D:\Documents and Settings\Ghales\My Documents\Internet\Opp\APRIL18.WPD

Total Page:16

File Type:pdf, Size:1020Kb

D:\Documents and Settings\Ghales\My Documents\Internet\Opp\APRIL18.WPD 1 1 2 3 4 DEPARTMENT OF JUSTICE ANTITRUST DIVISION 5 and FEDERAL TRADE COMMISSION 6 7 Hearings on: 8 9 COMPETITION AND INTELLECTUAL PROPERTY LAW 10 AND POLICY IN THE KNOWLEDGE BASED ECONOMY 11 12 Standard Setting 13 14 Thursday, April 18, 2002 15 Great Hall of the U.S. Department of Justice 16 333 Pennsylvania Avenue, N.W. 17 Washington, D.C. 18 19 20 21 22 2 1 MORNING SESSION PARTICIPATING PANELISTS: 2 3 Morning Session: Disclosure of Intellectual 4 Property in Standards Activities 5 6 Michael Antalics, Partner, O'Melvey & Myers, LLP 7 Carl Cargill, Director Corporate Standards, Sun 8 Microsystems, Inc. 9 Donald R. Deutsch, Vice President, Standards 10 Strategy and Architecture, Oracle 11 Corp. 12 Ernest Gellhorn, Professor, George Mason 13 University School of Law 14 Peter Grindley, Senior Managing Economist, LECG, 15 Ltd., London 16 Mark Lemley, Professor of Law, Boalt Hall, 17 University of California, Berkeley 18 Amy A. Marasco, Vice President and General 19 Counsel, American National Standards 20 Institute 21 Richard T. Rapp, President, National Economic 22 Research Associates 3 1 MORNING SESSION PARTICIPATING PANELISTS 2 (Continued): 3 4 David Teece, Professor, Haas School of Business, 5 University of California, Berkeley 6 Dennis A. Yao, Associate Professor of Business 7 And Public Policy and Management, 8 The Wharton School, University of 9 Pennsylvania 10 11 MORNING SESSION MODERATORS: 12 13 Robert W. Bahr, U.S. Patent and Trademark Office 14 Gail Levine, Federal Trade Commission 15 Tor Winston, Department of Justice 16 17 18 19 20 21 22 4 1 AFTERNOON SESSION PARTICIPATING PANELISTS: 2 3 Afternoon Session: Licensing Terms in Standards 4 Activities 5 6 Stanley M. Besen, Vice President, Charles River 7 Associates 8 Daniel J. Gifford, Robins, Kaplan, Miller & 9 Ciresi Professor of Law, University of 10 Minnesota School of Law 11 Richard Holleman, Industry Standards Consultant 12 Allen M. Lo, Director of Intellectual Property, 13 Juniper Networks, Inc. 14 Mark R. Patterson, Associate Professor of Law, 15 Fordham University School of Law 16 Scott K. Peterson, Corporate Counsel, 17 Hewlett-Packard Company 18 Dr. Lauren J. Stiroh, Vice President, National 19 Economics Research Associates 20 Daniel Swanson, Partner, Gibson, Dunn & 21 Crutcher, LLP 22 5 1 AFTERNOON SESSION PARTICIPATING PANELISTS 2 (Continued): 3 4 Andrew Updegrove, Partner, Lucash, Gesmer & 5 Updegrove, LLP 6 Daniel Weitzner, Director of Technology and 7 Society Activities, World Wide Web 8 Consortium 9 10 AFTERNOON SESSION MODERATORS: 11 12 Robert W. Bahr, U.S. Patent and Trademark Office 13 Carolyn Galbreath, Department of Justice 14 Gail Levine, Federal Trade Commission 15 Tor Winston, Department of Justice 16 17 18 19 20 21 22 6 1 TABLE OF CONTENTS 2 3 PANELIST PRESENTATION PAGE 4 Mark Lemley 10 5 6 Afternoon Session - Page 183 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 7 1 MORNING SESSION 2 (9:00 a.m.) 3 GAIL LEVINE: Good morning. Good 4 morning, and thank you all for coming today. 5 I just want to introduce myself. I'm Gail 6 Levine. I'm the deputy assistant general counsel 7 for policy studies at the Federal Trade 8 Commission. 9 Tor Winston sitting next to me today 10 is an economist with the Department of Justice. 11 And we also have Bob Bahr from the United States 12 Patent and Trademark Office. 13 On behalf of all three of us we really 14 want to thank you panelists for coming to join us 15 today to talk about standard setting issues in 16 the knowledge based economy. I want to introduce 17 all of our panelists briefly this morning. 18 I'm going to do so very briefly 19 because I want us to keep to schedule. But when 20 it's time for us to open our panel discussion, 21 I'm going to ask each of our panelists to say a 22 just few words about themselves and their 8 1 standard setting backgrounds so that we have a 2 context within which to place their comments. 3 This morning we have with us Professor 4 Mark Lemley, who has moved. You moved on me. 5 MARK LEMLEY: I figured I'm not 6 actually going to block the screen when I'm 7 giving the presentation. 8 GAIL LEVINE: That's fine. Professor 9 Mark Lemley is going to be giving our morning 10 PowerPoint presentation to bring all of us up 11 to speed on standard setting organization 12 developments. He's a professor of law at Boalt 13 Hall at the University of California, Berkeley. 