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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. -
Band
*. NORMAN BROWNLEE 1 Reel I [of 4]-Digest-Retype May 5, 1961 Also present: Richard B. Alien. ', This intervieiw was conducted at 7th and Jackson streets [the home of Norman Brownlee] in Pensacola [Florida], Brownlee says that the Invincibles [band] dates from a long time ^-or'i^ ^f-f <-. ago. In it were (:t*mi2;£rM'Naf£?i, Teddy [Fontelieu?] [check sp.], Had Farrar, Red Mackey, and Doc Souchon played with the band a couple of times. Brownlee played terrapatch, ukulele, and for a short while played banjo, but in his [own] orchestra Billy Eastwood played the banjo, and really played it well. (Paul Whiteman made [Mike] Pingatore ^ come and listen to Eastwood one day.), Charlie Hartman played trom- bone with Brownlee's band in the old days, and was always fine. Brownlee says he can recall many funny stories about his sax section. He goes on to say the Pinky [Vidacovich] played sax with him a few times/ as did [Hal] Jordy and Johnny Reininger, One time Al Galladoro, one of the greatest saxophonists of the day, according to Brcwnlee, played with the band, but he was not hired again because he wouldn't "team" with the other saxes. Brownlee was born in the Algiers section of New Orleans at 232 Verret St., on February 7, 1896. The family later lived on Olivier Street and. then moved to 407 Delaronde Street. Brownlee recalls that the house there had a cupola which overlooked the river; the storm of 1915 destroyed the roof of the house, and the cupola was never » * NORMAN BROWNIiEE 2 Reel I [of 4] "Digest-Retype May 5, 1961 restored. -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Full Biography
FULL BIO For forty years, pianist/composer and Fulbright Scholar ARMEN DONELIAN has distinguished himself in 25 countries as a performer, recording artist, master class leader and with his published writings. Donelian’s music is a distinctive blend of 20 influences including his Armenian origin, his Classical technique, and his association with some of the biggest names in Jazz. And, according to Metronom Magazine (1986), he achieves this fusion In such a natural way that one can tell it’s a master’s work. “The best time to learn music,” says Davis and John Coltrane. “Folk, Rock, Dixieland, Jazz, Church, Show and Society music – I played pianist Armen Donelian, “is when you’re them all while growing up,” says Donelian. young, while the brain synapses are still open and fresh. I started playing by ear “In college, I made money by accompanying when I was 5 or 6, and started classical theater and dance classes, providing cocktail music piano lessons when I was about 7 at the at a restaurant on campus and playing and Westchester Conservatory of Music. I arranging for an 8-piece Jazz/Rock band. After was lucky to have parents who supported graduation, I had no gigs, no direction, and lived at my musical aspiration.” home for a few months. My ex-girlfriend’s mother told me, ‘Armen, nothing is going to happen unless As a child, Armen absorbed the sound of you make it happen.’ Armenian, Turkish, Greek and Middle Eastern music at social gatherings and “So, after graduating from Columbia University in from records his father played at home. -
Extensions of Remarks E1075 EXTENSIONS of REMARKS
May 17, 2007 CONGRESSIONAL RECORD — Extensions of Remarks E1075 EXTENSIONS OF REMARKS TRIBUTE TO LOUIS MINCARELLI Many of you know about typical tax-deferred first step toward that realization by giving all savings plans—such as a ‘‘529’’ and college American families the tools they need to pro- HON. JIM GERLACH tuition plans. These savings tools, which are vide for their families—no matter what their OF PENNSYLVANIA available to all Americans, can’t help a family specialized needs might be. with a child who may not go to college. Yet, A new approach to savings for these fami- IN THE HOUSE OF REPRESENTATIVES one could argue that the need for savings and lies—one that fosters ownership, self-control Thursday, May 17, 2007 planning for the future is even greater for a and flexibility—is needed today. I urge my col- Mr. GERLACH. Madam Speaker, I rise child with a disability because he or she will leagues to support this innovative approach to today to honor Louis Mincarelli