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The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin
THE SYNTHESIS OF JAZZ AND CLASSICAL STYLES IN THREE PIANO WORKS OF NIKOLAI KAPUSTIN __________________________________________________ A monograph Submitted to the Temple University Graduate Board __________________________________________________________ in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS __________________________________________________________ by Tatiana Abramova August 2014 Examining Committee Members: Dr. Charles Abramovic, Advisory Chair, Professor of Piano Harvey Wedeen, Professor of Piano Dr. Cynthia Folio, Professor of Music Studies Richard Oatts, External Member, Professor, Artistic Director of Jazz Studies ABSTRACT The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin Tatiana Abramova Doctor of Musical Arts Temple University, 2014 Doctoral Advisory Committee Chair: Dr. Charles Abramovic The music of the Russian-Ukrainian composer Nikolai Kapustin is a fascinating synthesis of jazz and classical idioms. Kapustin has explored many existing traditional classical forms in conjunction with jazz. Among his works are: 20 piano sonatas, Suite in the Old Style, Op.28, preludes, etudes, variations, and six piano concerti. The most significant work in this regard is a cycle of 24 Preludes and Fugues, Op. 82, which was completed in 1997. He has also written numerous works for different instrumental ensembles and for orchestra. Well-known artists, such as Steven Osborn and Marc-Andre Hamelin have made a great contribution by recording Kapustin's music with Hyperion, one of the major recording companies. Being a brilliant pianist himself, Nikolai Kapustin has also released numerous recordings of his own music. Nikolai Kapustin was born in 1937 in Ukraine. He started his musical career as a classical pianist. In 1961 he graduated from the Moscow Conservatory, studying with the legendary pedagogue, Professor of Moscow Conservatory Alexander Goldenweiser, one of the greatest founders of the Russian piano school. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Basie, Ballads, Bebop & Blues
BASIE, BALLADS, BEBOP & BLUES RECOMMENDED CLASSIC & NEWER WORKS FOR THE JAZZ ENSEMBLE, GRADES 2 – 4+ Compiled by Dr. Michael Parkinson Chair, Department of Music Webster University, St. Louis, Missouri © 2006 Educational Specialist – Benge Trumpets, Conn-Selmer, Inc. With the assistance of Robert Waggoner, Jim Cochran, and Ron Allen AND Tom Whaley, CMEA Jazz Representative (2005-2007) Works selected from the following publishing sources: Advance, Alfred, Barnhouse, Doug Beach (Kendor), CPP-Belwin, DPZ, FJH, Hal Leonard Heritage, Increase Music, JPM, Jazz at Lincoln Center (Alfred-JLC), Kendor, Kjos, Little Bear, Ludwig, Matrix, Really Good Music, Second Floor (Leonard), Sierra, Smart Chart, Stitzel, Three-Two, UNC & Walrus Bold face = recommended works; CAPITALIZED = outstanding choices, * Playable by a smaller ensemble BALLADS: TITLE: COMP/ARR: SOURCE and/or RECORDING: FEATURES: PUB: GR: A Child is Born Thad Jones Trumpet/Flugel Kendoe 3 AFTER YOU’VE GONE Layton/M. Taylor 1920s standard, Publisher’s disc Swing 8th, ensemble, piano Leonard 4 All The Things You Are J. Kern/S. Kenton 1950s Stan Kenton Orchestra Trombones, piano, sax soli Sierra 4 ALWAYS & FOREVER P. Metheny/B. Curnow 1990s Pat Metheny Group & Bob Curnow Big Band Alto sax, flugel horn, or guitar Sierra 4 At First Light Ellen Rowe Original , publisher’s disc Alto sax, light rock ballad Sierra 3 AUTUMN Bob Florence 1980s Bob Florence Orchestra (opt. doubles) Tenor sax feature Walrus 4 Beauty and the Beast G. Goodwin Band/Tenor Leonard 5 Black, Brown & Beautiful Oliver Nelson 1970s Oliver Nelson Orchestra Alto Sax (Johnny Hodges) Sierra 3 BLUE B. Shew/G. Brisker 1970s Louie Bellson Orchestra Trumpet (Bobby Shew) Beach/Kendor 4 Blue & Sentimental C. -
Concert: Ithaca College Jazz Workshop
Ithaca College Digital Commons IC All Concert & Recital Programs Concert & Recital Programs 12-1-1998 Concert: Ithaca College Jazz Workshop Monday Jazz Lab Wednesday Jazz Lab Todd Hearn Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Jazz Lab, Monday; Jazz Lab, Wednesday; and Hearn, Todd, "Concert: Ithaca College Jazz Workshop" (1998). All Concert & Recital Programs. 