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												INTRODUCTION: BLUE NOTES TOWARD a NEW JAZZ DISCOURSE I. Authority and Authenticity in Jazz Historiography Most Books and Article
INTRODUCTION: BLUE NOTES TOWARD A NEW JAZZ DISCOURSE MARK OSTEEN, LOYOLA COLLEGE I. Authority and Authenticity in Jazz Historiography Most books and articles with "jazz" in the title are not simply about music. Instead, their authors generally use jazz music to investigate or promulgate ideas about politics or race (e.g., that jazz exemplifies democratic or American values,* or that jazz epitomizes the history of twentieth-century African Americans); to illustrate a philosophy of art (either a Modernist one or a Romantic one); or to celebrate the music as an expression of broader human traits such as conversa- tion, flexibility, and hybridity (here "improvisation" is generally the touchstone). These explorations of the broader cultural meanings of jazz constitute what is being touted as the New Jazz Studies. This proliferation of the meanings of "jazz" is not a bad thing, and in any case it is probably inevitable, for jazz has been employed as an emblem of every- thing but mere music almost since its inception. As Lawrence Levine demon- strates, in its formative years jazz—with its vitality, its sexual charge, its use of new technologies of reproduction, its sheer noisiness—was for many Americans a symbol of modernity itself (433). It was scandalous, lowdown, classless, obscene, but it was also joyous, irrepressible, and unpretentious. The music was a battlefield on which the forces seeking to preserve European high culture met the upstarts of popular culture who celebrated innovation, speed, and novelty. It 'Crouch writes: "the demands on and respect for the individual in the jazz band put democracy into aesthetic action" (161). - 
												
												Downbeat.Com February 2021 U.K. £6.99
FEBRUARY 2021 U.K. £6.99 DOWNBEAT.COM FEBRUARY 2021 DOWNBEAT 1 FEBRUARY 2021 VOLUME 88 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton 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; 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. - 
												
												Cultivating the Antecedents of Barry Harris’ Concept of Movement As a Multidimensional Pedagogical Tool for Ontario Post-Secondary Jazz Curricula
REANIMATING DISSONANCE: CULTIVATING THE ANTECEDENTS OF BARRY HARRIS’ CONCEPT OF MOVEMENT AS A MULTIDIMENSIONAL PEDAGOGICAL TOOL FOR ONTARIO POST-SECONDARY JAZZ CURRICULA BRIAN JUDE DE LIMA A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO April 2017 © Brian Jude de Lima, 2017 Abstract ii One of the challenges faced in post-secondary jazz education across the GTA is finding qualified instructors who are familiar with dialogical methods for teaching African American jazz histories. More specifically, finding and hiring African American instructors whose musical genealogy can be delineated from “black” oral/aural histories and can draw from these historicities. Unless the narratives of this music are unpacked, analyzed and taught from its internal elements, which embodies the symbiosis and synthesis of African American dance, theatrics, poetics and American black English that encapsulates the “African American-ness” in jazz, then there remains a risk that this folk music will become more and more diluted. Consequently, it is my belief that current music educators across the Greater Toronto Area (GTA) should consider alternative methods of pedagogy if students are to understand the historicity— the historical authenticity of this African American folk music. The idea for this study originated from my observation of a lack of “African American- ness”—African American narratives not being used as a pedagogical tool in post-secondary jazz curricula across the GTA. Therefore, this multi-case study will lead to the creation of an alternative curriculum that incorporates new teaching methods based on African American narratives. - 
												
