1996–Master's Level Seminar, American Music
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Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 8-26-2016 Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the African American Studies Commons, American Popular Culture Commons, and the Music Commons Lefferts, Peter M., "Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography" (2016). Faculty Publications: School of Music. 64. http://digitalcommons.unl.edu/musicfacpub/64 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 08/26/2016 Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln This document is one in a series---"Chronology and Itinerary of the Career of"---devoted to a small number of African American musicians active ca. 1900-1950. They are fallout from my work on a pair of essays, "US Army Black Regimental Bands and The Appointments of Their First Black Bandmasters" (2013) and "Black US Army Bands and Their Bandmasters in World War I" (2012/2016). In all cases I have put into some kind of order a number of biographical research notes, principally drawing upon newspaper and genealogy databases. None of them is any kind of finished, polished document; all represent work in progress, complete with missing data and the occasional typographical error. -
The Harlem Renaissance: a Handbook
.1,::! THE HARLEM RENAISSANCE: A HANDBOOK A DISSERTATION SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY ELLA 0. WILLIAMS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA JULY 1987 3 ABSTRACT HUMANITIES WILLIAMS, ELLA 0. M.A. NEW YORK UNIVERSITY, 1957 THE HARLEM RENAISSANCE: A HANDBOOK Advisor: Professor Richard A. Long Dissertation dated July, 1987 The object of this study is to help instructors articulate and communicate the value of the arts created during the Harlem Renaissance. It focuses on earlier events such as W. E. B. Du Bois’ editorship of The Crisis and some follow-up of major discussions beyond the period. The handbook also investigates and compiles a large segment of scholarship devoted to the historical and cultural activities of the Harlem Renaissance (1910—1940). The study discusses the “New Negro” and the use of the term. The men who lived and wrote during the era identified themselves as intellectuals and called the rapid growth of literary talent the “Harlem Renaissance.” Alain Locke’s The New Negro (1925) and James Weldon Johnson’s Black Manhattan (1930) documented the activities of the intellectuals as they lived through the era and as they themselves were developing the history of Afro-American culture. Theatre, music and drama flourished, but in the fields of prose and poetry names such as Jean Toomer, Langston Hughes, Countee Cullen and Zora Neale Hurston typify the Harlem Renaissance movement. (C) 1987 Ella 0. Williams All Rights Reserved ACKNOWLEDGEMENTS Special recognition must be given to several individuals whose assistance was invaluable to the presentation of this study. -
The Music of Rhythm Willie Can Be at Once a Blues Harmonica Fan's Most Exciting and Most Frustrating Discovery
Copyright Scott Dirks, for Blues & Rhythm magazine The music of Rhythm Willie can be at once a blues harmonica fan's most exciting and most frustrating discovery. His recordings reveal a technically accomplished and musically innovative player, with few peers on the standard 10-hole Marine Band harmonica in his day. A strong case can be made for his position as the first truly urban blues harp player; at a time when the harmonica was still used in black music essentially for 'country' adornment, Rhythm Willie was utilizing it with the urbanity of a jazz trumpeter or clarinetist. Yet until recently almost nothing was known of him other than the sound of his harmonica in the grooves of a handful of rare 78s recorded in Chicago between 1939 and 1950. Overlooked by blues researchers and historians for over 40 years, mention of his name draws only blank expressions or resigned shrugs from most blues authorities. Listening for biographical clues in his music reveals virtually nothing about the artist--his only recordings as a leader were all instrumentals. Further compounding the mystery, most of Willie's appearances as an accompanist on the recordings of other blues artists are attributed to "unknown harmonica" or "possibly Lee McCoy" in published discographies (a situation which this article will examine and attempt to rectify.) In fact, given his extraordinary range and talent, referring to Rhythm Willie as simply a "blues" harmonica player might be slightly unfair, and in retrospect it's easy to imagine that Willie himself may have gone to some lengths to avoid being classified with the blues harp players he probably considered to be his musically less sophisticated country cousins. -