14 We also have with us Mike Antalics, a 15 partner at O'Melveny & Myers. Carl Cargill; he's 16 the director of corporate standards at Sun 17 Microsystems. 18 We have Donald Deutsch, vice president 19 of standards, strategy, and architecture at 20 Oracle Corporation; Professor Gellhorn at 21 George Mason University School of Law, who 22 apologizes; because of some important charitable 9 1 work he's doing, he has to leave us early today. 2 But we're grateful for the time we have with him 3 and we're going to make the best use of it 4 we can. 5 We also have with us Peter Grindley, 6 who is the senior managing economist at LECG 7 Limited of London. We have also Amy Marasco, who 8 is the vice president and general counsel of the 9 American National Standards Institute, ANSI. 10 We have Richard Rapp, the president 11 of the National Economic Research Associates; 12 David Teece, an economist and a professor at the 13 Haas School of Business at the University of 14 California, Berkeley; and Dennis Yao, who is an 15 associate professor of business and public policy 16 and management at The Wharton School, University 17 of Pennsylvania. 18 This morning's agenda is going to go 19 like this. We're going to have Mark Lemley give 20 us a presentation of something like 20, 25 21 minutes that will bring us up-to-date on the 22 standard setting issues. 10 1 Then we're going to open up to a panel 2 discussion. And we're going to cover three 3 topics. The first and most -- and the topic 4 we'll spend the most time on is the question of 5 disclosure issues. 6 Around 11:00 we'll try and take a 7 15-minute break. Starting around 11:15 we'll 8 come back to talk about challenges to the 9 selection of a standard, challenges to exclusion 10 from the standard setting organization, then 11 break for lunch. 12 We'll come back in the afternoon, and 13 we'll be talking about -- with a different panel 14 about licensing issues in standards activities. 15 With no further ado, I'd like to introduce Mark 16 Lemley. 17 MARK LEMLEY: All right. Well, I'm 18 just going to do legal background which I hope is 19 familiar to much of you. And I'm also going to 20 say a little bit about some studies that I have 21 done of different standard setting organizations. 22 You can learn everything you need 11 1 to know about the antitrust rules related to 2 standard setting organizations when you realize 3 that we don't actually know what to call them. 4 Sometimes they are standard setting 5 organizations. Sometimes they are standards 6 development organizations. Sometimes they are 7 collective technical organizations. Sometimes 8 they are consortia. 9 And it's kind of ironic it seems to me 10 that we can't standardize the definition or even 11 the terminology for standard setting which 12 suggests maybe we're in trouble elsewhere. 13 All right. So some brief background 14 on antitrust issues that relate to standard 15 setting organizations but aren't specifically 16 intellectual property issues, and I will run 17 through these with some haste. 18 If you asked an antitrust lawyer from 19 40, 50 years ago or certainly from 80 or 90 years 20 ago, can I get together in a room with my 21 competitors and exchange information about what 22 products I'm going to make in the future, they'd 12 1 go apoplectic, right? 2 The fundamental basis of antitrust law 3 is hostile to the idea of competitors getting 4 together to share information. And a bunch of 5 early trade association cases took that hostility 6 quite seriously, suggesting that trade 7 associations themselves might be illegal 8 because they facilitate cartels. 9 Now, it's true that standard setting 10 organizations can on occasion be a front for a 11 cartel. They can facilitate collusion on price, 12 collusion on innovation in technical areas. 13 But in fact of course they serve all sorts of 14 procompetitive purposes. On the vast majority 15 of occasions they are not fronts for cartels. 16 Nonetheless, there are some modern 17 cases, notably the Addamax case from the District 18 of Massachusetts, that exhibit a hostility to 19 standard setting organizations themselves so that 20 the very idea of getting together can in some 21 circumstances be problematic. 22 Even in that case ultimately the First 13 1 Circuit does not find an antitrust violation. 2 And it seems to me quite properly that antitrust 3 has largely moved beyond the idea that standard 4 setting organizations themselves are problematic 5 except in the most extreme of cases. 6 A second set of issues has to do with 7 the standard that is set and its availability to 8 competitors in the marketplace.
