Oct. 27, 2019 – Bulletin
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
COURSE CATALOG 2016-2017 Academic Calendar
COURSE CATALOG 2016-2017 Academic Calendar . 4 Academic Programs . 46 About LACM . .. 6 Performance LACM Educational Programs . 8 Bass . 46 CONTENTS Administration . 10 Brass & Woodwind . .. 52 Admissions . 11 Drums . .. 58 Tuition & Fees . 13 Guitar . 64 Financial Aid . 18 Vocal. 70 Registrar . 22 Music Composition International Student Services . 26 Songwriting . 76 Academic Policies & Procedures . 27 Music Production Student Life . 30 Composing for Visual Media . 82 Career Services . .. 32 Music Producing & Recording . 88 Campus Facilities – Security. 33 Music Industry Rules of Conduct & Expectations . 35 Music Business . 94 Health Policies . 36 Course Descriptions . 100 Grievance Policy & Procedures . .. 39 Department Chairs & Faculty Biographies . 132 Change of Student Status Policies & Procedures . 41 Collegiate Articulation & Transfer Agreements . 44 FALL 2016 (OCTOBER 3 – DECEMBER 16) ACADEMIC DATES SPRING 2017 (APRIL 10 – JUNE 23) ACADEMIC DATES July 25 - 29: Registration Period for October 3 - October 7: Add/Drop January 30 - February 3: Registration Period for April 10 - April 14: Add/Drop Upcoming Quarter Upcoming Quarter October 10 - November 11: Drop with a “W” April 17 - May 19: Drop with a “W” August 22: Tuition Deadline for Continuing Students February 27: Tuition Deadline for November 14 - December 9: Receive a letter grade May 22 - June 16: Receive a letter grade October 3: Quarter Begins Continuing Students November 11: Veterans Day, Campus Closed April 10: Quarter Begins November 24: Thanksgiving, Campus Closed May 29: Memorial Day, Campus Closed November 25: Campus Open, No classes. June 19 - 23: Exams Week December 12-16: Exams Week June 23: Quarter Ends December 16: Quarter Ends December 24 - 25: Christmas, Campus Closed December 26: Campus Open, No classes. -
UNSUNG: South African Jazz Musicians Under Apartheidunsung
UNSUNG: South African Jazz Musicians under Apartheid outh African jazz under apartheid has in recent years been the subject of numerous studies. The main focus, however, has hitherto been on the musicians who went into exile. Here, for the first time, those who stayed behind are allowed to tell their stories: the stories of musicians from across the colour spectrum who helped to keep their art alive in South Africa during the years of state oppression. CHATRADARI DEVROOP &CHRIS WALTON CHATRADARI Unsung South African Jazz Musicians under Apartheid EDITORS Chatradari Devroop & Chris Walton UNSUNG: South African Jazz Musicians under Apartheid Published by SUN PReSS, an imprint of AFRICAN SUN MeDIA (Pty) Ltd., Stellenbosch 7600 www.africansunmedia.co.za www.sun-e-shop.co.za All rights reserved. Copyright © 2007 Chatradari Devroop & Chris Walton No part of this book may be reproduced or transmitted in any form or by any electronic, photographic or mechanical means, including photocopying and recording on record, tape or laser disk, on microfilm, via the Internet, by e-mail, or by any other information storage and retrieval system, without prior written permission by the publisher. First edition 2007 ISBN: 978-1-920109-66-9 e-ISBN: 978-1-920109-67-7 DOI: 10.18820/9781920109677 Set in 11/13 Sylfaen Cover design by Ilse Roelofse Typesetting by SUN MeDIA Stellenbosch SUN PReSS is an imprint of AFRICAN SUN MeDIA (Pty) Ltd. Academic, professional and reference works are published under this imprint in print and electronic format. This publication may be ordered directly from www.sun-e-shop.co.za Printed and bound by ASM/USD, Ryneveld Street, Stellenbosch, 7600. -
PRESS RELEASE Artist: Maciek Schejbal Album: Afro-Polka Label: Afro-Polka Productions Release Date: August 30, 2018
PRESS RELEASE Artist: Maciek Schejbal Album: Afro-Polka Label: Afro-Polka Productions Release Date: August 30, 2018 Maciek Schejbal (pronounced MAH-chek SHAY-bal) is world-class drummer based in New York City. In addi- tion to gigging and touring with jazz bands and afro-pop groups, Maciek is an instructor at the Drummers Collec- tive in Manhattan. The Drummers Collective is generally thought of as the drumming equivalent of Los Angeles’ Guitar Institute of Technology. Afro-Polka is Maciek’s brand and a nascent genre of music. It’s the soundtrack of one musician’s voyage from Eastern Europe through South Africa to the USA. He has traveled, listened, learned and amalgamated a huge amount of styles, traditions and art forms into a strong, singular and original musical voice. From Cracow, to Johannesburg and Cape Town, and then onto New York City, Maciek has formed crack rhythm sections with some of the best bass players in the world. Afro-Polka great musicians he has collaborated with in his journeys. Don’t be scared by the polka, these fresh sounding tracks are is Maciek’s �irst album consisting