2009–Senior Seminar, Ives, Blues, Porter
James Hepokoski Spring 2009 Music 458: Ives, Blues, Porter Visions of America: Competing concepts of musical style and purpose in the United States in the first half of the twentieth century. We examine some stylistic and cultural bases of both “art” and “popular” music and their often uneasy interrelationships. This is neither a survey course nor one concerned with mastering a body of facts. Nor is it preoccupied with coming to aesthetic value judgments. Instead, it is a course in applying critical thinking and analysis to some familiar musical styles basic to the American experience: asking hard questions of differing early- and mid-twentieth-century repertories. Areas to be examined include: 1) Ives (selected songs, Concord Sonata, Second Symphony); 2) early blues (Bessie Smith, Charley Patton, Robert Johnson, and others), including samples of African-American recorded precedents and related genres; 3) Broadway and popular song—including a brief look at Jerome Kern (selected numbers from Show Boat) followed by a closer study of Cole Porter (Anything Goes). Some main questions to be faced are: What aesthetic/contextual/analytical tools do we need to think more deeply about differing pieces of music that spring from or respond to markedly differing/diverse American subcultures? What are our presuppositions in listening to any of these musics, and to what extent might we profit by examining these presuppositions critically? The course will also make use of resources in Yale’s music collection—most notably the Charles Ives Papers and The Cole Porter Collection. We shall also be concerned with original recordings from the 1920s and 1930s. -
Robert Johnson from Wikipedia, the Free Encyclopedia
Robert Johnson From Wikipedia, the free encyclopedia Background information Birth name Robert Leroy Johnson Born May 8, 1911 Hazlehurst, Mississippi Died August 16, 1938 (aged 27) Greenwood, Mississippi Genres Delta blues Occupation(s) Musician, songwriter Instruments Guitar, vocals, harmonica Years active 1929 – 1938 Notable instruments Gibson L-1 Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American singer-songwriter and musician. His landmark recordings in 1936 and 1937, display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. Johnson's shadowy, poorly documented life and death at age 27 have given rise to much legend, including the Faustian myth that he sold his soul at a crossroads to achieve success. As an itinerant performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. It was only after the reissue of his recordings in 1961, on the LP King of the Delta Blues Singers that his work reached a wider audience. Johnson is now recognized as a master of the blues, particularly of the Mississippi Delta blues style. He is credited by many rock musicians as an important influence; Eric Clapton has called Johnson "the most important blues singer that ever lived." Johnson was inducted into the Rock and Roll Hall of Fame as an early Influence in their first induction ceremony in 1986. In 2010, David Fricke ranked Johnson fifth in Rolling Stone′s list of the 100 Greatest Guitarists of All Time. Life and career Early life Robert Johnson was born in Hazlehurst, Mississippi possibly on May 8, 1911, to Julia Major Dodds (born October 1874) and Noah Johnson (born December 1884). -
Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1995 The ad rker side of Dixie: southern music and the seamier side of the rural South Cecil Kirk Hutson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Folklore Commons, Music Commons, Social and Cultural Anthropology Commons, and the United States History Commons Recommended Citation Hutson, Cecil Kirk, "The ad rker side of Dixie: southern music and the seamier side of the rural South " (1995). Retrospective Theses and Dissertations. 10912. https://lib.dr.iastate.edu/rtd/10912 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthiough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
The Complete Recordings--Robert Johnson
