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Music for the People: the Folk Music Revival
MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance. -
CRC-Booklet 32S2
A little more than 30 years ago, most western audiences’ knowledge of contemporary Chinese music rested upon two works: The “Yellow River” Piano Concerto and the “Butterfly Lovers” Violin Concerto. Indeed, 30 years ago, these were the only two works permitted to be per- formed for western audiences. But everything changed after the death of Mao and the end of the Cultural Revolution. As a result of the economic reforms instituted by Deng Xiaoping, China was suddenly thrust upon the world’s stage and when the universities reopened in 1977 (most were closed for the duration of the Cultural Revolution), there was a manic drive for China to take her place in the modern world. The past 30 years have witnessed one of the most phenomenal episodes in human history: fol- lowing Deng’s reforms and the subsequent opening up of China, the entirety of 20th century western cultural innovations were suddenly made available to China’s artists and musicians. From Isaac Stern’s pioneering visit to China in 1979, to the later cultural exchanges that brought over many of the West’s most progressive composers and artists to lecture and teach (including George Crumb and Alexander Goehr), the country’s young composers were all at once exposed to the totality of 20th century western music, from Debussy (a composer whose music was detested by Madame Mao), to John Cage! It was during this cultural melee, that the Central Conservatory in Beijing reopened. Students from around the country who had been “sent down” to work in China’s rural areas during the Cultural Revolution rushed to Beijing to be considered for admission. -
TOKE MØLDRUP, Curriculum Vitae ______
TOKE MØLDRUP, Curriculum Vitae ____________________________________ • Born: 1980 Birthplace: Aarhus, Denmark • Languages: Danish, English, German /Academic education 1995-1999 Royal Academy of Music, Aarhus. Professor Harro Ruijsenaars 1999-2000 Diploma, Royal Danish Academy of Music, Copenhagen. Professor Morten Zeuthen, Professor Tim Frederiksen (chamber music) 2001-2003 Soloist Class at the Royal Danish Academy of Music, Copenhagen. Professor Morten Zeuthen, Professor Tim Frederiksen (chamber music) 2004-2006 Konzerteksamen, Hochschule für Musik, Karlsruhe. Professor Martin Ostertag /Private studies 2007-2010 Private studies with professor Valter Dešpalj, Academy of Music, University of Zagreb 2000-2001 Private studies with professor Hans Jensen, Northwestern University School of Music (now Bienen School of Music - Northwestern University) /Important masterclasses 2000 Reichenau with The Amadeus Quartet and the Alban Berg Quartet 2000 Royal Danish Academy of Music, with David Geringas 2003 Royal Danish Academy of Music, with György Kurtag 2004 Royal Danish Academy of Music, with Yo-Yo Ma 2005 Kronberg Masterclasses with Ralf Kirschbaum 2006 London Masterclasses with Ralf Kirschbaum 2006 Open Strings Masterclasses, Lolland, with Valter Dešpalj /Selected prizes and grants 2000 The Jakob Gade's Grant 2002 The Harbye Grant 2003 Grand Prize at the 4th Melbourne International Chamber Music Competition (Paizo Quartet) 2006 First Prize Danish String Competition 2007 First Prize at European Broadcast Unionʼs New Talent Competition in Bratislava -
Introduction
Notes Introduction 1. Although throughout this book, the identification of a Jewish "race" is associ ated with an anti-Semitic impulse, Jewish usage of "racial" terminology indi cates a certain ambivalence. See Harriet D. Lyons and Andrew P. Lyons, "A Race or Not a Race: The Question of Jewish Identity in the Year of the First Universal Races Congress;' in Ethnicity, Identity, and History, ed. Joseph B. Maier and Chaim I. Waxman, 499-518 (New Brunswick: Transaction Books, 1983). Even today, many Jews use the term "the Jewish race" with pride. 2. The Haskalah, or Jewish Enlightenment, which began in late eighteenth century, Germany, was a response to the European Enlightenment. Middle-class Jews, anxious to distance themselves from the ghetto and religious prejudice, sought to modernize Jewish communities by exposing them to secular thought. The Maskilim (the proponents of the Haskalah) believed that Jews were persecuted because they differed from dominant communities in terms of culture, language, education, dress and manners. By modernizing their schools, learning the spo ken language of the country in which they lived, and adapting their manners to those of their neighbors, it was hoped that individual Jews would be treated like any other citizens. 3. Steve Allen, Funny People (New York: Stein and Day, 1981), 11. 4. Most of the women listed here are not discussed further in this book, although I would like to suggest that they could be. Also, this study does not confine itself (at least in its earlier chapters) to comic performance. I present this list self consciously and order it alphabetically as an attempt at organization. -
Missing a Beat
