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Underserved Communities
National Endowment for the Arts FY 2016 Spring Grant Announcement Artistic Discipline/Field Listings Project details are accurate as of April 26, 2016. For the most up to date project information, please use the NEA's online grant search system. Click the grant area or artistic field below to jump to that area of the document. 1. Art Works grants Arts Education Dance Design Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts 2. State & Regional Partnership Agreements 3. Research: Art Works 4. Our Town 5. Other Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of April 26, 2016. Arts Education Number of Grants: 115 Total Dollar Amount: $3,585,000 826 Boston, Inc. (aka 826 Boston) $10,000 Roxbury, MA To support Young Authors Book Program, an in-school literary arts program. High school students from underserved communities will receive one-on-one instruction from trained writers who will help them write, edit, and polish their work, which will be published in a professionally designed book and provided free to students. Visiting authors, illustrators, and graphic designers will support the student writers and book design and 826 Boston staff will collaborate with teachers to develop a standards-based curriculum that meets students' needs. Abada-Capoeira San Francisco $10,000 San Francisco, CA To support a capoeira residency and performance program for students in San Francisco area schools. Students will learn capoeira, a traditional Afro-Brazilian art form that combines ritual, self-defense, acrobatics, and music in a rhythmic dialogue of the body, mind, and spirit. -
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I UCM NEW MUSIC f~ST VAL 2011: 0 D ANl;)NEW - / I . \ 1 ~011 SOCIETY OF COMPOS5RS, 11\lc. REGION VI CONFERENCE ,-A I I , , I ' , I ' ~ ~ ~ ~' ' I NIVERSllTY OF CENTRAt MISSOURI /,) I I DEPARTMENT O~MlJSl6 APRIL 8-10, 20 1 ' J UCM New Music Festival 2011: OLD AND NEW 2011 Society of Composers, Inc. Region VI Conference Festival Featured Guest Artists: ATHENS SAXOPHONE QUARTET KCCONTINUUM April 8-10, 2011 University of Central Missouri College of Arts, Humanities, and Social Sciences Department of Music An All-Steinway School Festival at a Glance Alf concerts will be held in Hart Recital Half Friday, April 8 Saturday, April 9 Sunday, April 11, 2010 8AM: Papers I (Utt 008) 8AM: Papers Ill (Utt 100) 8AM: Papers V (Utt 100) 10AM: Concert I 10AM: Concert IV 10AM: Concert VII 1PM: Papers II (Utt 107) 1 PM: Papers IV (Utt 100) 1 PM: Papers VI (Utt 100) 3PM: Concert II 3PM: Concert V 3PM: Concert VII 8PM: Concert Ill KCContinuum 8PM: Concert IX 8PM: Concert VI Athens Saxophone Quartet UNNERSI1Y OF CENTRAL MISSOURJ - - DEPARTMENTOF - MUS!C _5CI - Est. 1871- AN A LL-STEINWAY SCHOOL ;ociety of Composers, Inc. UCM New Music Festival 2011: OLD AND NEW April 8-10, 2011 U niversity of Central Missouri College of Arts, Humanities, and Social Sciences Department of Music TABLE OF CONTENTS Welcome from the Chair ... ....... .. ..... ...... .. .. ...... ...... ................. ........... .......... ........ ....... ................. ... ......... 1 UCM Department of Music Faculty . ...... ....... ........ .. .... ...... ...................... ....... -
The History and Development of Jazz Piano : a New Perspective for Educators
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr. -
KC JAZZ STREETCAR ROLLS out for DEBUT the 2021 Art in the Loop KC Streetcar Reveal Set for 4 P.M
FOR IMMEDIATE RELEASE June 24, 2021 Media Contact: Donna Mandelbaum, KC Streetcar Authority, 816.627.2526 or 816.877.3219 KC JAZZ STREETCAR ROLLS OUT FOR DEBUT The 2021 Art in the Loop KC Streetcar Reveal Set for 4 p.m. Friday. (Kansas City, Missouri) – The sound of local jazz will fill Main Street as the KC Streetcar debuts its latest streetcar wrap in collaboration with Art in the Loop. Around 4 p.m., Friday, June 25., the 2021 Art in the Loop KC “Jazz” Streetcar will debut at the Union Station Streetcar stop located at Pershing and Main Street. In addition to art on the outside of the KC Streetcar, the inside of the streetcar will feature live performances from percussionist Tyree Johnson and Deremé Nskioh on bass guitar. “We are so excited to debut this very special KC Streetcar wrap,” Donna Mandelbaum, communications director with the KC Streetcar Authority said. “This is our fourth “art car” as part of the Art in the Loop program and each year the artists of Kansas City continue to push the boundaries on how to express their creativity on a transit vehicle.” Jazz: The Resilient Spirit of Kansas City was created by Hector E. Garcia, a local artist and illustrator. Garcia worked for Hallmark Cards for many years as an artist and store merchandising designer. As a freelance illustrator, he has exhibited his “Faces of Kansas City Jazz” caricature collections in Kansas City jazz venues such as the Folly Theater and the Gem Theater. In addition to being an artist, Garcia enjoys Kansas City Jazz – both listening to it and playing it on his guitar. -
Mi M®, 7273 the FUNCTION of ORAL TRADITION in MARY LOU's MASS by MARY LOU WILLIAMS THESIS Presented to the Graduate Counci