“The Complete Recordings”--Robert Johnson (1936- 1937) Added to the National Registry: 2003 Essay by Ed Komara (guest post)* Robert Johnson Twenty-nine songs in 41 takes is a compact legacy of a bluesman’s complete career, two hours of music fitting in the palm of one hand. That was the power of the 1990 Sony/Columbia 2-CD set, Robert Johnson, “The Complete Recordings.” The genesis of that legacy began in the late 1920s, when Johnson (1911-1938) embarked on his career as a performing bluesman in the Mississippi Delta. For his models, he took the best musicians that he was hearing in the region, especially Charley Patton, Son House, and Willie Brown, along with the records being made by St. Louis musician Lonnie Johnson. But according to some accounts, Johnson wasn’t very good, and sometime around 1930-31, he spent a year or longer learning and woodshedding in Hazlehurst, Mississippi, with another guitarist, Ike Zimmerman. His musical growth was remarkable enough, upon his return to the Delta to cause wonder if he had not sold his soul to the devil during the meantime. What people speculated would have been of no concern to Johnson but what they were willing to pay to hear was. During the early to mid-1930s, he rapidly expanded his songbag, adding the artful if little-known blues of Nehemiah “Skip” James, the big-city piano blues of Leroy Carr, Peetie Wheatstraw and Jabo Williams, and additional songs by St. Louis-based Roosevelt Sykes, and even a hit by Memphis Minnie. Johnson’s first opportunity to make records came in 1936, at a time when the record industry was holding fewer sessions with southern blues musicians than it did seven or eight years before. -
9-16-21-Deluca Auction
SPECIAL John Tefteller’s World’s Rarest Records AUCTION AUCTION! Address: P. O. Box 1727, Grants Pass, OR 97528-0200 USA #1 Phone: (541) 476–1326 or (800) 955–1326 • FAX: (541) 476–3523 Ralph DeLuca’s E-mail: [email protected] • Website: www.tefteller.com More DeLuca Pre-War auctions to Blues Auction closes Thursday, September 16, 2021 at 7:00 p.m. come! Presenting . The Ralph DeLuca Collection of Pre-War Blues 78’s! This is auction #1 (of at least five) of the record Mr. DeLuca has moved into the art world, collection. Be prepared though — the great stuff is collection of Ralph DeLuca. no longer collecting 78’s, as he finds it easier to going to go for a lot of money! buy rare art than rare records. That should tell Mr. DeLuca is most known for his legendary you something! E+ is the highest grade used. This is the old-time collection of rare movie posters, but for about 15 78 grading system and I am very strict. years he actively, and aggressively, collected rare There should be something for each and every Blues 78’s, mostly Pre-War. Blues collector reading this auction. There are The next Ralph DeLuca auction will be in a few titles here not seen for sale in decades . and months and contains another 100 goodies. He plunged into collecting rare Blues 78’s hot some may never be seen again. and heavy and went for the best whenever and Good luck to all! wherever he could find them. He bought smart This is your chance to get some LEGENDARY and paid big to get what he wanted! rarities and just plain GREAT records for your THE 3 KINGS OF THE BLUES! CHARLEY PATTON TOMMY JOHNSON ROBERT JOHNSON 1. -
Tlie Other Cuks on Side One Feilture Solos on Mandolin, Drunis
Tlie other cuks on side one feilture solos on mandolin, drunis, ~~'~xo~~~one,and j, +c? a saxoi,hone en,emble, all of ~~ilichhave a novelty,appeal ~iliichquickly weiirs tliip on repeti- tion. iluch the same nay be skid of tiAe selectioils on tile second side of the recordilig uliich is"devotetl to illilitary b~ndragtime. khough the organizations represented here are first rate, the elan of ragtime is l~rgelylost ~rlleninterpeted tllrough so much, musical firepower. Tile little know1 "Bantam btep" by Larry Jentes emerges as a higlily original rhg in'tilis'perfo,rmance by Conway's" bznd, but iii~stof the pieces consist of a few 'rudimen- tary and brittle syncopations superimposed on roltine tonic-dom- I. inant harmonies. ~veniienry ~odgeb"Pastir..e ;lagtt undergoes ri-gor iJLortiswhen transferred to the band idion. The sound on the discs is 1.Il;:t one ~rould'exi~ect from' old and uell-loved, often-played recordilias. The reproduction is ac- ce,)table, althougli occitsionslly marreu by obtrusive surface , noise, especially during sorl,e of tLe piano selections. The producers have sensibly decided agaiest electronically tin- , ker-ing with the output of tiie old discs. J, rAibjor flav in these productions is the inadequacy of the an- notation. The situation is \lorst in ilagtinle iaiio Lriginals. ..e are not giveu recording locstions or dates, release dates, nor 'even a ge~~er;:liCea of tl,e tiiie i!erio spit~i:.i~iby thc selec- tion of discs. The notes for ibaktime untertainment are some- 'urllat better, recording dates being given for several, bu't not all, o'f tile performances. -
St. Louis Blues Society Volunteer With