Missing a Beat Bridging Ireland's Orchestral Gaps A Review of Orchestral Provision in Ireland Review of Orchestral Provision in Ireland 1 Introductory note from The Arts Council/An Chomhairle Ealaíon This note introduces the Report 'Missing a Beat: bridging Ireland's orchestral gaps', from the perspective of the Arts Council. In response to feedback gathered during a major consultation process (2005), in the resulting document, Partnership for the Arts, the Arts Council undertook to “examine national orchestral needs and develop appropriate responses”1. This led to commissioning a review of orchestral provision in late 2007. Much of the primary research was undertaken during 2008 and 2009. The resulting report 'Missing a Beat, Bridging Ireland's Orchestral Gaps' written by Fergus Sheil, was finalised in November 2010. A postscript to the original report was written by the author in May 2012, in order to reflect developments since the original report was completed. This postscript is now appended to the original document. The report offers an overview and analysis of issues affecting orchestral provision in Ireland. It draws upon a wide range of examples of international practice to illustrate what it regards as 'gaps' and to highlight the potential that may exist for development within Ireland. Beyond its usefulness as an important reference document, the report has the potential to stimulate both further dialogue and practical cooperation amongst a broad range of stakeholders within the music sector. In this regard, the report itself notes and anticipates the need for the music sector to develop new models of practice. Embracing such an approach may prove to be essential in terms of ensuring the longer term development and sustainability of orchestral music provision in Ireland. -
Theory and Interpretation of Narrative James Phelan, Peter J
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KnowledgeBank at OSU THEORY AND INTERPRETATION OF NARRATIVE JAMES PHELAN, PETER J. RABINOWITZ, AND ROBYN WARHOL, SERIES EDITORS FOR VANESSA, MAX, AND MILLY THE RETURN OF THE OMNISCIENT NARRATOR Authorship and Authority in Twenty-First Century Fiction PAUL DAWSON THE OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Dawson, Paul, 1972– The return of the omniscient narrator authorship and authority in twenty-first century fiction / Paul Dawson. pages cm—(Theory and interpretation of narrative) Includes bibliographical references and index. ISBN-13: 978-0-8142-1233-2 (cloth : alk. paper) ISBN-10: 0–8142– 1233–6 (cloth : alk. paper) 1. Fiction—Technique. 2. Omniscience (Theory of knowledge) in literature. 3. Narration (Rhetoric) I. Title. II. Series: Theory and interpretation of narrative series. PN3355.D246 2013 808.3—dc23 2013031509 Cover design by AuthorSupport.com Text design by Juliet Williams Type set in Adobe Sabon Printed by Sheridan Books, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments vii Introduction The Return of Omniscience in Contemporary Fiction 1 CHaptER 1 Omniscience and Narrative Authority 25 CHaptER 2 The Direct Address and the Ironic -
Annual Report 2002
Annual Report 2002 The Bank’s annual general meeting will be held at 2.00pm on Tuesday, March 25, 2003, at the Tivoli Concert Hall, Tietgensgade 20, Copenhagen, Denmark. 2 DANSKE BANK ANNUAL REPORT 2002 CONTENTS 4 MANAGEMENT 7 FINANCIAL HIGHLIGHTS 8 MANAGEMENT’S REPORT 10 Results 14 Outlook for 2003 17 Merger 19 Organisation and management 26 Danske Bank shares 29 Incentive programmes 31 Human resources 35 Information technology 38 BUSINESS AREAS 39 Banking Activities 40 Banking Activities, Denmark 45 Banking Activities, International 52 Mortgage Finance 55 Danske Markets 58 Danica Pension 62 Danske Capital 64 Danske Securities 66 Earnings from investment portfolios 69 RISK AND CAPITAL MANAGEMENT 72 Raroc 74 Credit risk 79 Market risk 82 Operational risk 83 Insurance risk 84 ACCOUNTS 84 Signatures 85 Audit reports 86 Accounting policies 90 Annual accounts 123 Group holdings and undertakings 128 GROUP STRUCTURE 130 DIRECTORSHIPS 135 ADVISORY BOARD 136 DANSKE BANK’S LOCATIONS DANSKE BANK ANNUAL REPORT 2002 3 BOARD OF DIRECTORS Poul J. Svanholm / General Manager / Chairman Jørgen Nue Møller / General Manager / Vice Chairman Alf Duch-Pedersen / Chief Executive of Danisco A/S / Vice Chairman Poul Christiansen / Master Carpenter Henning Christophersen / Partner at KREAB Brussels Bent M. Hansen / General Manager Hans Hansen / Farmer Niels Eilschou Holm / Private Secretary to Her Majesty the Queen of Denmark Peter Højland / Managing Director of Transmedica A/S Eivind Kolding / Chief Financial Officer of A.P. Møller Niels Chr. Nielsen / Professor of Economics, Ph.D. Sten Scheibye / Chief Executive of Coloplast A/S Majken Schultz / Professor of Organization, Ph.D. Birgit Aagaard-Svendsen / Executive Vice President, CFO of J. -
Bebopnet: Deep Neural Models for Personalized Jazz Improvisations - Supplementary Material