7849. https://digitalcommons.ithaca.edu/music_programs/7849 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons IC. ITHACA COLLEGE JAZZ WORKSHOP Monday Jazz Lab and Wednesday Jazz Lab Todd Hearn, musical director Nutville Horace Silver arranged by Greg Hopkins A Warm Breeze Sammy Nestico Us Thad Jones Hay Burner Sammy Nestico Early Bird Special Lennie Niehaus INTERMISSION Yardbird Suite Charlie Parker arranged by Dick Lieb Emancipation Blues Oliver Nelson Ballad for Benny Oliver Nelson Big Dipper Thad Jones Basie Straight Ahead Sammy Nestico Ford Hall Auditorium Tuesday, December 1, 1998 8:15 p.m. ITHACA COLLEGE JAZZ WORKSHOP Monday Jazz Lab Todd Hearn, musical director Saxophone Trumpets Joe Tubiolo John Lufburrow Gordon Greenley Bill Bertram Jeff Stepien Matt Leskovic Dieter Winterle Karl Smith Jason Rugg Devin Sokolowski Trombone Guitar Kristina Westin Brock Smith Christopher Clark Chris DeGraw Bass Brian Lane Patrick Rodgers Piano Sandy Hales Drums ' I Phil Shrut The Jazz Workshop was organized to give those sincerely interested in Jazz as an art form an opportunity to participate in organized ensembles where creativity through improvisation and composition is encouraged. -
ART FARMER NEA Jazz Master (1999)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. ART FARMER NEA Jazz Master (1999) Interviewee: Art Farmer (August 21, 1928 – October 4, 1999) Interviewer: Dr. Anthony Brown Dates: June 29-30, 1995 Repository: Archives Center, National Museum of American History Description: Transcript, 96 pp. Brown: Today is June 29, 1995. This is the Jazz Oral History Program interview for the Smithsonian Institution with Art Farmer in one of his homes, at least his New York based apartment, conducted by Anthony Brown. Mr. Farmer, if I can call you Art, would you please state your full name? Farmer: My full name is Arthur Stewart Farmer. Brown: And your date and place of birth? Farmer: The date of birth is August 21, 1928, and I was born in a town called Council Bluffs, Iowa. Brown: What is that near? Farmer: It across the Mississippi River from Omaha. It’s like a suburb of Omaha. Brown: Do you know the circumstances that brought your family there? Farmer: No idea. In fact, when my brother and I were four years old, we moved Arizona. Brown: Could you talk about Addison please? Farmer: Addison, yes well, we were twin brothers. I was born one hour in front of him, and he was larger than me, a bit. And we were very close. For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Brown: So, you were fraternal twins? As opposed to identical twins? Farmer: Yes. Right. -
Jmu Jazz Band/Jazz Ensemble Audition Material
JMU JAZZ BAND/JAZZ ENSEMBLE AUDITION MATERIAL SPRING 2018 Auditions: Monday, January 8, 2018, room B12 in the School of Music (in the practice room area of the basement) The audition sign up sheet is on the door to B12 (drummers sign up as indicated; others may sign up for any available time) Everyone hoping to be placed into one of the two big bands must audition. Auditions will consist of playing the prepared excerpts (see below) and optional improvisation on a blues. Drummers will also asked to demonstrate various styles. No sight reading will be required at this audition. Trumpet and tenor trombone players may prepare either lead or section excerpts. Vocalists: no required excerpt; sing a prepared piece (melody only) of your choice that you feel best demonstrates your interpretation of jazz style. Choose any key that fits your preferred tessitura; be prepared to sing the melody a cappella. Jazz standards or Great American Songbook pieces are preferred. You do not need to supply sheet music. All saxes/woodwinds/vibes (play as written, transposition is not necessary): Butch and Butch (recorded on Blues and the Abstract Truth, Oliver Nelson) The Queen Bee (Sammy Nestico; recorded on Basie Straight Ahead, the Count Basie Orchestra) Lead Trumpet/Section Trumpet/Lead Trombone/Trombone 2-3/Bass Trombone: Butch and Butch (recorded on Blues and the Abstract Truth, Oliver Nelson) Presidential Manor (Billy Byers; various recordings on youtube; excerpt may be played at the tempo indicated, not the faster tempi of many recordings) Piano Butch and Butch (recorded on Blues and the Abstract Truth, Oliver Nelson) Presidential Manor (Billy Byers; various recordings on youtube; excerpt should be played at the tempo indicated, not the faster tempi of many recordings) Guitar/Double Bass Butch and Butch (recorded on Blues and the Abstract Truth, Oliver Nelson) Told You So (Bill Holman; recorded on I Told You So, Count Basie Orchestra) Drumset The Queen Bee (Sammy Nestico; recorded on Basie Straight Ahead, the Count Basie Orchestra) . -
I Know, Don't Know How Full Score