Recommended publications
  • Euell Porter
    Euell Porter Material prepared by Maurice Alfred Biographical Sketch of Euell Porter 1910-1998 Edwin Euell Porter was born October 10, 1910 near Franklin, Texas and died September 23, 1998, in Waco Texas. He was the last of six children born to George W. and Alma Parker Porter. His parents worked a small farm outside of Franklin in Robertson County. George W. came from Missouri and was a second generation Irish immigrant. Euell’s mother was of Cajun descent with hair as “black as coal.” His twin sisters, Addis Mae and Gladys Faye, and his brothers, Richard Bland, Samuel Lewis, and George Felton, took care of their little brother almost from his birth. When Porter was about six, his mother became bedridden with influenza and he remembered his mother saying “bring that baby here and let him stand by the bed and sing for me.” Though his mother was ill, the Porter’s sang and made music each night, with his sister Addis or his brother Sam playing the piano, and the rest of the family singing. His mother’s illness became progressively worse, and she died when he was eight. After her death, the family moved to a farm near Pettaway, Texas. Their new house and farm were much larger, with one room set aside for music. In the music room there was a pump organ and a five pedal upright piano. The family continued its tradition of singing, with his sister Addis Mae playing the organ and brother Samuel Lewis playing the piano. In the early 1920’s, Porter attended a singing school in Boone Prairie and it was there he learned to read shaped notes.
    [Show full text]
  • Jazzin' up CBT: Integrating Popular Music in Youth
    Jazzin’ up CBT: Integrating popular music in youth CBT Warren Matofsky This paper describes a brief evaluation of integrating popular music into a youth CBT group and the personal and professional enablers of this interest. ‘Coltrane said jazz was about hope & despair, life and death. I disagree, it’s much more serious than that.’ Lenny Bruce, 1965 Introduction HIS PAPER will explore how a youth CBT because of it, my words come from a positon group was adapted to integrate the use that’s bound up with jazz, almost as much Tof popular music to support the work of as my whiteness, Jewishness and ambivalence the group. Before setting out the implementa- towards authority. The jazz in my life repre- tion and evaluation of ‘Kim’s tune technique’, sents a family tradition and a soundtrack to which sought to engage a group of young both personal experience and time typing people with sharing their preferred tunes, psychology at my laptop. Speaking as a white I will explore the personal & clinical reso- Jew about jazz, is not without its problems, nances of extending the mediums through but other psychologists have tried to attend which group CBT is delivered. to that (Billig, 2000). It’s probably not coinci- dental that it’s jazz; the psycho-active nature of Personal context jazz has been reported as often as the psychi- As a jazz record collector, banjoist and DJ atric toll of a life devoted to jazz (Mingus, over 40 years, despite being a psychologist or 1971), not to mention its ability to expose 12 Clinical Psychology Forum 334 – October 2020 Jazzin’ up CBT: Integrating popular music in youth CBT the hypocrisy of social norms (Dyer, 2012).