												AMS Rochester 2017 Abstracts Thursday Afternoon
American Musicological Society & Abstracts Program 2017 Rochester Richard Strauss – Werke – Kritische Ausgabe (RSW) Published by the Richard Strauss Verlag in collaboration with Boosey & Hawkes, Edition Peters Group and Schott Music This series provides the first scholarly edition of the composer’s complete musical oeuvre. All compositions in major genres: the complete stage works, orchestral works, lieder and songs (with piano and orchestral accompaniment) and chamber music, are newly edited. Different versions and fragments along with documentation of the sources, the genesis of individual works and performance variations authorized by the composer are included. The edition consists of printed musical volumes with critical reports and is supplemented by an online platform featuring text comparisons and annotations. SERIES I: STAGE WORKS – 18 volumes in 28 SERIES II: VOCAL MUSIC FOR ONE VOICE – 9 volumes SERIES III: SYMPHONIES AND TONE POEMS – 12 volumes SERIES IV: SMALL ORCHESTRAL WORKS AND WORKS FOR WINDS – 5 volumes SERIES V: CONCERTOS – 3 volumes SERIES VI: CHAMBER MUSIC – 5 volumes Recently Published: MacMacbeth, Op. 23 : 2. und 3 Fassung / edited by Stefan Schenk and Walter Werbeck. Lieder Mit Klavierbegleitung, Op. 10 Bis Op. 29 / edited by Andreas Pernpeintner. 15% off retail prices for full subscriptions to the entire series 10% off retail prices for partial subscriptions 26362 Ruether Ave. American Musicological Society Santa Clarita, CA 91350 Tel: 661•250•7189 Rochester Fax: 661•250•7195 www.tfront.com 9–12 November 2017 [email protected] Program & Abstracts g Program and Abstracts of Papers Read at the American Musicological Society Eighty-third Annual Meeting 9–12 November 217 Rochester Riverside Convention Center Radisson and Hyatt Hotels Rochester, New York g AMS 2017 Annual Meeting Edited by Jonathan Glixon Local Arrangements Liaison Michael Alan Anderson Performance Committee Christina Baade, Chair, Michael Alan Anderson, Laurie Stras, Steven Zohn Program Committee Jonathan Glixon, Chair, Thomas Christensen, Carol A. - 
												
												The Impact of Cultural Studies on Musicology Within the Context of Word and Music Studies: Questions and Answers
The Impact of Cultural Studies on Musicology Within the Context of Word and Music Studies: Questions and Answers Arvidson, Mats Published in: Ideology in Words and Music 2014 Link to publication Citation for published version (APA): Arvidson, M. (2014). The Impact of Cultural Studies on Musicology Within the Context of Word and Music Studies: Questions and Answers. In H. Hart, K. Heady, H. Hinz, & B. Schirrmacher (Eds.), Ideology in Words and Music (Vol. Stockholmer Germanistische Forschungen 79, pp. 17-29). Acta Universitatis Stockholmiensis. http://su.diva-portal.org/smash/record.jsf?searchId=1&pid=diva2:739968 Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Download date: 03. - 
												
												Use of Parody Techniques in Jacques Offenbach's Opérettes and Germaine Tailleferre's Du Style Galant Au Style Méchant
Use of Parody Techniques in Jacques Offenbach’s Opérettes and Germaine Tailleferre’s Du Style Galant au Style Méchant By Melissa Cummins, ©2017 PhD University of Kansas, 2017 MM University of South Dakota, 2013 ME Southeast Missouri State University, 1994 BSE Northwest Missouri State University, 1989 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Colin Roust Paul Laird Scott Murphy Joyce Castle Jeanne Klein Date Defended: March 15, 2017 The dissertation committee for Melissa Cummins certifies that this is the approved version of the following dissertation: Use of Parody Techniques in Jacques Offenbach’s Opérettes and Germaine Tailleferre’s Du Style Galant au Style Méchant Chair: Colin Roust Date Approved: April 26, 2017 ii Abstract In past scholarship, Germaine Tailleferre has been briefly written about as the only female member of Les Six and as a composer of instrumental music. Her body of piano music and a few of her other compositions have been analyzed, but her operatic output and style have to this point not been examined. This dissertation begins to fill that gap by studying the radio operas that were commissioned in 1955 by Radio France. Using parodic techniques developed early in her career, Tailleferre and her librettist, Denice Centore, created a cycle of five short operas that reflected the historical scope of French opera in miniature: Du Style Galant au Style Méchant. The fourth opera in the cycle, Monsieur Petitpois achéte un château, is a parody of the opérettes of Jacques Offenbach. - 
												
												Afro-Modernist Compositional Strategies in Selected Works by John Lewis: 1952-1962
Afro-Modernist Compositional Strategies in Selected Works by John Lewis: 1952-1962 Christopher Coady School of English, Media and Performing Arts University of New South Wales This thesis is presented for the degree of Doctor of Philosophy in Music. 2011 ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date …………………………………………….................. COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). - 
												