for his long- likely be less able to earn a self-supporting in- saving for the long-term, specialized needs of time service to the Norriton Fire Engine Com- come. And may require continued expendi- children with disabilities. pany and surrounding communities. tures on medical treatment or adaptive equip- FSAs will bring families the much needed Mr. Mincarelli has been a member of the ment. peace of mind by giving them the tools to pro- Norriton Fire Engine Company since 1976. He Without a new savings tool, parents of chil- vide for their children and helping ensure that has served tirelessly on the banquet, by-laws, dren with disabilities must choose between children with disabilities are able to live life to and legislative committees and was instru- turning down the advantages of savings plans the fullest and be as productive as possible. -
IX. Surviving Free Jazz 1962-1974
IX. Surviving Free Jazz (1962-1974) And so it came to pass that, when jazz finally reached a level of complexity on a par with classical music, many people were unhappy—not only listeners in the audience, but record com- panies who couldn’t sell the stuff and musicians who either didn’t get it or didn’t want to play it if they did. It was just too bizarre to them, yet the jazz critics almost universally fell over them- selves promoting it and, by the mid-1960s, jazz as an art form was thriving (sort of) while jazz as a commercial music was all but dead. Theodor Adorno, teaching his elitist bile out in California, was probably ecstatic. Classical music, which had also entered a new and even more convoluted phrase of development as well, was similarly struggling to find audiences, but in this case the decision-making was relatively easy. The Boards of Directors of major symphonies and opera houses simply enforced a policy of allowing only a small number of contemporary works (and, in their judgment, “contemporary” went back to Schoenberg’s and Stravinsky’s work of the 1910s) per year on their programs. You either played the accepted standard repertoire, which they would now expand to include Gustav Mahler (who had formerly been verboten), or your contract would be nullified and a new music director would be hired. From this point on, I will unfortunately have to point out the weaknesses in the aesthetics of certain musicians in certain styles in order to elucidate the forward growth of the music. -
JREV3.6FULL.Pdf
KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5. -
Great Escape Vol. 5
THE GREAT ESCAPE!* ♪ *“Anything that is good jazz is a great escape. When you’re involved in playing or listening to great jazz, no one can get to you.” -Woody Herman Vol. 1 No. 5 November/December 2007 Presented by: www.dixieswing.com Buddy Hughes: One Night on the Stand with Thornhill By Bob Knack While rummaging through my record room recently, I the most exciting band ever.” In the review, DB magazine came across a dusty cardboard box containing a morsel of real reported that Vannerson had recently left the band leaving treasure. It was an October 21, 1946 copy of Downbeat Thornhill without a personal manager or press agent making it Magazine, with the headline, “Claude Thornhill, Band of the difficult for the band to compete for bookings. Year”. The article highly praised the Thornhill band reviewed “After playing some smaller eastern ballrooms and “live” at the Hotel Pennsylvania in New York City. theatres,” Buddy continues, “the appearance at the It saved the highest accolades for the guy singer, Pennsylvania was a big event for the band, and had the Buddy Hughes, saying he had “the freshest, best voice to be attention of show business and band personalities who packed heard with a band”. I asked my friend and Glen Ellyn, Illinois the place for the big night”. “I was introduced by my manager resident, Buddy to reminisce about this night and his time with to Mildred Bailey, Paula Kelly and the Modernaires, Les Brown the CT band, and, as always, he brought the era back to mind (with his arranging pad in hand), singer Buddy Clark and many with his stories as if it were yesterday. -
JELLY ROLL MORTON's
