz 14.30 Improvisation und religiöse Prof. Dr. Carol Harrison Erfahrung - Das Potential des Jazz (Oxford University) für eine Theologie der Musik Prof. Dr. Gotthard Fermor (Bonn) 18.15 Gemeinsames Abendessen 15.45 Tee & Kaffee (Seminarräume 112 / 114) 20.00 Thomaskirche / BLUE CHURCH I IMPROVISATION, 16.15 Werkstattgespräche in KONTEMPLATION UND Kleingruppen I IMAGINATION Improvisation in der Liturgischen Orgelimprovisationsnacht und Praxis: Formate, Potentiale und Gebete zur Passionszeit Perspektiven Musikalische Klangbilder über fünf biblische Texte zur Passionszeit ! 1! ! Improvisation and the Soundscapes of Protestant Services 21. Liturgiewissenschaftliches Fachgespräch 2017 ! For all participants arriving on Wednesday: Wednesday, 1st of March, 19.30, St. Peters Lutheran Church / Ecumenical Ash Wednesday prayer service with jazz improvisation and conference guests Thursday, 2nd of March Friday, 3rd of March Lecture Room, Ground Floor, Lecture Room, Ground Floor, Faculty of Theology, Martin-Luther-Ring 3 Faculty of Theology, Martin-Luther-Ring 3 10.00 Gathering of BLUE CHURCH 09.00 Morning Prayer in Jazz Network (till 12 o’clock) Albrecht Guendel-vom Hofe (Berlin) 14.30 Tea & Coffee, & Guests Welcome and Reception (1st floor) 09.30 Improvisation in the Worship 15.00 Opening and Service Thematic Introduction – Perspectives of Practical Theology Dr. Alexander Deeg (Leipzig), Dr. Dr. Julia Koll (Loccum) Christian Lehnert (Leipzig), 10.45 Tea & Coffee Uwe Steinmetz (Berlin) 11.15 The Sociocultural Significance 16.15 Tea & Coffee (1st floor) of Jazz for the Church Dr. Hans Martin Gutmann 16.45 Songs without Words: Some (Hamburg) Theological Reflections on 12.30 Lunch break Liturgical Jazz – Prof. Dr. Carol Harrison 14.30 Improvisation and Religious (Oxford University) Experience: The Potential of Jazz for a Theology of Music 18.15 Supper (Catering) Dr. Gotthard Fermor (Bonn) 15.45 Tea & Coffee st 20.00 St. Thomas Church (1 Floor, Lecture Room 112 / 114) BLUE CHURCH I IMPROVISATION, CONTEMPLATION AND 16.15 Workshop Session I IMAGINATION Improvisation as Liturgical Practice: Organ Improvisation and Prayers for Formats, Potentials and Perspectives the Season of Lent ! 2! ! A) IMPROVISATION UND JAZZ IN DER SAMSTAG, 4. MÄRZ KIRCHENMUSIKAUSBILDUNG Alter Senatssaal der Universität Leipzig, (Seminarraum 116) Ritterstrasse 26 Prof. Hartmut Naumann (Witten), Christoph Georgii (Karlsruhe), 09.00 Morgengebet in Jazz (ELCA) Daniel Beilschmidt (Leipzig) mit Andy Tecson & Ensemble 09.30 The Holy Spirit as Improviser B) LITURGISCHE JAZZINITIATIVEN IN Prof. Dr. Jeremy Begbie DEUTSCHLAND (Cambridge/UK, Durham/USA) (Seminarraum 122) 10.25 Response und Austausch im Plenum Martin Germer und Helmut Hoeft (Berlin), Dr. Dr. Matthias Krieg (Zürich) Siegfried Eckert und Gotthard Fermor 11.00 Kaffee & Tee (Bad Godesberg), Daniel Stickan und Eckhard Oldenburg (Lüneburg) 11.15 Werkeinführungen von Kompositionen des Liturgical Jazz: C) INTERNATIONALE JAZZ MINISTRIES Pantheon - Patrick Bebelaar (auf Englisch/Hörsaal) (Tübingen) // Ike Sturm, Chanda Rule, Jared R. Stahler Eternal, Victorious, Light. A Jazz (New York City), Dan Forshaw (Cambridge Passion and Resurrection - Andy & London), Tord Gustavsen (Oslo), Oliver Tecson (Chicago) // Antunes (Vejby), Johannes Landgren Wagnis. Eine Liturgische Jazz Suite - (Göteburg) Tobias Becker (Tübingen), Dr. Raphael Thöne (Hannover) und 17.30 Auswertung im Plenum / Studierende Berichte aus den Kleingruppen 12.45 Mittagspause 14.30 Werkstattgespräche in 18.30 Gemeinsames Abendessen Kleingruppen II Musiktheologie
Recommended publications
  • Religious Expressions Among Jazz Musicians
    religions Article Performing, Representing, and Archiving Belief: Religious Expressions among Jazz Musicians Vaughn A. Booker Department of Religion, Princeton University, 1879 Hall, Princeton, NJ 08544, USA; [email protected] Academic Editors: Douglas James Davies and Michael J. Thate Received: 30 March 2016; Accepted: 12 August 2016; Published: 19 August 2016 Abstract: The archives of African American jazz musicians demonstrate rich sites for studying expressions of religious belief and daily religious practice in public and private arenas, in professional and personal capacities. Highlighting print material from the archives of Edward Kennedy “Duke” Ellington (1899–1974) and Mary Lou Williams (1910–1981), this article examines the ways that these