												HENRY and LEIGH BIENEN SCHOOL of MUSIC FALL 2019 Fanfare First Chair
HENRY AND LEIGH BIENEN SCHOOL OF MUSIC FALL 2019 fanfare first chair A MESSAGE FROM THE DEAN As a new class of talented artist-scholars enters the Bienen School of Music, we celebrate another record year for music admissions, with increases in total applications, selectivity, and yield of admitted students enrolled. This year’s entering students join a school community already brimming with accomplishments. Current and recent students have achieved distinction as recipients of the Avery Fisher Career Grant, the Solti Fellowship, Grammy Awards and nominations, Northwestern’s Presidential Fellowship, and National Endowment for the Arts grants. They have excelled in numerous high-profile contests, including the Tchaikovsky Competition, the Fischoff National Chamber Music Competition, the National Association of Teachers of Singing competi- tions, and Downbeat magazine’s student competition. Our graduates continue to win coveted posi- tions in orchestras and academic institutions worldwide. All these achievements are a direct result of the excellence of our distinguished faculty, who are recognized nationally and internationally as leaders in teaching, performance, and scholarship. Demonstrating our graduates’ successes, nearly 200 alumni—representing virtually every major orchestra and US military ensemble—returned to campus in June to celebrate the 50th anniversary of our Symphonic Wind Ensemble (see page 10). The weekend culminated in a special SWE reunion concert, offering vivid proof of how much our alumni value and treasure the educa- tion they received here in the Bienen School. Each year, however, the Bienen School faces constant competition from other leading music schools to attract the most talented college-age students. From this already elite group of potential applicants, the school seeks those who meet Northwestern’s high academic standards for admis- sion. - 
												
												The Theory of Polystylism As a Tool for Analysis of Contemporary Music in the Post- Soviet Cultural Space: Some Terminological Aspects
UDK 78:81’373.46 Pregledni rad Rukopis primljen 16. VII. 2018. Prihvaćen za tisak 16. XI. 2018. Baiba Jaunslaviete Jāzeps Vītols Latvian Academy of Music [email protected] THE THEORY OF POLYSTYLISM AS A TOOL FOR ANALYSIS OF CONTEMPORARY MUSIC IN THE POST- SOVIET CULTURAL SPACE: SOME TERMINOLOGICAL ASPECTS The aim of this article is to discuss some essential concepts related to polystylism – a term first defined by Alfred Schnittke in 1971 and widely used within the post-Soviet cultural space. In the research conducted by various English-speaking musicologists, the term polystylism appears rarely and mostly in relation to Schnittke’s own music, whereas the related concepts of collage and borrowing are covered much more comprehensively. However, collage can be viewed as only a part of polystylism, because it includes only sharp stylistic juxtapositions and does not reflect other forms of stylistic interaction that could be described as diffuse, or symbiotic, polystylism. The theory of borrowing, for its part, covers a chronologically wide range of music (cantus firmus technique, quodlibet, paraphrase, etc.) but does not reflect the specifics of the 20th/21st-century music. The ability to cover these specifics is an advantage of polystylism and related terms, and therefore their broader integration into the international musicological lexicon should be encouraged. 1. Introduction Despite the globalisation of the contemporary world, musicology in the post- Soviet cultural space retains its distinction from Western (including English- speaking) musicology in several aspects, among them in the field of terminol- ogy. These differences are not very significant regarding the music of the 17th – 19th centuries, because the traditions of its analysis had already developed in Russia before the Soviet era under the influence of the German Musikwissen- schaft, and were mostly preserved even during Soviet times. - 
											