THE BI-MONTHLY MAGAZINE OF THE SAINT LOUIS BLUES SOCIETY Jan/Feb 2015 Number 72 14 inin14 TheThe St.St. LouisLouis BluesBlues SocietySociety presentspresents itsits firstfirst CompilationCompilation CDCD St.St. LouisLouis BluesBlues History:History: Pre-warPre-war PianoPiano BluesBlues R.I.P.R.I.P. AlvinAlvin JettJett NationalNational BluesBlues MuseumMuseum RadioRadio ShowShow Event:Event: ReflectionsReflections ofof HenryHenry TownsendTownsend 1 The St. Louis Blues Society BluesLetter Jan/Feb 2015 Number 72 Officers Chairperson BLUESLETTER John May The Bi-Monthly Magazine of the St. Louis Blues Society Vice Chairperson The St. Louis Blues Society is dedicated to preserving and perpetuating blues music in Jeremy Segel-Moss and from St. Louis, while fostering its growth and appreciation. The St. Louis Blues Treasurer Society provides blues artists the opportunity for public performance and individual Jerry Minchey improvement in their field, all for the educational and artistic benefit of the general public. Legal Counsel Charley Taylor CELEBRATING 30 YEARS Secretary Lynn Barlar OF SUPPORTING BLUES MUSIC IN ST LOUIS Communications Mary Kaye Tönnies Board of Directors Ridgley "Hound Dog" Brown Bernie Hayes Letter to Membership 3 Glenn Howard Rich Hughes R.I.P. Alvin Jett 4 Greg Hunt Paul Niehaus IV Event: Reflections of Henry Townsend 5 Marty D. Spikener Johnny Willis STLBS Compilation CD is Here! 8 BluesLetter St. Louis Blues History: Pre-war Piano Blues 10 Editors Mary Kaye Tönnies National Blues Museum Radio Show 13 Jeremy Segel-Moss Contributing Photographers St. Louis Musicians Listing 15 Virginia Harold Ray Marklin Discounted Events for Members 16 Peter Newcomb Reed Radcliffe Christopher Scribner Join the St. -
Delta Music Heritage Research Project - Part I
II’m’m GGoin’oin’ OOverver ’’nn OOl’l’ HHelenaelena Arkansas Delta Music Heritage Research Project - Part I Prepared for Department of Arkansas Heritage Delta Cultural Center Helena, Arkansas Helena-West Helena Prepared by Advertising and Promotion Commission Mudpuppy & Waterdog, Inc. Helena, Arkansas Versailles, Kentucky December 31, 2015 I’m Goin’ Over’ n Ol’ Helena . Delta Music Heritage Research Project Part I Prepared by Joseph E. Brent Maria Campbell Brent Mudpuppy & Waterdog, Inc. 129 Walnut Street Versailles, Kentucky 40383 Prepared for Katie Harrington, Director Department of Arkansas Heritage Delta Cultural Center 141 Cherry Street Helena, Arkansas 72342 Cathy Cunningham, Chairman Helena-West Helena Advertising and Promotion Commission PO Box 256 Helena, Arkansas 72342 December 31, 2015 Table of Contents Part I Acknowledgments ...............................................................................................................1 Introduction ........................................................................................................................3 Musical Heritage of the Arkansas Delta ............................................................................5 Blues Music in the Arkansas Delta ....................................................................................7 Blues Artists of the Arkansas Delta ....................................................................................37 Part II The Growth of Popular Music ...........................................................................................1 -
AUCTION CLOSES MIDNIGHT SUNDAY 29Th OCTOBER 2017
OFFERS INVITED by Mark Berresford Rare Records The Chequers, Chequer Lane, Shottle, Derbyshire, DE56 2DR, England. Tel: (+44) 1773 550275 Email: [email protected] Postage and packing in purpose-built new boxes extra. Winners only notified. Condition, as ever, guaranteed. Minimum bid unless stated £8/$10, however I reserve the right to refuse bids I consider unrealistic. HOW TO BID Basically, there are two ways of bidding; first is the simple Straight Bid - you offer a fixed amount for an item and if yours is the high - est bid, you win. Secondly, and easier for those more familair with internet auctions, and for those collectors unsure of what to offer, is the Maximum Bid. You offer a bid to a maximum amount, which will be increased in 10% increments over the nearest bid up to your maximum amount. For example, you bid to a maximum of $100 on an item, but the next highest bid is $20 - you will pay $22, i.e. 10% over the the next highest bid. In the event of a tie the fixed bidder, or earliest-placed bid wins. IMPORTANT! Please make clear the system of bidding you are using and currency you are bidding in (Pounds Sterling, Euros or US Dollars). If you have a maximum budget to spend, please advise with your bids. Please also double check your item numbers when bidding - I do not use titles or issue numbers on my auction spreadsheet, so if you bid on the wrong number and win it, it’s yours! Payment by all major Credit and Debit Cards (not AmEx or Diners) as well as £ and US$ personal checks and Paypal and Transferwise.