musicians worked to articulate their beliefs in print and to make meaning of their routine practices. Ellington and Williams produced written records of their aspirations for non-clerical religious authority and leadership, novel notions of religious community, and conceptions of quotidian writing tasks as practices with devotional value in the middle decades of the twentieth century. In preparation for his Sacred Concert tours of American and Western European religious congregations, Ellington theologized about the nature of God and the proper language to address God through private hotel stationery. Following her conversion to Roman Catholicism, Williams managed a Harlem thrift shop and worked to create the Bel Canto Foundation for musicians struggling with substance abuse and unemployment. This study of the religious subjectivity of African Americans with status as race representatives employs archival historical methods in the effort to vividly approximate complex religious interiority. Keywords: African American religious history; Religion in America; jazz; Duke Ellington; Mary Lou Williams 1.
    [Show full text]
  • |||GET||| Creative Jazz Improvisation 4Th Edition
    CREATIVE JAZZ IMPROVISATION 4TH EDITION DOWNLOAD FREE Scott D Reeves | 9780131776395 | | | | | Creative Jazz Improvisation by Scott Reeves Jazz-rock fusion appeared in the late s and early s, combining jazz improvisation with rock music 's rhythms, electric instruments, and highly amplified stage sound. It was Creative Jazz Improvisation 4th edition 'J-A-S-S'. Bunch II [l0v. Main article: Jazz fusion. Unfortunately, relatively little has been written about sacred and liturgical jazz. For most of its history, Afro-Cuban jazz had been a matter of superimposing jazz phrasing over Cuban rhythms. Since the beginning of the 90s, electronic music had significant technical improvements that popularized and created new possibilities for the genre. Bythe Atlantic slave trade had brought nearlyAfricans to North America. I gratefully acknowledge these people, as well as the staff at Prentice Hall, particularly my acquisitions editor, Christopher Johnson and my production and copy editor, Laura Lawrie. Murray, Richard Ambrose, Megan N. Enlarge cover. A series of recordings with the Classic Quartet in the first half of show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonicsutilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. Tatiana Abramova added it May 31, Greer [xds. However the Catholic church has not embraced jazz as appropriate for Creative Jazz Improvisation 4th edition. Joyce, Marsha Weil, Emily Calhoun. Seller Inventory Julnd The relaxation of orthodoxy which was concurrent with post-punk in London and New York City led to a new appreciation of Creative Jazz Improvisation 4th edition.
    [Show full text]
  • The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1St Edition Pdf, Epub, Ebook
    THE NORTON JAZZ RECORDINGS 2 COMPACT DISCS FOR USE WITH JAZZ: ESSENTIAL LISTENING 1ST EDITION PDF, EPUB, EBOOK Scott DeVeaux | 9780393118438 | | | | | The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1st edition PDF Book A Short History of Jazz. Ships fast. Claude Debussy did have some influence on jazz, for example, on Bix Beiderbecke's piano playing. Miles Davis: E. Retrieved 14 January No recordings by him exist. Subgenres Avant-garde jazz bebop big band chamber jazz cool jazz free jazz gypsy jazz hard bop Latin jazz mainstream jazz modal jazz M-Base neo-bop post-bop progressive jazz soul jazz swing third stream traditional jazz. Special Attributes see all. Like New. Archived from the original on In the mids the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. Traditional and Modern Jazz in the s". See also: s in jazz , s in jazz , s in jazz , and s in jazz. Charlie Parker's Re-Boppers. Hoagy Carmichael. Speedy service!. Visions of Jazz: The First Century. Although most often performed in a concert setting rather than church worship setting, this form has many examples. Drumming shifted to a more elusive and explosive style, in which the ride cymbal was used to keep time while the snare and bass drum were used for accents. Season 1. Seller Inventory While for an outside observer, the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from Claude Debussy to Arnold Schoenberg , such a scheme cannot be sustained by the evidence from a cognitive approach.
