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Perspectives on the American Concert March in Music Education Robert Clark
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Perspectives on the American Concert March in Music Education Robert Clark Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERSPECTIVES ON THE AMERICAN CONCERT MARCH IN MUSIC EDUCATION By ROBERT CLARK A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Robert Henry Clark defended on March 30, 2009. __________________________ Steven Kelly Professor Directing Thesis __________________________ Patrick Dunnigan Committee Member __________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to express my sincere appreciation to Dr. Bobby Adams, Jack Crew, Dr. James Croft, Joe Kreines, and Paula Thornton, who freely gave of their time, opinions, teaching methods, and wisdom to make the completion of this research study possible. They were as genuine, engaging, inspiring and generous as I had hoped…and more. It was my pleasure to get to know them all better. I would also like to thank my thesis committee, Dr. Steven Kelly, Dr. Patrick Dunnigan and Dr. Christopher Moore for dedicating the time and effort to review my research. I would especially like to thank Dr. Steven Kelly for his work in helping me refine this study, and am further appreciative to him for the guidance he has provided me throughout my undergraduate and graduate studies. -
Wavelength (December 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 12-1981 Wavelength (December 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (December 1981) 14 https://scholarworks.uno.edu/wavelength/14 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ML I .~jq Lc. Coli. Easy Christmas Shopping Send a year's worth of New Orleans music. to your friends. Send $10 for each subscription to Wavelength, P.O. Box 15667, New Orleans, LA 10115 ·--------------------------------------------------r-----------------------------------------------------· Name ___ Name Address Address City, State, Zip ___ City, State, Zip ---- Gift From Gift From ISSUE NO. 14 • DECEMBER 1981 SONYA JBL "I'm not sure, but I'm almost positive, that all music came from New Orleans. " meets West to bring you the Ernie K-Doe, 1979 East best in high-fideUty reproduction. Features What's Old? What's New ..... 12 Vinyl Junkie . ............... 13 Inflation In Music Business ..... 14 Reggae .............. .. ...... 15 New New Orleans Releases ..... 17 Jed Palmer .................. 2 3 A Night At Jed's ............. 25 Mr. Google Eyes . ............. 26 Toots . ..................... 35 AFO ....................... 37 Wavelength Band Guide . ...... 39 Columns Letters ............. ....... .. 7 Top20 ....................... 9 December ................ ... 11 Books ...................... 47 Rare Record ........... ...... 48 Jazz ....... .... ............. 49 Reviews ..................... 51 Classifieds ................... 61 Last Page ................... 62 Cover illustration by Skip Bolen. Publlsller, Patrick Berry. Editor, Connie Atkinson. -
Rolling Thunder (1982)
Henry Fillmore (1895-1982) Rolling Thunder (1982) We open this afternoon’s program with the raucous Rolling Thunder circus march. It features our superb trombone section. Not coincidently, the trombone was Fillmore’s primary instrument. James Henry Fillmore Jr. was born in Cincinnati, OH. His father was a composer of gospel music and was a highly religious presence in the Fillmore household. In fact, when his mother gave him a used trombone, young Henry and his mother kept it a secret from his father who believed the trombone was an uncouth and sinful instrument. Fillmore graduated from the Cincinnati Conservatory of Music, after which he traveled around the United States as a bandmaster with his wife, exotic dancer Mabel May Jones. In 1938, Fillmore moved to the Miami Florida area where he spent the rest of this life conducting area bands and composing marches and novelty pieces involving the trombone. He also wrote several works for the University of Florida, Florida State University and the University of Miami, including Miami’s current fight song Miami U How-Dee-Doo. Frank Ticheli (b. 1958) Postcard (1991) Frank Ticheli is Professor of Composition at the University of Southern California’s Thornton School of Music. He has written for orchestra, chamber ensemble, and choir, but he is perhaps best known for his more than twenty pieces for concert band. Recently, the Metropolitan Wind Symphony has performed his jazz inspired Blue Shades, the energetic Vesuvius and his beautifully melancholy Rest. The Metropolitan Wind Symphony has commissioned Mr. Ticheli for a new composition for wind band as part of a three-ensemble consortium. -
GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie Van Varik
GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie van Varik. As performed in principal recordings (or demos) by or with Gram Parsons or, in the case of Gram Parsons compositions, performed by others. Gram often varied, adapted or altered the lyrics to non-Parsons compositions; those listed here are as sung by him. Gram’s birth name was Ingram Cecil Connor III. However, ‘Gram Parsons’ is used throughout this document. Following his father’s suicide, Gram’s mother Avis subsequently married Robert Parsons, whose surname Gram adopted. Born Ingram Cecil Connor III, 5th November 1946 - 19th September 1973 and credited as being the founder of modern ‘country-rock’, Gram Parsons was hugely influenced by The Everly Brothers and included a number of their songs in his live and recorded repertoire – most famously ‘Love Hurts’, a truly wonderful rendition with a young Emmylou Harris. He also recorded ‘Brand New Heartache’ and ‘Sleepless Nights’ – also the title of a posthumous album – and very early, in 1967, ‘When Will I Be Loved’. Many would attest that ‘country-rock’ kicked off with The Everly Brothers, and in the late sixties the album Roots was a key and acknowledged influence, but that is not to deny Parsons huge role in developing it. Gram Parsons is best known for his work within the country genre but he also mixed blues, folk, and rock to create what he called “Cosmic American Music”. While he was alive, Gram Parsons was a cult figure that never sold many records but influenced countless fellow musicians, from the Rolling Stones to The Byrds. -
Table of Contents
1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas. -
Our Own Red, White and Blue March and One Step Henry Fillmore Edited by Robert E
FULL SCORE Our Own Red, White and Blue March and One Step Henry Fillmore Edited by Robert E. Foster For unlawfulpromotional CB148 INSTRUMENTATION Full Score ............................................ 1 Piccolo ................................................ 1 Flute .................................................... 8 Oboe .................................................... 2 Clarinet in E≤ ...................................... 1 Clarinet 1 in B≤ ................................... 4 Clarinetto 2 in B≤ ................................... 4 Clarinet 3 in B≤ ................................... 4 Bass Clarinet in B≤ ............................. 2 Bassoon copy.............................................. 2 Alto Saxophone in E≤ ........................use4 Tenor Saxophone in B≤ ..................... 2 Baritone Saxophone in E≤................ 2 Trumpet 1 in B≤ .................................. 3 Trumpet 2 in B≤ .................................. 3 only Trumpet 3 in B≤ ..................................or 3 Trumpet 4 in B≤ .................................. 3 Horn 1 in F .......................................... 2 Horn 2 in F .......................................... 2print Horn 3 in F .......................................... 2 Horn 4 in F .......................................... 2 Trombone 1 ........................................ 3 Trombone 2 ........................................ 3 Trombone 3 ........................................ 3 Euphonium ........................................ 3 Euphonium T.C. in B≤ ....................... -
Bob Gordon Discography
BOB GORDON DISCOGRAPHY BOB GORDON RECORDINGS, CONCERTS AND WHEREABOUTS Bob Gordon was born in St. Louis, Missouri, June 11, 1928. He passed away in a car accident between Hollywood and San Diego, CA., August 28, 1955 by Kenneth Hallqvist, Sweden January 2019 Bob Gordon DISCOGRAPHY - Recordings, Concerts and Whereabouts by Kenneth Hallqvist - page No. 1 INTERNAL INFORMATION Colour markings for physical position: IKEA-boxes with Bob Gordon = GREEN IKEA-boxes with Lars Gullin = YELLOW IKEA-boxes with Gerry Mulligan = BLUE Shelves = ORANGE Cupboard = RED Bob played tenor sax with: Shorty Sherock (1946) Alvino Ray (1948-1951) Billy May (1952) Horace Heidt (1952-1953) George Redman (1954) Search for LPs/CDs: GNP J.S.L.P. 50.042: "Maynard Ferguson - Dimensions" (Trip Jazz LP available) EMArcy LP #MG 36044: "Lyle Murphy: Four saxophones in twelwe tones" (10" LP 1955) Mercury CD EJD-1016: COMPACT JAZZ - Maynard Ferguson with Bob Gordon (released in Japan 1989) EMArcy CD #3071: "Introducing Bob Gordon" Bob Gordon DISCOGRAPHY - Recordings, Concerts and Whereabouts by Kenneth Hallqvist - page No. 2 Abbreviations used in this discography acc accordion mda mandola arr arranger mdln mandolin as alto saxophone mel melodica b bass (contrabass or double bass) mgs Moog synthesizer b-cl bass clarinet oboe oboe b-tb bass trombone oca ocarina b-tp bass trumpet org organ bars baritone saxophone p piano bgs bongos panfl pan flute bjo banjo perc percussion bnd bandoneon saxes saxophones bs bass saxophone sop soprano saxophone bsn bassoon st-d steel drums cgs -