Jazz Lines Publications Presents i know, don’t know how Arranged by bob brookmeyer prepared by dylan canterbury, rob duboff, and jeffrey sultanof full score jlp-8417 Music by Gerry Mulligan © 1955-1983 Criterion Music Corporation All Rights Reserved Used By Permission International Copyright Secured Logos, Graphics, and Layout Copyright © 2017 The Jazz Lines Foundation Inc. This Arrangement Has Been Authorized by the Gerry and Franca Mulligan Foundation Inc. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA gerry mulligan concert jazz band series i know, don’t know how (1960) Background: Gerry Mulligan’s role in the history of jazz is that of a renaissance man. For most, he is considered one of, if not the, greatest baritone saxophonist the music has seen. In addition to his prowess as an instrumentalist, his skills as a composer and arranger are also viewed as being among the top in the art form. Perhaps less frequently ac- knowledged is his creativity as a bandleader, having been one of the pioneers of using a rhythm section without chordal accompaniment in several different formats. Born in Queens, NY on April 6, 1927, Mulligan found himself frequently moving around as a child due to his fa- ther’s work as an engineer. From an early age, Mulligan’s father instilled a pronounced sense of organization and discipline into the youngest of his four sons, traits that would serve an integral role in the young Mulligan’s musi- cal education. -
The Jazz Commandments Handout2
The Jazz Commandments Jazz Style & Articulation Clinic How To Get Your Band To Swing Jerry Tolson Professor Jazz Studies/Music Education School of Music University of Louisville Louisville, KY 40292 [email protected] (502) 254-1080 (H) (502) 693-3080 (C) (502) 852-6972 (O) (502) 253-9222 (F) © Jekato Music A Division of Tolson Enterprises All Rights Reserved The Jazz Commandments Jazz Articulation Clinic JAZZ BILL OF RIGHTS All Eighth Notes Are Not Created Equal! To Swing It You Gotta Hear It! PREAMBLE TO THE COMMANDMENTS You Have to Verbalize, In Order to Stylize Authentically I. Syllables “Doo” is used for long sounds that occur on downbeats. The articulation symbol used is (-).* “Day” or “Dah” is used for accented long sounds on either downbeats or upbeats. (>) “Va”, “da”, or “ba” is typically used on unaccented upbeats. (No symbol is used) “Daht” is used for accented short sounds whether on downbeats or upbeats. (^) “Dit” is used for unaccented short notes. (.) “Dn” is used for notes that are ghost or swallowed. These notes are often designated by an “x” on the staff in place of the note head or a note head in parentheses. “Dow” is used for notes that are followed by a fall (descending glissando to an undefined ending pitch). (\) “Dwee” is used for notes that are preceded by a scoop, which is a slide into a note. (/) “Deop” is used for a glissando-like drop into a short note from an undefined starting note. (\) “Doit” is used for a glissando-like lift at the end of a note. -
SAMMY NESTICO Music Distributed by K ENDOR M Usic
enDor usic K Doug Beach MuMsic V o l u M e 3 azz 3 eJnseMBle visit us at kendormusic.com : • free recordings • SoloMate accompaniment tracks • complete viewable scores • detailed descriptions • brass ranges • dealer directory Jazz Series Kendor Jazz Doug Beach Jazz Gateway Series Foundations Series Easy charts for developing groups, Very easy charts for 4 horns with many featuring Kendor Konvertible rhythm section that are expandable to scoring for 9-17 pieces. A guitar chord full-size big band. chart is included. Download Jazz Gateway MP3 Album Doug Beach First Edition Series Easy charts for developing groups, playable by 12-17 players. Kendor Jazz Journey Series Medium charts for advancing groups. A guitar chord chart is included. Doug Beach Threshold Series Download Jazz Medium easy to medium charts for Journey MP3 Album advancing groups. Kendor Jazz Doug Beach Summit Series Jazz Ensemble Series Advanced charts for proficient big Medium to medium advanced charts bands. for proficient big bands. Download Jazz Download Doug Summit MP3 Album Beach MP3 Album Encore Editions are repromoted titles Kendor Music, Inc. with full recorded versions and online MUSIC PUBLISHER 21 Grove Street • PO Box 278 enhancements. Delevan, New York 14042-0278 • U.S.A. phone 716-492-1254 fax 716-492-5124 www.kendormusic.com e-mail: [email protected] ENCORE E DItION Kendor Jazz Jamie Gateway Series by Sammy Nestico Recorded by Count Basie on the album “Have A Nice ENCORE E DItION Day” (Daybreak Records), this highly expressive ballad is a study in subtle textures and colors featuring short Bossa Bonito written or improvised piano solos and fills, muted by Jon Phelps brasses, and a directed ending that closes in a whisper. -
Jazz Upand Down