    [Show full text]
  • Mi M®, 7273 the FUNCTION of ORAL TRADITION in MARY LOU's MASS by MARY LOU WILLIAMS THESIS Presented to the Graduate Counci
    37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 Fledderus, France. The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams. Master of Music (Musicology), August, 1996,141 pp., 44 titles. The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass.
    [Show full text]
  • September 2007 Published by the American Recorder Society, Vol
    september 2007 Published by the American Recorder Society, Vol. XLVIII, No. 4 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com NEW FROM MAGNAMUSIC American Songs Full of Songs Spirit & Delight Fifteen pieces For TTB/SST freely arranged for The twenty lovely recorder trio, SAT, pieces in this by Andrew aptly named set Charlton. Classics demonstrate why like America, Michael East in Battle Hymn of the his time was Republic, America arguably one of the Beautiful, The the most popular Caisson Song, of the Elizabethan Columbia, the Gem composers. of the Ocean, The Marines Hymn, Chester, Complete edition from the original score, with Battle Cry of Freedom, All Quiet along the intermediate difficulty. 3 volumes. $8.95 each Potomac, I'm a Yankee Doodle Dandy, Vol. 1 ~ TTB Vol. 2 ~ TTB Vol. 3 ~ SST Marching through Georgia, and more! TR00059 TR00069 TR00061 Item No. JR00025 ~ $13.95 IN STOCK NOW! An inspiring and instructive guide for everyone who plays the recorder (beginner, intermediate, experienced) and wants to play more beautifully. The Recorder Book is written with warmth and humor while leading you in a natural, methodical way through all the finer points of recorder playing. From selecting a recorder to making it sing, from practicing effectively to playing ensemble, here is everything you need. This is a most enjoyable read, whether you are an amateur or an expert. The repertoire lists have been updated, out-of-print editions have been removed, and edition numbers have been changed to reflect the most recent edition numbering.
    [Show full text]
  • Jazz Notes TM the Journal of the Jazz Journalists Associationsm
    Jazz Notes TM The Journal of the Jazz Journalists AssociationSM Vol. 18, No. 4 • Winter 2008 From the Editor 2 Arriving at jazz criticism by way of the city desk. President’s Report 3 Reporting on Jazz 8 By Ashante Infantry Somewhere Over 4 Nine Minutes riting about jazz h a s b e e n t he In The Other Room — that didn’t appeal to By Cyril Moshkow most challenging yet adaptable the Star’s jazz critic. W undertaking of my journalism Interest piqued, I began to help out on the After You’ve Gone 5 career. I’d worked primarily on the city beat — reviewing a festival appearance By John McDonough news side after joining the Toronto Star by Joshua Redman, interviewing Sonny staff in 1995. But I always contributed to Rollins for an advancer — and audited the entertainment pages, writing mostly Tom Terrell 7 a university course on jazz history and about hip-hop and R&B, out of personal criticism. Before long I was hooked by the interest in music that wasn’t being cov- beauty and tradition of the music and its Book Reviews 8 ered in the paper and for the opportunity personalities, controversies and complex- By David R. Adler, Stuart Broomer to write more creatively. ities. I eventually assumed the mantle in and Ken Dryden the wake of the retirement of the paper’s I had a passing familiarity with jazz longtime jazz critic. Though juggling pop News of Members 8 (Miles, Billie, the Marsalises) when and jazz criticism is sometimes hectic, I pitched a few years ago by a Verve pub- hope that those who read me for J.Lo and licist about a series of recordings — Jamie New Members 13 Cullum, RH Factor, Diana Krall’s The Girl continued on page 17 | » Dale Lind Retires 15 By arnold jay smith R.I.P., 2007 19 IN THIS ISSUE IN ON THE COVER: Ornette Coleman at the 2004 JVC Jazz Festival in Newport, Rhode Island.
