Erberger College of the Arts ARIZONA STATE UNIVERSITY

THE MUSIC OF OSCAR PETERSON SAM PILAFIAN, DIRECTOR ARMAND BOATMAN, PIANO MICHAEL KOCOUR, PIANO GUEST ARTIST CONCERT SERIES KATZIN CONCERT HALL SUNDAY, JANUARY 27, 2008 • 2:30 PM MUSIC erberger College of the Arts ARIZONA STATE UNIVERSITY Program Nightingale Oscar Peterson Blues for Big Scotia Oscar Peterson (as recorded on Tristeza On Piano, 1970, on Verve) Michael Kocour, piano Chris Pella, piano John Sims, bass West Coast Blues Wes Montgomery Shaun Loweki, drums Chris Pefia, piano L'Impossible Oscar Peterson I Love You Cole Porter (as recorded on Blues Etude, December 1965 and May 1966, on Verve) Matthew Williams, piano Danielle Cooke, piano Kale Gans, bass Daahoud Clifford Brown Erik Teichmann, drums Michael Kocour, piano I'm Old Fashioned Johnny Mercer & Jerome Kern Green Dolphin Street Bronislaw Kaper & Ned Washington Danielle Cooke, piano (as recorded on Very Tall, September 1961, on Verve) Matthew Williams, vibraphone Tricrotism Oscar Pettiford Joshua Stump, piano Young and Foolish Arnold Horwitt, Albert Hague Wayne Jones, bass Manteca Dizzy Gillespie, Gil Fuller & Chano Pozo Austen Mack, drums (as recorded on Bursting Out, recorded in fall 1959, on Verve) Armand Boatman, piano Shelly's World Oscar Peterson (as recorded on Blues Etude, December 1965 and May 1966, on Verve) The ASU Concert Jazz Band Ryan Dingess, piano John Sims, bass Alto Saxophone Trombone Erik Teichmann, drums Keith Kelly Mike Wilkinson Javier Ocampo Seth Gory Jeff Hattasch Jet Song Leonard Bernstein, Stephen Sondheim (as recorded on West Side Story, January 1962, on Verve) Tenor Saxophone Pat Lawrence Todd Martino, piano Jeff Gutierrez Brady Putke, bass Woody Chenoweth Tuba Gabriel Sears Jason Adams, drums Baritone Saxophone Bryan Geraci Rhythm Section Too Close for Comfort Jerry Bock, George Weiss & Todd Martino, piano Larry Holofcener Trumpet Jacob Lauxman, guitar Armand Boatman, piano Steve Limpert John Sims, bass John Sims, bass Kyle Anderson Matt Harris, drums Matt Coleman, drums Jonathan Rodriquez Matt Coleman, drums Joe Kim There will be a 10-minute intermission Ken Johnston Performance Events Staff Supervisor Paul W. Estes Event Mangers: Kyle Anderson, Iftekhar Anwar, Laura Boone, Edwin Brown Brady Cullum, Mirel DeLaTorre, Anthony Garcia, Leeh Humphrey Kevan Nymeyer, Megan Smith, Aaron VanderYachet EVENTS INFORMATION 480.965.TUNE (480.965.8863) herbergercollege.asu.edu/calendar C 2007 ASU Herberger College of the Arts 0607.

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Ing the Fj Needs of the Music & Record Ti Ó+ Industry
. I '.k i 1 Dedicated To £15.o nlr:C, .3n0r14 Serving The fJ Needs Of The Music & Record ti Ó+ Industry ra - Vol. 21, No. 1004 September 3, 1966 In the opinion of the editors, this week the following records are the WHO SINGLE PICKS OF THE WEEK LU M MY UNCLE 6 USED TO LOVE IN THE ME BUT SHE DIED y 43192 WORLD JUST LIME A WOMAN Trendsetting Bob Dylan goes Absolutely nonsense song with Gentle love song, "A Time for after a more soothing musical gritty delivery by Miller. Should Love," by Oscar winners Paul background than usual on this catch ears across the country Francis Webster and Johnny ditty, with perceptive lyrics, as Roger, with his TV series Mandel should score for Tony about a precocious teeny bopper about to bow, recalls his odd whose taste and style remains (Columbia 4-43792). uncle (Smash 2055). impeccable (Columbia 4-43768). SLEEPERS OF THE WEEK PHILIPS Am. 7. EVIL ON YOUR MIND , SAID I WASN'T GONNAN TELL 0 00000 TERESA BREARE S AM t - DAVE A1 Duo does "Said I Wasn't Gonna The Uniques have been coming The nifty country song "Evil on Tell Nobody" like it should be up with sounds that have been Your Mind" provides Teresa done. Sam and Dave will appeal just right for the market. "Run Brewer with what could be her to large crowds with tfie bouncy and Hide" could be their biggest biggest hit in quite a while. r/ber (Stax 198). to date. Keep an eye on it Her perky, altogether winning (Paula 245).