37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 Fledderus, France. The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams. Master of Music (Musicology), August, 1996,141 pp., 44 titles. The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass. -
Trevor Tolley Jazz Recording Collection
TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre. -
Jazzslam Jazz Supports Language Arts & Math
JazzSLAM Teacher’s Guide JazzSLAM Jazz Supports Language Arts & Math JazzSLAM TEACHERS: We hope that you and your students enjoyed the JazzSLAM presenta- tion at your school. This guide will help you reinforce some of the concepts we presented and will give you more information for your students about the music of jazz! What is Jazz and Where Did It Come From? Jazz and Blues are types of music that are totally American. Early jazz and blues tunes evolved out of the Southern slaves’ tradition of “call & response” work songs. Slave ships transported Africans to North America, South America, and the Caribbean islands. Many of the enslaved people came from the Congo and spread the Bamboula rhythm throughout the “New World” The people from the Congo brought the Bamboula rhythm and spread it throughout the Western Hemisphere. In colonial America the Africans worked on farms and plantations. While in the fields, they set a beat and communicated to each other through call-and-responses, called "Field Hollers." Spirituals also used the same strong African rhythms and call-and-response patterns. The simple Field Holler form soon evolved into the 12 bar Blues form. African Americans were freed after the Civil War, and many migrated into New Orleans, Louisiana, considered to be the birthplace of jazz. African-American and Creole musicians, who were either self-taught or schooled in the melodies and harmo- nies of European classical music, played in jazz bands, brass bands, military bands and minstrel shows in New Orleans. Field Hollers, Blues, and Spirituals are the roots of today's jazz and blues music. -
Encyclopedia of African American Music Advisory Board
Encyclopedia of African American Music Advisory Board James Abbington, DMA Associate Professor of Church Music and Worship Candler School of Theology, Emory University William C. Banfield, DMA Professor of Africana Studies, Music, and Society Berklee College of Music Johann Buis, DA Associate Professor of Music History Wheaton College Eileen M. Hayes, PhD Associate Professor of Ethnomusicology College of Music, University of North Texas Cheryl L. Keyes, PhD Professor of Ethnomusicology University of California, Los Angeles Portia K. Maultsby, PhD Professor of Folklore and Ethnomusicology Director of the Archives of African American Music and Culture Indiana University, Bloomington Ingrid Monson, PhD Quincy Jones Professor of African American Music Harvard University Guthrie P. Ramsey, Jr., PhD Edmund J. and Louise W. Kahn Term Professor of Music University of Pennsylvania Encyclopedia of African American Music Volume 1: A–G Emmett G. Price III, Executive Editor Tammy L. Kernodle and Horace J. Maxile, Jr., Associate Editors Copyright 2011 by Emmett G. Price III, Tammy L. Kernodle, and Horace J. Maxile, Jr. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Encyclopedia of African American music / Emmett G. Price III, executive editor ; Tammy L. Kernodle and Horace J. Maxile, Jr., associate editors. p. cm. Includes bibliographical references and index. ISBN 978-0-313-34199-1 (set hard copy : alk. -
Developing and Promoting Big Band Jazz in Canada and Beyond
2019 HAWAII UNIVERSITY INTERNATIONAL CONFERENCES ARTS, HUMANITIES, SOCIAL SCIENCES & EDUCATION JANUARY 3 - 5, 2019 PRINCE WAIKIKI HOTEL, HONOLULU, HAWAII DEVELOPING AND PROMOTING BIG BAND JAZZ IN CANADA AND BEYOND GILLIS, RICHARD UNIVERSITY OF MANITOBA WINNIPEG, MANITOBA CANADA Dr. Richard Gillis University of Manitoba Winnipeg, Manitoba Canada Developing and Promoting Big Band Jazz in Canada and Beyond Synopsis: Big Band jazz is very much alive in every city and on every college campus in the Western world. Professional organizations throughout North America are actively engaged in big band exploration, creation, performance, recording and education. This article will present what the Winnipeg Jazz Orchestra is doing to keep big band alive and thriving, and how it is developing ties to like-minded organizations in Canada and beyond. Developing and Promoting Big Band Jazz in Canada and Beyond Synopsis: Big Band jazz is very much alive in every city and on every college campus in the Western world. Professional organizations throughout North America are actively engaged in big band exploration, creation, performance, recording and education. This article will present what the Winnipeg Jazz Orchestra is doing to keep big band alive and thriving, and how it is developing ties to like-minded organizations in Canada and beyond. Preamble: What comes to mind if you were asked to provide a definition of a “symphony orchestra”? Most people would respond with a description close to that in the Encyclopaedia Britannica… an ensemble “western classical” musical instruments - primarily strings, though usually complemented by brass, woodwinds and percussion1. If there was one composer that most would associate with this ensemble, it would be Beethoven2, but it is widely recognized that the symphony orchestra has a huge repertoire of masterworks from a great number of composers, with new works being created every year throughout the world. -