Gifted Leadership March Henry Fillmore Edited by Robert E
FULL SCORE Gifted Leadership March Henry Fillmore Edited By Robert E. Foster CB134 INSTRUMENTATION Full Score .............................. 1 Flute & Piccolo ....................... 8 Oboe .................................. 2 Clarinet 1 in B≤ ...................... 4 Clarinet 2 in B≤ ...................... 4 Clarinet 3 in B≤ ...................... 4 Bass Clarinet in B≤ .................. 2 Bassoon ................................ 2 Alto Saxophone 1 in E≤ .......... 2 Alto Saxophone 2 in E≤ .......... 2 Tenor Saxophone in B≤ ........... 2 Baritone Saxophone in E≤ ....... 2 Trumpet 1 in B≤ ...................... 3 Trumpet 2 in B≤ ...................... 3 Trumpet 3 in B≤ ...................... 3 Trumpet 4 in B≤ ...................... 3 Horn 1 in F ........................... 2 Horn 2 in F ........................... 2 Horn 3 in F ........................... 2 Horn 4 in F ........................... 2 Trombone 1 ........................... 3 Trombone 2 ........................... 3 Trombone 3 ........................... 3 Baritone T.C. in B≤ .................. 2 Baritone B.C. ......................... 3 Tuba ..................................... 4 Percussion 1 .......................... 1 Snare Drum Percussion 2 .......................... 2 Crash Cymbals, Bass Drum 2 Program Notes Henry Fillmore was a well known musical personality in band gained national fame after they began a series of Cincinnati when he wrote his march, Gifted Leadership, weekly radio broadcasts that were heard throughout and dedicated it to a fellow Cincinnatian, Frank Simon the country. in 1927. Fillmore was in his mid-forties, and had enjoyed a successful career conducting his popular Shrine Band, Thus, the mid-American city of Cincinnati had two and he now was leading his own professional concert extremely successful and popular professional bands band, which was enjoying a lot of success in Cincinnati. and band leaders, who each had a healthy respect for Frank Simon, also from Cincinnati, was a virtuoso cornet- the other. -
Radio 3 Listings for 11 – 17 October 2008 Page 1 of 39
Radio 3 Listings for 11 – 17 October 2008 Page 1 of 39 SATURDAY 11 OCTOBER 2008 05:15AM Handel, Georg Frideric (1685-1759) SAT 01:00 Through the Night (b00dryh0) Solitudini amate & Aure, Fonti, ombre gradite – from the opera With John Shea. 'Alessandro' Sophie Boulin (soprano), La Petite Bande, Sigswald Kuijken 01:01AM (director) Handel, Georg Frideric (1685-1759) Saul - oratorio in 3 acts 05:22AM Neal Davies (Saul), Andreas Scholl (David), Mark Padmore Nielsen, Carl (1865-1931) (Jonathan), Susan Gritton (Merab), Deborah York (Michal), Paul Serenata in vano for clarinet, horn, bassoon, cello and double Agnew (High Priest), Jonathan Lemalu (Ghost of Samuel), Tom bass (FS.68) Phillips (Abner), Julian Clarkson (Doeg), Angus Smith (an Kari Krikku (clarinet), Jonathan Williams (horn), Per Hannisdahl Amalekite), Gabrieli Consort and Players, Paul McCreesh (bassoon), Øystein Sonstad (cello), Katrine Øigaard (double (director) bass) 03:44AM 05:29AM Mendelssohn, Felix (1809-1847) Kabalevsky, Dmitri (1904-1987) Sextet for piano and strings in D major (Op.110) Overture: Colas Breugnon Elise Båtnes (violin), Lars Anders Tomter & Johannes Edmonton Symphony Orchestra, Uri Mayer (conductor) Gustavsson (violas); Ernst Simon Glaser (cello), Katrine Öigaard (bass), Enrico Pace (piano) 05:35AM Rachmaninov, Sergey (1873-1943) 04:11AM Étude-tableau in D major (Op.39 No.9) Schubert, Franz (1797-1828) Matti Raekallio (piano) Impromptu No.4 in A flat – from [4] Impromptus for piano (D.899) 05:39AM Arthur Schnabel (recorded on Welte Mignon Rolls in 1905) Mozart, Wolfgang Amadeus (1759-1791) 4 Kontra Tänze (KV.267) 04:19AM English Chamber Orchestra, Mitsuko Uchida (conductor) Frescobaldi, Girolami (1583-1643), arr. -
Smithsonian Oral Transcript