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The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930
ABSTRACT HUMANITIES DECUIR, MICHAEL B.A. SOUTHERN UNIVERSITY AT NEW ORLEANS, 1987 M.A. THE UNIVERSITY OF CALIFORNIA, BERKELEY, 1989 THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 Committee Chair: Timothy Askew, Ph.D. Dissertation dated August 2018 This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du i Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme. ii THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY MICHAEL DECUIR DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA AUGUST 2018 © 2018 MICHAEL DECUIR All Rights Reserved ACKNOWLEDGEMENTS My greatest debt of gratitude goes to my first music teacher, my mother Laura.
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GCSE, AS and a Level Music Difficulty Levels Booklet
GCSE, AS and A level Music Difficulty Levels Booklet Pearson Edexcel Level 1/Level 2 GCSE (9 - 1) in Music (1MU0) Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) First teaching from September 2016 First certification from 2017 (AS) 2018 (GCSE and A level) Issue 1 Contents Introduction 1 Difficulty Levels 3 Piano 3 Violin 48 Cello 71 Flute 90 Oboe 125 Cla rinet 146 Saxophone 179 Trumpet 217 Voic e 240 Voic e (popula r) 301 Guitar (c lassic al) 313 Guitar (popula r) 330 Elec tronic keyboa rd 338 Drum kit 344 Bass Guitar 354 Percussion 358 Introduction This guide relates to the Pearson Edexcel Level 1/Level 2 GCSE (9-1) in Music (1MU0), Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) and Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) qualifications for first teaching from 2016. This guide must be read and used in conjunction with the relevant specifications. The music listed in this guide is designed to help students, teachers, moderators and examiners accurately judge the difficulty level of music submitted for the Performing components of the Pearson Edexcel GCSE, AS and A level Music qualifications. Examples of solo pieces are provided for the most commonly presented instruments across the full range of levels. Using these difficult y levels For GCSE, teachers will need to use the book to determine the difficulty level(s) of piece(s) performed and apply these when marking performances. For AS and A Level, this book can be used as a guide to assist in choosing pieces to perform, as performances are externally marked.
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Diplomová Práce
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Diplomová práce Brno 2017 Andrej Farkaš JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra Jazzové interpretace Hra na klavír Oscar Peterson „The Trio“ Diplomová práce Autor práce: Andrej Farkaš Vedoucí práce: MgA. Jan Dalecký Oponent práce: MgA. Jan Přibil Brno 2017 Bibliografický záznam FARKAŠ, Andrej. Oscar Peterson „The Trio“. Brno: Janáčkova akademie múzických umení v Brne, Hudobná fakulta, Katedra jazzové interpretace, 2017. 25 s. Vedoucí diplomovej práce odb.as. MgA. Jan Dalecký. Touto cestou vyslovujem poďakovanie pánovi MgA. Janovi Daleckému za pomoc, odborné vedenie, cenné rady a pripomienky pri vypracovaní mojej bakalárskej diplomovej práce. V Brne dňa 14.5.2017 Anotácia V tejto bakalárskej práci som sa zameral na osobitý štýl Oscara Petersona, jeho riešenie spôsobu fungovania a komunikácie sólového klavíra zo sólovú gitarou. Priblížiť sa k spôsobu, systému, ktorý Oscar Peterson využíval pri svojej hre s Joe Passom. Uviesť príklady, rámcovo sa priblížiť k vyriešeniu problému hrania dvoch harmonických nástrojov súčasne. Kľúčové slová: umelecké cesty, vedenie hlasov, sprievod, dva harmonické nástroje, súzvuk Annotation In this thesis I focused on the distinctive style of Oscar Peterson, his solutions are working and communication of solo piano and solo guitar. Getting closer to the ways of that Oscar Peterson used in their play with Joe Pass. Give an example closer to solving the problem of playing two harmonic Instruments at the same time. Key words: artistic tours, voice management, comping, two harmonic instruments, echoes OBSAH: 1. Úvod 2. Život Oscara Petersona 2.1 Norman Granz 3. Cesta k vzniku Oscar Peterson – „The Trio“ 3.1 „The Trio“ 4.
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Jazz Woodwind Syllabus Flute, Clarinet & Saxophone Grade exams 2017–2022 Important information Changes from the previous syllabus Repertoire lists for all instruments have been updated. Own composition requirements have been revised. Aural test parameters have been revised, and new specimen tests publications are available. Improvisation test requirements have changed, and new preparation materials are available on our website. Impression information Candidates should refer to trinitycollege.com/woodwind to ensure that they are using the latest impression of the syllabus. Digital assessment: Digital Grades and Diplomas To provide even more choice and flexibility in how Trinity’s regulated qualifications can be achieved, digital assessment is available for all our classical, jazz and Rock & Pop graded exams, as well as for ATCL and LTCL music performance diplomas. This enables candidates to record their exam at a place and time of their choice and then submit the video recording via our online platform to be assessed by our expert examiners. The exams have the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements, with the same certificate and UCAS points awarded as for the face-to-face exams. Find out more at trinitycollege.com/dgd photo: Zute Lightfoot, clarinet courtesy of Yamaha Music London Jazz Woodwind Syllabus Flute, Clarinet & Saxophone Graded exams 2017–2022 Trinity College London trinitycollege.com Charity number England & Wales: 1014792 Charity number Scotland: SC049143 Patron: HRH The Duke of Kent KG Chief Executive: Sarah Kemp Copyright © 2016 Trinity College London Published by Trinity College London Online edition, March 2021 Contents Introduction .......................................................................................................................