Parody As a Borrowing Practice in American Music, 1965–2015
Parody as a Borrowing Practice in American Music, 1965–2015 A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by John P. Thomerson BM, State University of New York at Fredonia, 2008 MM, University of Louisville, 2010 Committee Chair: bruce d. mcclung, PhD ABSTRACT Parody is the most commonly used structural borrowing technique in contemporary American vernacular music. This study investigates parody as a borrowing practice, as a type of humor, as an expression of ethnic identity, and as a response to intellectual trends during the final portion of the twentieth century. This interdisciplinary study blends musicology with humor studies, ethnic studies, and intellectual history, touching on issues ranging from reception history to musical meaning and cultural memory. As a structural borrowing technique, parody often creates incongruity—whether lyrical, stylistic, thematic, evocative, aesthetic, or functional—within a recognized musical style. Parodists combine these musical incongruities with other comic techniques and social conventions to create humor. Parodists also rely on pre-existing music to create, reinforce, and police ethnic boundaries, which function within a racialized discourse through which parodists often negotiate ethnic identities along a white-black binary. Despite parody’s ubiquity in vernacular music and notwithstanding the genre’s resonance with several key themes from the age of fracture, cultivated musicians have generally parody. The genre’s structural borrowing technique limited the identities musicians could perform through parodic borrowings. This study suggests several areas of musicological inquiry that could be enriched through engagement with parody, a genre that offers a vast and largely unexplored repertoire indicating how musical, racial, and cultural ideas can circulate in popular discourse. - 
											
JMHP Journal of Music History Pedagogy
Journal of Music History JMHP Pedagogy volume 5, number 2 (spring 2015) http://www.ams-net.org/ojs/index.php/jmhp/ Editorial A Note from the Editor 1 Stephen Meyer Articles A Concentric Model for Jazz History 5 Nathan C. Bakkum A Snapshot of Music History Teaching to Undergraduate Music 23 Majors, 2011–2012: Curricula, Methods, Assessment, and Objectives Matthew Baumer Roundtable Te End of the Undergraduate Music History Sequence? 49 Colin Roust Reconsidering Undergraduate Music History: Some 53 Introductory Toughts Douglass Seaton Te Value of a Music History Survey 57 J. Peter Burkholder Rethinking the Undergraduate Music History Sequence 65 in the Information Age Melanie Lowe Te Curricular Standards of NASM and Teir Impact 73 on Local Decision Making Don Gibson Reviews Music in the Eighteenth Century and 77 Anthology for Music in the Eighteenth Century by John Rice Margaret R. Butler Music in the Nineteenth Century and 83 Anthology for Music in the Nineteenth Century by Walter Frisch Lisa Feurzeig A Note from the Editor Stephen Meyer his issue is the frst in my tenure as the new Editor-in-Chief of this Journal, and it is most ftting to begin it with an acknowledgement of the work of my predecessor, Matthew Balensuela. Working with Tthe Pedagogy Study Group of the American Musicological Society, Matthew established this Journal as a forum for our emerging scholarly feld. Under his leadership, the Journal has published a group of excellent articles by younger scholars and also by preeminent fgures in our discipline. Statistics indicate that it enjoys a substantial and growing readership; its impact on the broader feld of musicology has been both practical and theoretical. - 
												
												Music As a Matter of Law Joseph P
Vanderbilt University Law School Scholarship@Vanderbilt Law Vanderbilt Law School Faculty Publications Faculty Scholarship 2018 Music as a Matter of Law Joseph P. Fishman Follow this and additional works at: https://scholarship.law.vanderbilt.edu/faculty-publications Part of the Commercial Law Commons, and the Intellectual Property Law Commons Recommended Citation Joseph P. Fishman, Music as a Matter of Law, 131 Harvard Law Review. 1863 (2018) Available at: https://scholarship.law.vanderbilt.edu/faculty-publications/578 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Law School Faculty Publications by an authorized administrator of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. +(,121/,1( Citation: Joseph P. Fishman, Music as a Matter of Law, 131 Harv. L. Rev. 1861 (2018) Provided by: Vanderbilt University Law School Content downloaded/printed from HeinOnline Mon Jun 11 10:43:28 2018 -- Your use of this HeinOnline PDF indicates your acceptance of HeinOnline's Terms and Conditions of the license agreement available at https://heinonline.org/HOL/License -- The search text of this PDF is generated from uncorrected OCR text. -- To obtain permission to use this article beyond the scope of your HeinOnline license, please use: Copyright Information Use QR Code reader to send PDF to your smartphone or tablet device VOLUME 131 MAY 2018 NUMBER 7 HARVARD LAW REVIEW © 20S by The Harvard Law Review Association ARTICLES MUSIC AS A MATTER OF LAW Joseph P. Fishman CONTENTS IN T R O D U C T IO N .........................................................................................................................