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DAN MORGENSTERN NEA Jazz Master (2007) Interviewee: Dan Morgenstern (October 24, 1929 - ) Interviewer: Ed Berger with recording engineer Ken Kimery Date: March 28-29, 2007 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 83 pp. Berger: It’s March 28th, 2007. I’m Ed Berger. I’m here at the Institute of Jazz Studies in Newark interviewing my good friend and colleague Dan Morgenstern. Ken Kimery is presiding at the technical aspects. This is for the Smithsonian Oral History Project. Dan, we want to begin the inquisition with your earliest memories, but first, for the record, could you state your full name and your birth date and place? Morgenstern: I’m Dan Michael Morgenstern. I was born on October 24th, 1929. I am presently director of the Institute of Jazz Studies at Rutgers University’s Newark campus. Berger: Why don’t you tell us about your ancestry, as much as you remember – your parents and even further back if you . Morgenstern: It’s a fairly complicated – but I’ll try to be brief. My father was born in what was then the Austro-Hungarian Empire. Between the world wars it was Poland. After World War II it became the Soviet Union, but now it’s Ukraine. So it had a scattered history. He was born into a Hassidic family, but not in what we generally think of as eastern European Jewry. We mostly think of what they call a stetl, which is a small For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 town or a village. -
Stanley Hasty: His Life and Teaching Elizabeth Marie Gunlogson
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Stanley Hasty: His Life and Teaching Elizabeth Marie Gunlogson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC STANLEY HASTY: HIS LIFE AND TEACHING By ELIZABETH MARIE GUNLOGSON A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2006 Copyright @ 2006 Elizabeth M. Gunlogson All Rights Reserved The members of the Committee approve the Treatise of Elizabeth M. Gunlogson defended on November 10, 2006. ______________________ Frank Kowalsky Professor Directing Treatise ______________________ Seth Beckman Outside Committee Member ______________________ Patrick Meighan Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To Stanley and June Hasty iii ACKNOWLEDGEMENTS First and foremost I would like to thank Stanley and June Hasty for sharing their life story with me. Your laughter, hospitality and patience throughout this whole process was invaluable. To former Hasty students David Bellman, Larry Combs, Frank Kowalsky, Elsa Ludewig- Verdehr, Tom Martin and Maurita Murphy Mead, thank you for your support of this project and your willingness to graciously share your experiences with me. Through you, the Hasty legacy lives on. A special thanks to the following people who provided me with valuable information and technical support: David Coppen, Special Collections Librarian and Archivist, Sibley Music Library (Eastman School of Music); Elizabeth Schaff, Archivist, Peabody Institute/Baltimore Symphony Orchestra; Nicole Cerrillos, Public Relations Manager, Pittsburgh Symphony Orchestra; Tom Akins, Archivist, Indianapolis Symphony Orchestra; James Gholson, Professor of Clarinet, University of Memphis; Carl Fischer Music Publishing; and Annie Veblen-McCarty. -
Brian Eno • • • His Music and the Vertical Color of Sound
BRIAN ENO • • • HIS MUSIC AND THE VERTICAL COLOR OF SOUND by Eric Tamm Copyright © 1988 by Eric Tamm DEDICATION This book is dedicated to my parents, Igor Tamm and Olive Pitkin Tamm. In my childhood, my father sang bass and strummed guitar, my mother played piano and violin and sang in choirs. Together they gave me a love and respect for music that will be with me always. i TABLE OF CONTENTS DEDICATION ............................................................................................ i TABLE OF CONTENTS........................................................................... ii ACKNOWLEDGEMENTS ....................................................................... iv CHAPTER ONE: ENO’S WORK IN PERSPECTIVE ............................... 1 CHAPTER TWO: BACKGROUND AND INFLUENCES ........................ 12 CHAPTER THREE: ON OTHER MUSIC: ENO AS CRITIC................... 24 CHAPTER FOUR: THE EAR OF THE NON-MUSICIAN........................ 39 Art School and Experimental Works, Process and Product ................ 39 On Listening........................................................................................ 41 Craft and the Non-Musician ................................................................ 44 CHAPTER FIVE: LISTENERS AND AIMS ............................................ 51 Eno’s Audience................................................................................... 51 Eno’s Artistic Intent ............................................................................. 55 “Generating and Organizing Variety in