entirely of his compositions. The tunes are performed here with many very afro-pop and jazz focused. The polka is the added seasoning that makes it unique. Every player on this record is a virtuoso and has played in bands with or on albums of some very well known musical artists and they are all deserving of recognition. Due to space constraints and the emphasis on the Maciek’s partner- ships with bass players, here are some notable connections of the bass players on this album: Fred Doumbe (Manu Dibango, Les Nubians); Bakithi Kumalo (Paul Simon’s Graceland); Leo Traversa (Angelique Kidjo, Don Byron); Gregory Jones (Astrid Gilberto, Savion Glover); Essiet Okon Essiet (Art Blakey, Freddie Hubbard); John Patitucci (Wayne Shorter, Chick Corea). -
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant -
Faculty of Humanities (Ceremony 3) Contents
FACULTY OF HUMANITIES (CEREMONY 3) CONTENTS Order of Proceedings 2 Mannenberg 3 The National Anthem 4 Distinctions in the Faculty of Humanities 5 Distinguished Teacher Award 6-7 Honorary Degree Recipient 8 Graduands (includes 23 December 2015 qualifiers) 9 Historical Sketch 18 Academic Dress 19-20 Mission Statement of the University of Cape Town 21 Donor Acknowledgements 22 Officers of the University 27 Alumni Welcome 28 1 FACULTY OF HUMANITIES (CEREMONY 3) ORDER OF PROCEEDINGS Academic Procession. (The congregation is requested to stand as the procession enters the hall) The Vice-Chancellor will constitute the congregation. The National Anthem. The University Statement of Dedication will be read by a representative of the SRC. Musical Item. Welcome by the Deputy Vice-Chancellor, Professor DP Visser. Professor Visser will present Dr Azila Talit Reisenberger for the Distinguished Teacher Award. Professor J Hambidge will present Dr Janette Deacon to the Vice-Chancellor for the award of an honorary degree. The graduands will be presented to the Vice-Chancellor by the Dean of Humanities, Professor S Buhlungu. The Vice-Chancellor will congratulate the new graduates. Professor Visser will make closing announcements and invite the congregation to stand. The Vice-Chancellor will dissolve the congregation. The procession, including the new graduates, will leave the hall. (The congregation is requested to remain standing until the procession has left the hall.) 2 MANNENBERG The musical piece for the processional march is Mannenberg, composed by Abdullah Ibrahim. Recorded with Basil ‘Manenberg’ Coetzee, Paul Michaels, Robbie Jansen, Morris Goldberg and Monty Weber, Mannenberg was released in June 1974. The piece was composed against the backdrop of the District Six forced removals. -
Western Cape Jazz Legends
Western Cape Jazz Legends Foreword The Western Cape Jazz legends which unveiled on 17 March 2011 pays homage to the rich jazz heritage of the Western Cape. The publishing of the Western Cape Jazz Legends Booklet gives a wider audience access to an appreciation of the contribution of these musicians who often plied their trade under the most difficult circumstances and with very little material reward. The short biographies are informed by existing literature and interviews conducted with family members. The list is by no means comprehensive but it does indicate our resolve to give homage, to acknowledge, to preserve and to promote the rich musical heritage of the Western Cape. Documenting our musical history not only ensures that the impact of the role of these legends on the musical landscape of the Western Cape is captured for posterity, but also that their stories serve as a source of inspiration to aspiring musicians. This booklet represents an important step towards the building of a socially inclusive Western Cape. These Jazz Legends united us around our common love for music and the unique sounds of Cape Town Jazz. Let’s celebrate their achievement and resolve that we will continue to build on this initiative to acknowledge our musicians who created musical melodies which filled us with joy, often leaving us in awe of their amazing talent and with a deep sense of self-worth and cultural warmth. Dr IH Meyer Minister of Cultural Affairs and Sport Western cape Government. Western Cape Jazz Legends 1 2 Western Cape Jazz Legends IntroductIon The Department of Cultural Affairs and Sport has embedded in its vision, “… A socially cohesive and creative Western Cape.” The arts and culture component of the department has embraced this vision and the Western Cape Jazz Legends project is reflective thereof. -
Faculty of Commerce (Ceremony 5) Contents