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JTM1711 Insidecombo 170920.Indd
On May 31, drummer Louis Hayes celebrated his 80th birthday and a new album at Dizzy’s Club Coca-Cola in New York, surrounded by friends, collaborators and acolytes, including drummers Michael Carvin, Nasheet Waits and Eric McPherson, and trumpeters Jimmy Owens and Jeremy Pelt, the latter of whom sat in. Another presence loomed large: pianist-composer Horace Silver, the subject of Hayes’ recent Blue Note debut, Serenade for Horace, a heartfelt tribute to the man who gave Hayes his start in 1956 with “Señor Blues.” It was the beginning of a three-year col- laboration that helped codify both hard bop and the Rudy Van Gelder sound over five albums. Hayes left Silver in 1959 to join the Cannonball Adderley Quintet, but the two re- mained close until the hard-bop progenitor’s passing in 2014. Stints followed with Oscar Peterson, the Louis Hayes-Woody Shaw Quintet, Stan Getz, McCoy Tyner and the Can- nonball Legacy Band, which Hayes leads. Throughout his career he’s solidified a place as one of jazz’s most soulfully swinging drummers, and become a cornerstone of the legacy of Detroit-born percussionists that includes Elvin Jones, Roy Brooks, Frank Gant and Oliver Jackson, and extends forward to Gerald Cleaver. At Dizzy’s, Hayes used his hyper-responsive left hand to goose the soloists in his sextet while keeping the fugitive spirit alive with his right on the ride cymbal. His approach seemed to declare the ensemble’s m.o., which balanced rhythmic ferocity and harmonic adventurousness with a reverence for the Silver sprezzatura.
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Jazz Woodwind Syllabus Flute, Clarinet & Saxophone
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Powertracks Pro Audio 12
PG Music Inc. 29 Cadillac Avenue, Victoria, BC V8Z 1T3 CANADA E-mail: [email protected] • Internet web site http://www.pgmusic.com Phone(250)475-2874 •1-800-268-6272 •1-888-PGMUSIC Fax(250) 475-2937 • Toll-free fax(877) 475-1444 30 DAY DOWNLOAD Dear PG Music Customer… Order & download our products from NOW ! ® MONEY BACK www.pgmusic.com ➠ Band-in-a-Box 2009 for Windows is here with over GUARANTEE ON immediately using e-delivery! 40 new features, amazing RealTracks and more! ALL PRODUCTS! BAND-IN-A-BOX 2009 FOR WINDOWS ® IS HERE! NOTE: Macintosh® version is currently available at Version 12 for OS X Band-in-a-Box 2009 is here, with over 40 HOT new features! and-in-a-Box is so easy to use! Just type in the chords for any song using standard chord symbols B(like C, Fm7, or C13b9), choose the style you’d like, and Band-in-a-Box does the rest, automatically generating a complete professional-quality arrangement of piano, bass, drums, guitar, and strings or horns in a wide variety of popular styles. Live audio tracks can be created using RealDrums and RealTracks. And that’s not all… Band-in-a-Box is a powerful and creative music composition tool for exploring and developing musical ideas with near-instantaneous feedback and Band-in-a-Box 2009 makes that easier, faster and better! With the previous release of Band-in-a-Box, we added RealDrums and three RealTracks including Real Pedal Steel, Real Acoustic Guitar, and Tenor Sax soloing (RealSax).
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ROTH FAMILY FOUNDATION Music in America Imprint Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others. The publisher gratefully acknowledges the generous support of the Music in America Endowment Fund of the University of California Press Foundation, which was established by a major gift from Sukey and Gil Garcetti, Michael P. Roth, and the Roth Family Foundation. At the Jazz Band Ball NEA Jazz Masters, 2004, left to right from back row: George Russell, Dave Brubeck; second row: David Baker, Percy Heath, Billy Taylor; third row: Nat Hentoff, Jim Hall, James Moody; fourth row: Jackie McLean, Chico Hamilton, Gerald Wilson, Jimmy Heath; fifth row: Ron Carter, Anita O’Day; sixth row: Randy Weston, Horace Silver; standing next to or in front of balustrade: Benny Golson, Hank Jones, Frank Foster (seated), Cecil Taylor, Roy Haynes, Clark Terry (seated), Louie Bellson, NEA Chairman Dana Gioia. Photograph by Tom Pich. At the Jazz Band Ball Sixty Years on the Jazz Scene Nat Hentoff Foreword by Lewis Porter UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd.
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