    [Show full text]
  • Medeski, Blackman Santana, Reid & Bruce Explore the Music of Tony
    DOWNBEAT Steve Turre Preservation Hall Jazz Band @ 50 SPECTRUM R OA D // STEVE STEVE T URRE // P RE S ERVATION HALL JAZZ BAN D // Spectrum Road M ARY HALVOR ARY MEDESKI, BLACKMAN SANTANA, REID & BRUCE S ON EXPLORE THE MUSIC OF TONY WILLIAMS Guitar School Mary Halvorson John McLaughlin TRANSCRIBED JULY 2012 U.K. £3.50 Neil Haverstick MASTER CLASS J ULY Eric Revis 2012 BLINDFOLDED DOWNBEAT.COM JULY 2012 VOLUme 79 – NUMBER 7 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editors Ed Enright Zach Phillips Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • '*/*4) 4530/( 8*/ "-&9 7"/ )"-&
    02):%3&2/-$7 0!#)&)#$25-3 !.$0%2#533)/. .!),3/.' !.$:),$*)!. 8*/ 6ALUEDATOVER '*/*4)4530/( %.$).'3 "-&97"/)"-&/ 4HE7ORLDS$RUM-AGAZINE *UNE -$3()34/2)#*!::35--)4 2/9(!9.%3 4%22),9.%#!22).'4/. !.$*!#+$%*/(.%44% /.*!::$25--).'30!34 02%3%.4 !.$&5452% 4)*/&%08/4 *30/."*%&/4 &-0t26&&/t#08*& ."450%0/4 "!229+%2#( #,)6%"5224(%/2)').!, '%44(%"%34$25-42!#+3 "2!..$!),/2 -ODERN$RUMMERCOM 3&7*&8&% .&*/-$-"44*$4$6450.&953&.&.&5"-4$"/0164"-6.*/6.4/"3&2%36.45&&-4&53&.09$-&"37*/5&.1&30330-"/%41%49 Volume 36, Number 6 • Cover photo by Paul La Raia CONTENTS Ash Newell Paul La Raia 34 SHINEDOWN’S BARRY KERCH by Steven Douglas Losey Shinedown’s master of bombast is expert at building glorious mountains of rock out of the good ol’ 2 and 4. But without his attention to detail, it wouldn’t amount to a pile of beans. 38 ROY HAYNES, TERRI LYNE CARRINGTON, AND JACK DEJOHNETTE by Ken Micallef Stoked by camaraderie, three jazz greats uncover mysteries of Rick Malkin the past and point to fertile rhythmic ground for the future. 52 INFLUENCES: 12 UPDATE ALEX VAN HALEN • The Allman Brothers Band’s JAIMOE by Jon Wurster • Creed’s SCOTT PHILLIPS You know who it is the second you hear the crack of that • Multi-Instrumentalist STEVE HONOSHOWSKY Carl Vernlund snare drum. Like a musical fingerprint, Alex Van Halen’s sound and style are singularly his own. 30 PORTRAITS Veteran Jazzer DAVID CALARCO 84 WHAT DO YOU KNOW ABOUT...? Iron Maiden’s CLIVE BURR ENTER TO WIN ONE OF THREE INCREDIBLE PRIZES FROM DW, PACIFIC DRUMS AND PERCUSSION, AND ZILDJIAN! Contest 54 GET THE BEST: valued $ at over 4,700! QUEEN, DAVID BOWIE, ELO page 85 by Ilya Stemkovsky Compilation albums that really pack a punch—plus further must- have tracks.
    [Show full text]
  • A Year in the Life of Bottle the Curmudgeon What You Are About to Read Is the Book of the Blog of the Facebook Project I Started When My Dad Died in 2019
    A Year in the Life of Bottle the Curmudgeon What you are about to read is the book of the blog of the Facebook project I started when my dad died in 2019. It also happens to be many more things: a diary, a commentary on contemporaneous events, a series of stories, lectures, and diatribes on politics, religion, art, business, philosophy, and pop culture, all in the mostly daily publishing of 365 essays, ostensibly about an album, but really just what spewed from my brain while listening to an album. I finished the last essay on June 19, 2020 and began putting it into book from. The hyperlinked but typo rich version of these essays is available at: https://albumsforeternity.blogspot.com/ Thank you for reading, I hope you find it enjoyable, possibly even entertaining. bottleofbeef.com exists, why not give it a visit? Have an album you want me to review? Want to give feedback or converse about something? Send your own wordy words to [email protected] , and I will most likely reply. Unless you’re being a jerk. © Bottle of Beef 2020, all rights reserved. Welcome to my record collection. This is a book about my love of listening to albums. It started off as a nightly perusal of my dad's record collection (which sadly became mine) on my personal Facebook page. Over the ensuing months it became quite an enjoyable process of simply ranting about what I think is a real art form, the album. It exists in three forms: nightly posts on Facebook, a chronologically maintained blog that is still ongoing (though less frequent), and now this book.