Volume 39 • Issue 8 September 2011 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Guitarist Jim Hall warms up for his performance in the Eastman School of Music’s stately Kilbourn Hall at the 10th Xerox Rochester International Jazz Festival in June. Photo by Mitchell Seidel. Jazz Up and Down By Mitchell Seidel f you were going to use two upstate New York jazz festivals in June A week after Rochester shuttered for the year, Saratoga Springs played I as an example of the summer music scene, you’d be hard-pressed to host to its 34th annual jazz festival, sponsored in recent years by come away with a consensus. On one hand, it was robust and getting Freihofer’s. Started as a part of the Newport Jazz Festival in exile by better. On the other hand, it was losing strength. It all depends on George Wein in 1978 before his return to Rhode Island, in its early your venue and point of view. years it could draw about 17,000 people a day for a weekend at the Saratoga Performing Arts Center (SPAC). You can only guess at what The Xerox Rochester International Jazz Festival celebrated its tenth they draw now, because SPAC officials, who used to announce such edition with throngs of street minglers, sold-out concert halls and a figures the day of the event, were still withholding their statistics in sense of optimism that’s rare in these tough economic times. Just a August. Judging from previous figures and the lighter crowd this year, few blocks from the festival site, the city was eagerly tearing down the 5,500 people a day would be a generous guess. -
Suggested Jazz Recordings, Dick Dunscomb
TBA Convention/Clinic 2003 These materials are reprinted from Jazz Pedagogy: The Jazz Educator’s Handbook and Resource Guide with permission from Warner Bros. Some Suggested Jazz Recordings Jazz Ensembles Count Basie, Basie Straight Ahead, April in Paris Duke Ellington, The London Concerts Bob Florence, With All the Bells and Whistles Gordon Goodwin, Swingin’ for the Fences Woody Herman, The Three Herds Bill Holman, A View from the Side Thad Jones/Mel Lewis, A Touch of Class Quincy Jones- Sammy Nestico, Basie and Beyond Bob Mintzer, Incredible Journey Bill Watrous, A Time for Love Patrick Williams, Sinatraland Jazz Combos Art Blakey, Art Blakey and the Jazz Messengers Chick Corea, Light as a Feather John Coltrane, John Coltrane and Johnny Hartman, Giant Steps Miles Davis, Kind of Blue, Seven Steps to Heaven Bill Evans, Bill Evans and Tony Bennett Ella Fitzgerald, anything by this master Dexter Gordon, Go Oscar Peterson, The Trio Charlie Parker, Yardbird Suite Wayne Shorter, Speak No Evil, JuJu Weather Report, Heavy Weather Saxophone Section Basics Obviously, all saxophonists are integral to the section and yet each has an assortment of roles that are uniquely challenging. The main mission in sectional playing is homogeneous sound. Section players must assimilate and match the stylistic concepts, tone, attacks, releases, articulations, dynamics, and other elements of musicality set by the lead player. The lead alto player is generally the strongest and most influential player in the section. The mission of this player is to direct the section in stylistic concepts, set the standard for pitch, articulation and phrasing, and establish a connection with the brass and rhythm sections. -
Jazz Essentials "Speaking the Jazz Language"
Jazz Essentials "Speaking the Jazz Language" In order to teach proper jazz style, one must learn the jazz language. Speaking the jazz language is very similar to traveling across America and taking in the various English dialects. We know and understand the English language but each region in the U.S. has a distinctive accent. Even with in our own community we encounter regional accents dependent upon the make-up of our residents. Jazz has it's own accent, interpretation ofthis accent is the key to haVing your band swing or sound square. Swing (interpretation) Jazz has often been referred to as America's music. There is some truth to that, but a better explanation ofthis statement is that Jazz, like America, is a melting pot of various cultures and influences. Europe can take credit for influencing harmony and form, Africa can be attributed for influencing rhythmic content and syncopation. Let's stop there, because, Jazz is constantly evolving. Swing Da-Ba-Du-Dat I've used this basic language for over forty years. This is based upon the subdivision ofthe quarter note. In traditional music, the quarter note is subdivided into two eight notes. In swing, the quarter note is subdivided into three eight note triplets with the first two notes tied together and the last note long, unless it ends a phrase in which case it is short or dat. w-~ 'ItEr- - Ilu'<la' = o..tI. Oat Learning this system is similar to learning the Eastman system of counting. I grew up learning 1 e and ah, 2 e and ah system and later began using the 1 ti te ta, Eastman system.