FACULTY OF COMMERCE (CEREMONY 5) CONTENTS Order of Proceedings 2 Mannenberg 3 The National Anthem 4 Distinctions in the Faculty of Commerce 5 Distinguished Teacher Award 6-7 Graduands (includes 23 December 2015 qualifiers) 8 Origin of the Bachelor Degree 11 Values of the University 12-13 Academic Dress 14-15 Historical Sketch 16 Mission Statement of the University of Cape Town 17 Donor Acknowledgements 18 Officers of the University 23 Alumni Welcome 24 1 FACULTY OF COMMERCE (CEREMONY 5) ORDER OF PROCEEDINGS Academic Procession. (The congregation is requested to stand as the procession enters the hall) The Acting Vice-Chancellor, Professor DP Visser, will constitute the congregation. The National Anthem. The University Statement of Dedication will be read by a representative of the SRC. Musical Item. Welcome by the Deputy Vice-Chancellor, Professor F Petersen. Professor Petersen will present Jaqui Kew for the Distinguished Teacher Award. Address by Norman Arendse. The graduands and diplomates will be presented to the Acting Vice-Chancellor by the Deputy Dean of the Faculty of Commerce, Professor T Minter. The Acting Vice-Chancellor will congratulate the new graduates and diplomates. Professor Petersen will make closing announcements and invite the congregation to stand. The Acting Vice-Chancellor will dissolve the congregation. The procession, including the new graduates and diplomates, will leave the hall. (The congregation is requested to remain standing until the procession has left the hall.) 2 MANNENBERG The musical piece for the processional march is Mannenberg, composed by Abdullah Ibrahim. Recorded with Basil ‘Manenberg’ Coetzee, Paul Michaels, Robbie Jansen, Morris Goldberg and Monty Weber, Mannenberg was released in June 1974. -
Mannenberg": Notes on the Making of an Icon and Anthem1
African Studies Quarterly | Volume 9, Issue 4 | Fall 2007 "Mannenberg": Notes on the Making of an Icon and Anthem1 JOHN EDWIN MASON Abstract: Abdullah Ibrahim's [Dollar Brand] composition "Mannenberg" was an instant hit, when it was released on the 1974 album, Mannenberg is Where It's Happening. This paper shows that the song is a product of Ibrahim's efforts to find an authentically South African mode of expression within the jazz tradition, blending South African musical forms -- marabi, mbaqanga, and langarm--with American jazz-rock fusion. It quickly became an icon of South African jazz, defining the genre both within the country and overseas. At the same time, the South African coloured community invested the song with their own meaning, transforming it into an an icon of their culture and of themselves. In the 1980s, "Mannenberg" had a second life as an anthem of the struggle against apartheid. Some called it South Africa's "unofficial national anthem." Once again, the song acquired a new meaning, this time through the efforts of musicians, especially Basil Coetzee and Robbie Jansen, who made it the musical centerpiece of countless anti- apartheid rallies and concerts. As the paper traces this narrative, it is constantly aware of the profound influence of African-American culture and political thought on Ibrahim and the coloured community as a whole. Introduction On a winter's day in 1974, a group of musicians led by Abdullah Ibrahim (or Dollar Brand, as most still knew him) entered a recording studio on Bloem Street, in the heart of Cape Town, and emerged, hours later, having changed South African music, forever. -
Bio for Website Edit C Hammond
MY EDIT: Stanley Sagov is a dazzling jazz pianist and composer, equally proficient on a number of other musical instruments as well as surgical instruments, as evidenced by his simultaneous full time career as a medical doctor. He never fails to amaze his colleagues in the music and medical fields with his ability to lead such an intense dual life as a physician as well as a musician. Dr. Sagov is releasing yet another CD from his home studio where he produces enough music to fill a full disc practically every month. He is also a top notch photographer shooting nature, people and places with the eyes of an unusually sensitive personality. Born in 1944, in Cape Town, South Africa, to a Jewish family who had immigrated there to escape the chaos and anti-Semitism that followed the Russian Revolution, the young Sagov grew up in the midst of the horrid South African regime of Apartheid and its resulting police state. Born with Gordon’s Syndrome, an extremely rare genetic disorder which can cause club feet, cleft palate, dysplasia of the hip and thumb-in-palm deformity, he suffered greatly during his first 13 years, as he was forced to endure sixteen different abnormality-correcting surgeries in London, New York and Boston. At school he was stigmatized and teased by other boys because of his awkward gait and the leg irons he had to wear for many years. At an early age, this extraordinary strain triggered a sudden insight in him. “This was not my fault,” says Sagov, “Suddenly there was a realization about this, around age 9. -
Speaker 1: Major Funding for Backstory Is Provided by An