BEBOPNET: DEEP NEURAL MODELS FOR PERSONALIZED JAZZ IMPROVISATIONS - SUPPLEMENTARY MATERIAL 1. SUPPLEMENTARY MUSIC SAMPLES We provide a variety of MP3 files of generated solos in: https://shunithaviv.github.io/bebopnet Each sample starts with the melody of the jazz stan- dard, followed by an improvisation whose duration is one chorus. Sections BebopNet in sample and BebopNet out of sample contain solos of Bebop- Net without beam search over chord progressions in and out of the imitation training set, respectively. Section Diversity contains multiple solos over the same stan- Figure 1. Digital CRDI controlled by a user to provide dard to demonstrate the diversity of the model for user- continuous preference feedback. 4. Section Personalized Improvisations con- tain solos following the entire personalization pipeline for the four different users. Section Harmony Guided Improvisations contain solos generated with a har- monic coherence score instead of the user preference score, as described in Section 3.2. Section Pop songs contains solos over the popular non-jazz song. Some of our favorite improvisations by BebopNet are presented in the first sec- Algorithm 1: Score-based beam search tion, Our Favorite Jazz Improvisations. Input: jazz model fθ; score model gφ; batch size b; beam size k; update interval δ; input in τ sequence Xτ = x1··· xτ 2 X 2. METHODS τ+T Output: sequence Xτ+T = x1··· xτ+T 2 X in in in τ×b 2.1 Dataset Details Vb = [Xτ ;Xτ ; :::; Xτ ] 2 X ; | {z } A list of the solos included in our dataset is included in b times scores = [−1; −1; :::; −1] 2 Rb section 4. -
The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. -
Perusal Book 3 Perusal Book 3
PERUSAL BOOK 3 PERUSAL BOOK 3 INTERMEDIATE TO ADVANCED STUDIES TIM LAUTZENHEISER JOHN HIGGINS CHARLES MENGHINI PAUL LAVENDER TOM C. RHODES DON BIERSCHENK Percussion consultant and editor WILL RAPP PERUSAL BOOK FORMAT This book is designed to give you an overview of Essential Technique for Band Book 3. Throughout this book you will find every exercise and page from the book, from the conductor book as well as a mixture of various student books. A variety of instruments were chosen to offer a sampling of how each instrument is approached. Instruments are notated on each page as they change throughout the book. ESSENTIAL ELEMENTS INTERACTIVE Essential Elements Conductor and Student Books come with a wealth of tools and resources online! Be sure to check out www.essentialelementsinteractive.com for more information. EEi works with these platforms: Copyright © 2004 by HAL LEONARD LLC International Copyright Secured All Rights Reserved EE BAND PERUSAL BOOK 3: CONDUCTOR 6 SEQUENCE OF Director 1 12–17 18–24 25–27 28–34 35–41 42–47 48–51 52–56 57–63 64–67 68–71 Page Student Page 1 2 3 4 5 6 7 8 9 10 11 12 3 3 Rhythm Rap, Rhythm Rhythm Rhythm Rhythms œ ‰œ3 œ œ ‰ Sixteenth Rap Rap Rap , Notes Rhythm‰ œ œ Rap and Rests Minor Triplets Theory 3 9 Keys 12 with Rests 8 , 8 8 Handel, Native Johann Claude History Baroque American Strauss Jr. Debussy Period Music Tempo Lento, Lento Terms div., Maestoso di Valse, Giocoso molto Mysterioso a2 Operetta Concert B Major, Concert Concert E Major, Concert Concert F Major, Special Title Chorale,b A Minor, Chorale,b C Minor, Chorale, EE Quiz Features Page Chromatic Scale EE Quiz Chromatic Scale EE Quiz Chromatic Scale Note Sequence œ# œ œ# Flute œ# & Oboe œ# œ# & Enharmonic œ# œ œ# Bassoon ? œ# œb Enharm. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
ESSENTIAL ELEMENTS for JAZZ ENSEMBLE Offers an Exciting Way to Introduce Young Players to the World of Jazz
A Comprehensive Method for Jazz Style and Improvisation By Mike Steinel By Mike Steinel A Comprehensive Method for Jazz Style and Improvisation From the trusted ESSENTIAL ELEMENTS family of band methods, ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE offers an exciting way to introduce young players to the world of jazz. Specifically designed to teach jazz basics to students with 1 or 2 years playing experience. #73999-DCAAGa Visit Hal Leonard Online at HL90001883 www.halleonard.com 59271EEJazz[guts]: 12/2/08 4:36 PM Page 1 DIRECTOR’S INFORMATION GUIDE ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE A COMPREHENSIVE METHOD FOR JAZZ STYLE AND IMPROVISATION By MIKE STEINEL WELCOME to the exciting world of jazz! This book will help you get started by introducing the important elements of jazz style and improvisation. You’ll also learn basic jazz theory and some highlights of the history of jazz. The exercises and compositions in this book can be played by a full jazz ensemble, or individually with the CD. Listening to good jazz players is an extremely important way to learn, and playing along with the CD is an excellent way to hear how jazz is played. The full band arrangements in this book include “sample” improvised solos for study and reference. And remember…have fun playing jazz! ABOUT THE AUTHOR Mike Steinel is an internationally recognized jazz artist and educator. He has recorded with the Frank Mantooth Orchestra and the Chicago Jazz Quintet, and performed with a wide variety of jazz greats including Clark Terry, Jerry Bergonzi, Bill Evans, and Don Ellis. Since 1987, he has been a member of the jazz faculty at the University of North Texas where he teaches jazz improvisation and jazz pedagogy.