    [Show full text]
  • Jazz in Modern Liturgical Music
    JAZZ IN MODERN LITURGICAL MUSIC You wouldn’t normally expect to find modern jazz music performed at Mass, yet this is exactly what is happening at Copenhagen Cathedral. Is this a pioneering new direction for Mass? We explore the development of jazz in liturgy. When the Copenhagen Jazz Festival added the city’s cathedral, The Church Of Our Lady, to its venues list, it may have simply been a move to use whatever spaces were available to expand its programme. After all, there are many other ‘urban festivals’ around the world that use churches as venues to great effect. However, they may not have envisaged how this would develop into an annual ‘July Jazz Masses’ at the cathedral, now a regular part of the Jazz Festival programme. Completed in 1829, the cathedral is an unpretentious building in the neo-classicist style, with a bright interior, remarkable statues and seating for over 1100 people. The Jazz July Masses are traditional worship services led by the Dean, Anders Gadegaard, infused with live music led by acclaimed bassist Chris Minh Doky, drawing on Scandinavian as well as Catholic traditions. To Dean Gadegaard, it is all about enhancement of the experience, as he commented in an interview on Danish broadcaster PBS: “When you add this jazz tone, it becomes much more vital for people, and it becomes easier for us to proclaim the gospel.” The Cathedral has gone further and now also includes jazz in special 'Night Church' events on Thursdays, Fridays and Sundays. These are services offering prayer, electronica, poetry, jazz, gospel workshop and other contemporary forms in a candle- lit setting.
    [Show full text]
  • The New in Music
    University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 1929 The new in music Alma Lowry Williams University of the Pacific Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Part of the Music Commons Recommended Citation Williams, Alma Lowry. (1929). The new in music. University of the Pacific, Thesis. https://scholarlycommons.pacific.edu/uop_etds/887 This Thesis is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. i ·THE NEW IN r.ms I C A Thesis Presented to the Department of Music College of the Pacific In partial fulfillment of the Requirements• for the Degree of !Ja~-~~r of Music By Alma Lowry Viilliams I {I June 1, 1929 !,' Approved and accepted, June, 1929. i f ; ' \ ,,________ _ Dean of the Conservatory, College ot the Pacific. Librarian, College of the Pacific. Gratefully inscribed and dedicated To r:y MOTHJ~R ~:ihoae enduring love has encompassed me with a golden circle of understanding, whose faith has strengthened me and inspired me to labor and to achieve • .. _/ 0 '-' ;~· iii CONTm:TS Chapter Page Int ro duct ion I. The Nature and Es sene e of Huai c •••., , •• , •••••••••••••••••••• , 1 1-Definitions, a-physical phenomena •••••••••••••••••••••••••••••• 2 b-psycho-physical react.ions •••••••••••••••••••••••
    [Show full text]
  • Guide to the John Gensel Collection of Duke Ellington Music
    Guide to the John Gensel Collection of Duke Ellington Music NMAH.AC.0763 Will Crafton Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents note................................................................................................ 2 Biographical/Historical note.............................................................................................. 2 Arrangement..................................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Joe Morgen Correspondence and Records, 1946-1979........................... 4 Series 2: Photographs, Slides, and Negatives, 1960s-1970s.................................. 5 Series 3: Judy Garland Show Sheet Music, 1963-1964.......................................... 6 Series 4: Ellington Materials, 1950s-1960s.............................................................. 7 Series 5: Sound
    [Show full text]
  • Derick Cordoba Dissertation
    © 2017 Derick Cordoba LITURGICAL JAZZ: THE LINEAGE OF THE SUBGENRE IN THE MUSIC OF EDGAR E. SUMMERLIN BY DERICK CORDOBA DISSERTATION Submitted in partial fuLfiLLment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate CoLLege of the University of IlLinois at Urbana-Champaign, 2017 Urbana, IlLinois Doctoral Committee: Associate Professor Lawrence Gray, Chair Professor GabrieL SoLis, Director of Research Associate Professor Tito CarriLLo Professor Erik Lund ABSTRACT This dissertation discusses the Lineage of Liturgical jazz with a particuLar focus on Edgar Eugene “Ed” SummerLin (1928-2006). This Lineage stretches back into the Late 1950s, but has LargeLy been unexplored beyond a seLect few high-profiLe artists. I trace the evoLution of Liturgical jazz from several composers’ earLiest attempts to the present day. ALthough the Liturgical jazz movement began in the Late 1950s, it was primariLy a product of the turbuLent 1960s in America. This was a period of great change and expLoration not onLy in jazz but in organized reLigion as weLL. A deep and frank discussion emerged as to what Liturgical music shouLd and wouLd be alLowed to sound Like. These decisions at the highest LeveLs of denominations had ramifications that are stiLL being feLt today in the churches of America; however, the primary focus of this dissertation is on the formative period of Liturgical jazz during the 1960s and earLy 1970s. These years give a basis for better understanding and appreciating the deveLopment and defining features of Liturgical jazz. SummerLin is a figure that is often cited as a pioneer in Liturgical jazz, but no one has offered a history of his Life, his music, or why his Liturgical music was so revoLutionary.