Speaker 1: Major funding for BackStory is provided by an anonymous donor, the national endowment for the humanities and the Joseph and Robert Cornell Memorial foundation. Joanne Freeman: From Virginia humanities, this is BackStory. Ed Ayers: Welcome to BackStory, the show that explains the history behind the headlines. I'm Ed Ayers. Joanne Freeman: I'm Joanne Freeman. Brian Balogh: And I'm Brian Balogh. Ed Ayers: If you're new to the podcast each week, along with our colleague Nathan Connolly, we explore a different aspect of American history. Brian Balogh: We're going to start the show in 1962 when one of the most celebrated figures of the 20th century found themselves in the grips of one of the world's most notorious regimes. The figure was Nelson Mandela and the regime was South Africa's apartheid Government. Tom Borstelmann: Mandela had spent most of 1962 abroad, as a representative of the recently banned African national Congress. Brian Balogh: Tom Borstelmann teaches global history at the University of Nebraska. Tom Borstelmann: And he had been engaged in promoting support in Egypt, in other parts of North Africa and especially in the United Kingdom. And then when he came back into South Africa in August, on August 5th of 1962, he was arrested by the South African police. Apparently from the best evidence we have, at least in part on the basis of a tip from the CIA, which worked closely with the intelligence services of the South African state. Brian Balogh: Nelson Mandela's arrest came in the wake of some important moments in South Africa's history. -
Hugh Masekela: the Long Journey 1959-1968
HUGH MASEKELA: THE LONG JOURNEY 1959-1968 By RICARDO CUEVA A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research written under the direction of Dr. Henry Martin and approved by ___________________________________ Newark, New Jersey October 2020 © 2020 Ricardo Cueva ALL RIGHTS RESERVED Abstract of the Thesis Hugh Masekela: The Long Journey By Ricardo Cueva Thesis Director: Henry Martin This thesis chronicles Masekela's transition from African refugee to Grammy nominated artist while also encompassing a musical analysis of his work before and including The Promise of the Future. This thesis will provide brief biographical information of Masekela’s life as well as a sociological analysis to give context to his place in US pop culture. This study discusses Masekela’s upbringing in South Africa and explores his transition into 1960s America. This thesis argues that Masekela faced an authenticity complex when breaking into the US market because he defied the expectations of what US audiences thought Africans to be. Masekela overcame this obstacle with the release of The Americanization of Ooga Booga (1966). A musical analysis and critique of the first three albums with an emphasis on Masekela’s breakthrough compositions will be part of this thesis. This thesis concludes with a brief analysis of the cultural and racial impact of Masekela’s work both in the United States and South Africa. ii Acknowledgements I would first and foremost like to thank my parents for their constant support and sacrifice. -
South African Jazz and Exile in the 1960S: Theories, Discourses and Lived Experiences
South African Jazz and Exile in the 1960s: Theories, Discourses and Lived Experiences Stephanie Vos In fulfilment of the requirements for the degree of Doctor of Philosophy in Music Royal Holloway, University of London September 2015 Declaration of Authorship I, Stephanie Vos, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 28 August 2016 2 Abstract This thesis presents an inquiry into the discursive construction of South African exile in jazz practices during the 1960s. Focusing on the decade in which exile coalesced for the first generation of musicians who escaped the strictures of South Africa’s apartheid regime, I argue that a lingering sense of connection (as opposed to rift) produces the contrapuntal awareness that Edward Said ascribes to exile. This thesis therefore advances a relational approach to the study of exile: drawing on archival research, music analysis, ethnography, critical theory and historiography, I suggest how musicians’ sense of exile continuously emerged through a range of discourses that contributed to its meanings and connotations at different points in time. The first two chapters situate South African exile within broader contexts of displacement. I consider how exile built on earlier forms of migration in South Africa through the analyses of three ‘train songs’, and developed in dialogue with the African diaspora through a close reading of Edward Said’s theorization of exile and Avtar Brah’s theorization of diaspora. A case study of the Transcription Centre in London, which hosted the South African exiles Dorothy Masuku, Abdullah Ibrahim, and the Blue Notes in 1965, revisits the connection between exile and politics, broadening it beyond the usual national paradigm of apartheid politics to the international arena of Cold War politics.