The Comment, October 13, 1988
Bridgewater State University Virtual Commons - Bridgewater State University The ommeC nt Campus Journals and Publications 1988 The ommeC nt, October 13, 1988 Bridgewater State College Volume 67 Number 4 Recommended Citation Bridgewater State College. (1988). The Comment, October 13, 1988. 67(4). Retrieved from: http://vc.bridgew.edu/comment/581 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. The Comment Since 1927 Bridgewater State College Vol. 67, No. 4 ©1988 Thursday, October 13, 1988 Bridgewater, MA Students pay more but Jenifer gets a raise Meal plans By Bryon Hayes higher education for Massa Regents L. Edward Lashman Endgland area. Comment staff chusetts. He now earns $112,000 spoke in defense of the pay raise, His pay raise comes at a time to be handled per year. stating that Jenifer was being when the public education system The Massachusetts Board of This is the second such pay "rewarded for a job well done." in Massachusetts is in the midst by computt.rs Regents of Higher Education raise that Jenifer has received. In Lashman also cited that Jenifer of budget cuts. This resulted from appoved a 12% pay increase to be 1987, the Regents gave Jenifer a had made numerous accomplish a reduction in the $720 million awarded to the Chancellor of $35,000 increase to bring his ments during the past year which budget request to $668 million. By Ed.Ward Higher Education Franklyn annual total to $100 ,000 for his warrented him a pay raise. As a result of this budget cut, Comment staff Jenifer. -
At the Jazz Band Ball - Original Dixieland Jazz Band
Presentation by Adam Lee If you would like to have a similar presentation done at your event, or if you have questions about the presentation, contact Adam at: [email protected] Echoes of Harlem - Duke Ellington A look at the musical figures A Geographical Look and the historical and political factors that drove the four at Jazz and Swing great jazz cities. Buddy Bolden’s Blues aka I Thought I Heard Buddy Bolden Say - Jelly Roll Morton New Orleans The Birthplace of Jazz ❖ Slaves in the early 19th century are allowed to create music in New Orleans at certain times and under certain conditions, in contrast to many other parts of the slaveholding south, which creates a culture of music and allows African musical traditions to survive. ❖ New Orleans was a major southern port with a large number of immigrants and travelers from Europe and the Caribbean creating a heterogenous society that brought their own traditions with them, and blended them together in New Orleans. ❖ Jazz is born in New Orleans at the beginning of the 20th century or possibly the last decade of the 19th century depending on how you define jazz. It evolves from brass band marches adding ragtime syncopations and improvisation over chord changes. ❖ It is commonly believed by everyone except Jelly Roll Morton, that the first jazz musician was Buddy Bolden. There are no known recordings of Bolden. Bolden was institutionalized in 1906 and died in 1931, forgotten. (Yanow) ❖ Jell Roll Morton claimed to have created jazz but he was widely considered a blowhard. A musically gifted blowhard, but a blowhard none the less. -
The Home of Jazz’’
F:\M14\CLEAVE\CLEAVE_007.XML ..................................................................... (Original Signature of Member) 114TH CONGRESS 2D SESSION H. RES. ll Expressing the sense of the House of Representatives regarding jazz heritage in the United States. IN THE HOUSE OF REPRESENTATIVES Mr. CLEAVER submitted the following resolution; which was referred to the Committee on lllllllllllllll RESOLUTION Expressing the sense of the House of Representatives regarding jazz heritage in the United States. Whereas the seeds of Jazz came from the merger of tradi- tional West African slave folk music with the harmonic style of hymns of the church; Whereas these songs eventually coalesced in unwritten form, into melodies; Whereas these melodies came to be performed in urban cen- ters, such as the famed Congo Square of New Orleans; Whereas these performances evolved over time to contain the core elements such as heavy use of improvisation, polyrhythms, syncopation, and the swung note; f:\VHLC\040716\040716.066.xml (626495|2) April 7, 2016 (12:29 p.m.) VerDate 0ct 09 2002 12:29 Apr 07, 2016 Jkt 000000 PO 00000 Frm 00001 Fmt 6652 Sfmt 6300 C:\USERS\KMAMAR~1\APPDATA\ROAMING\SOFTQUAD\XMETAL\7.0\GEN\C\CLEAVE~1.X F:\M14\CLEAVE\CLEAVE_007.XML 2 Whereas these elements combined with the unique perform- ance aspect of southern dance bands bore our modern day understanding of jazz music; Whereas pianist Jelly Rolle Morton composed his ‘‘Jelly Roll Blues’’ in 1905, to be later published in 1914, intro- ducing the world to the New Orleans style; Whereas