1 The TENORSAX of WARDELL GRAY Solographers: Jan Evensmo & James Accardi Last update: June 8, 2014 2 Born: Oklahoma City, Oklahoma, Feb. 13, 1921 Died: Las Vegas, Nevada, May 25, 1955 Introduction: Wardell Gray was the natural candidate to transfer Lester Young’s tenorsax playing to the bebop era. His elegant artistry lasted only a few years, but he was one of the greatest! History: First musical studies on clarinet in Detroit where he attended Cass Tech. First engagements with Jimmy Raschel and Benny Carew. Joined Earl Hines in 1943 and stayed over two years with the band before settling on the West Coast. Came into prominence through his performances and recordings with the concert promoter Gene Norman and his playing in jam sessions with Dexter Gordon.; his famous recording with Gordon, “The Chase” (1947), resulted from these sessions as did an opportunity to record with Charlie Parker (1947). As a member of Benny Goodman’s small group WG was an important figure in Goodman’s first experiments with bop (1948). He moved to New York with Goodman and in 1948 worked at the Royal Roost, first with Count Basie, then with the resident band led by Tadd Dameron; he made recordings with both leaders. After playing with Goodman’s bigband (1948-49) and recording in Basie’s small group (1950-51), WG returned to freelance work on the West Coast and Las Vegas. He took part in many recorded jam sessions and also recorded with Louie Bellson in 1952-53). The circumstances around his untimely death (1955) is unclear (ref. -
'Slow Drag' Pavageau
NEWSLETTER OCT-2016 ologyology Alcide ‘Slow Drag’ Pavageau G.H.B. JAZZ FOUNDATION • JAZZOLOGY RECORDS GEORGE H. BUCK JAZZ FOUNDATION 1206 DECATUR STREET • NEW ORLEANS, LA 70116 Phone: +1 (504) 525-5000 Office Manager: Lars Edegran Fax: +1 (504) 525-1776 Assistant: Mike Robeson Email: [email protected] Office Hours: Mon-Fri 11am – 5pm Website: www.jazzology.com Entrance: 61 French Market Place Newsletter Editor: Paige VanVorst Contributors: Lars Edegran, Mike Layout & Design: David Stocker Robeson, David Stocker HOW TO ORDER COSTS – U.S. AND FOREIGN MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB Jazz Foundation. You will then receive your membership card by return mail or with your order. *Membership continues as long as you order at least one selection per year. You will also be able to buy our products at a special discounted price: CDs for $13.00 DVDs for $20.00 Books for $25.00 NON-MEMBERS For non-members our prices are: CDs for $15.98 DVDs for $25.00 Books for $30.00 DOMESTIC MAILING & POSTAGE CHARGES There is a flat rate of $3.00 regardless of the number of items ordered. OVERSEAS SHIPPING CHARGES 1 CD $13.00; 2-3 CDS $15.00; 4-6 CDS $20.00; 7-10 CDS $26.00 Canadian shipping charges are 50% of overseas charges ALL PAYMENTS FOR FOREIGN ORDERS MUST BE MADE WITH EITHER: • INTERNATIONAL MONEY ORDER • CHECK DRAWN IN U.S. DOLLARS FROM A U.S. -
University Wind Symphony 12Th Season Chapman University Wind Symphony
Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 11-11-2006 University Wind Symphony 12th Season Chapman University Wind Symphony Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Chapman University Wind Symphony, "University Wind Symphony 12th Season" (2006). Printed Performance Programs (PDF Format). Paper 1248. http://digitalcommons.chapman.edu/music_programs/1248 This Other Concert or Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. CHAPMAN UNIVERSITY WIND SYMPHONY The Wind Symphony at Chapman University has earned a reputation for its breadth of musicality and consistently high level of performance. Since its formation in 199 5, the ensemble has presented featured performances for the state conference of the California Music Educators CHAPMAN UNIVERSITY Association (1997, 1999, 2001, 2003), the Invitational Band Festival at the Orange County Performing Arts Center, and the Orange County Millennium. The Wind Symphony will return School of Music ;,0 the 2007 CMEA C.onference to present a featured performance and a clinic session entitled Histo~y of the American Band". The Wind Symphony tours bi-annually on the West C~ast of the Uruted States, and recently returned from a triumphant performance tour of Australia that mcluded a featured performance in the world-renowned Sydney Opera House. presents the ROBERT FRELLY Robert Frelly serves as Music Director and Conductor of the University Wind Symphony and Chamber Winds, as well as the Director of Music Education within the School of Music.