    [Show full text]
  • The Sacred Music of Mary Lou Williams
    Title Page Title Page At the Intersection of Jazz and Catholicism: The Sacred Music of Mary Lou Williams by Christopher Carnell Capizzi BFA, Carnegie Mellon University, 1991 MAM, Carnegie Mellon University, 1992 Submitted to the Graduate Faculty of the Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS & SCIENCES This dissertation was presented by Christopher Carnell Capizzi It was defended on July 17, 2019 and approved by Michael Heller, PhD, Assistant Professor, Jazz Studies Amy Williams, PhD, Associate Professor, Composition Paula Kane, PhD, Professor and John and Lucine O'Brien Marous Chair, Contemporary Catholic Studies Dissertation Chair: Aaron Johnson, PhD, Assistant Professor, Jazz Studies ii Abstract At the Intersection of Jazz and Catholicism: The Sacred Works of Mary Lou Williams Christopher Carnell Capizzi, PhD University of Pittsburgh, 2019 In the 1960s, African American jazz pianist and composer Mary Lou Williams (1910-81) used what was then known as the Negro spiritual, blues, swing, bebop, and even ragtime as inspiration for her settings of the sacred liturgy of the Roman Catholic Church. She deliberately chose jazz, which she called “the only true American artform,” drawing from all the eras of jazz. In doing so, she documented the important achievements in black music history in a way that few have achieved within the confines of single multi-movement works. In this she should be compared to Ellington perhaps, whose multiple movement extended works, like Black, Brown and Beige (1943) had presented the diversity, depth, and variety of the African American experience.
    [Show full text]
  • Teaching Jazz As American Culture Lesson Plans
    TEACHING JAZZ AS AMERICAN CULTURE LESSON PLANS NEH SUMMER INSTITUTE The Center for the Humanities Washington University in St. Louis July 2-27, 2007 contents Foreword ……………………………………………………………………………… iv Gerald Early, Merle Kling Professor of Modern Letters, Department of English iv Director, The Center for the Humanities Jazz and Biography ………………………………………………………………… 1 Robert Edwards, Annie Joly, Frank Kovarik, Alice Lee, and Gerry Liebmann Jazz and Fiction ……………………………………………………………………… 21 Ken Froehlich, T. J. Gillespie, Judith Nador, Melissa Papianou, and Elizabeth Patterson Jazz and Gender …………………………………………………………………… 45 Amy Dilts, Aimee Hendrix, Hope Rias, and Franklin Webster Jazz and Race ………………………………………………………………………… 59 Robert Evans, Allen Stith, Herbert West, and Keith Westbrook Jazz and the Urban Landscape …………………………………………………… 72 Monica Freese, John Gornell, Patrick Harris, Mark Halperin, and Jerome Love Jazz and the Visual Imagination …………………………………………………… 85 Judy Gregorc, Rob Matlock, Martha Jewell Meeker, Ellen Rennard, Laura Rochette, and Larissa Young iii foreword Teaching Jazz as American Culture and as an attractive form of identity for young people. But jazz also represents a markedly different story Now, a word or two before you go. I must make from, say, country and western, rock and roll, rhythm clear to you once again why we were all here and what and blues, hip hop and rap. None of these forms of we all tried to accomplish in these last four weeks. It music has so dramatically lost its popularity and none was never my intention to encourage you to make your has become a conservatory music. It is the ways in students fans of jazz. It was never even my intention which jazz serves as a paradigm for the formation of to make any of you jazz fans who were not inclined to mass taste and the ways in which it is not a paradigm, be so.
    [Show full text]