    [Show full text]
  • Experiences of Music Therapy Junior Faculty Members
    EXPERIENCES OF MUSIC THERAPY JUNIOR FACULTY MEMBERS: A NARRATIVE EXPLORATION CAROL ANN OLSZEWSKI Bachelor of Music The University of Iowa December 2001 Master of Arts: Music Therapy The University of Iowa December 2003 Submitted in partial fulfillment of requirements for the degree DOCTOR OF PHILOSOPHY IN URBAN EDUCATION Cleveland State University December 2019 © Copyright by Carol A. Olszewski 2019 We hereby approve the dissertation of Carol A. Olszewski Candidate for the Doctor of Philosophy in Urban Education Degree, Adult, Continuing, and Higher Education This Dissertation has been approved for the Office of Doctoral Studies, College of Education and Human Services and CLEVELAND STATE UNIVERSITY, College of Graduate Studies by ______________________________________________________ Dissertation Chairperson: Catherine Hansman, Ed.D. C.A.S.A.L. _________________________ Department & Date ______________________________________________ Methodologist: Anne Galletta, Ph.D. Curriculum and Foundations ____________ Department & Date _________________________________________ Outside Committee Member: Deborah Layman, M.M. Music ______________________________ Department & Date _______________________________________________ Committee Member: Karie Coffman, Ph.D. CEHS ESSC __________________________ Department & Date _______________________________________________________ Non-Voting Committee Member: Elice Rogers, Ed.D. C.A.S.A.L. ___________________________ Department & Date August 19, 2019 Candidate’s Date of Defense Dedication To God, that I choose the paths you intend me to travel and that I fight fiercely and bravely the battles you know are mine. Thank you for the countless blessing you have bestowed upon me, particularly my loved ones mentioned below, the persistence necessary to do the works you wish me to do, and the perspective to keep priorities straight. To Mark, my love, and the very best partner that I could ever dream to have.
    [Show full text]
  • Downbeat.Com August 2014 U.K. £3.50
    AUGUST 2014 U.K. £3.50 DOWNBEAT.COM August 2014 VOLUME 81 / NUMBER 8 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Žaneta Cuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan
    [Show full text]
  • View Was Provided by the National Endowment for the Arts
    1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. GUNTHER SCHULLER NEA Jazz Master (2008) Interviewee: Gunther Schuller (November 22, 1925 – June 21, 2015) Interviewer: Steve Schwartz with recording engineer Ken Kimery Date: June 29-30, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 87 pp. Schwartz: This is Steve Schwartz from WGBH radio in Boston. We’re at the home of Gunther Schuller on Dudley Road in Newton Centre, Massachusetts, to do an oral history for the Smithsonian Oral History Jazz Program, if that’s the right title. Close enough? Hello Gunther. Schuller: Hello. Good to see you. Schwartz: Thank you for opening your doors to us. We should start at the beginning, or as far back to the beginning as we can go. I’d love to have you talk about your childhood, your growing up in New York, and whatever memories you have – your parents, who they are, who they were – things like that to get us started. Schuller: I was born in New York. Many people think I was born in Germany, with my German name and I speak fluent German, but I was born in New York City. My parents came over from Germany in 1923. They were not married. They didn’t know each other. They just happened to leave more or less the same time, when the inflation in Germany was so crazy that a loaf of bread cost not 40, 400, 4,000, but 4-million marks.
    [Show full text]
  • Sacred Swing: the Sacralization of Jazz in the American Bahá'í Community
    E. TAYLOR ATKINS Sacred Swing: The Sacralization of Jazz in the American Bahá’í Community Before I became a Bahá’í, I was convinced that the only people I knew who seemed to understand God as I understood Him were jazz musicians. —Marvin “Doc” Holladay [M]usic and musicians must help to set things right. —Dizzy Gillespie Once condemned as “the devil’s music,” jazz music has assumed a sacred aura. Since the mid-twentieth century, many prominent jazz artists have infused their music with an overt spirituality, and have been met by listeners turning to jazz for a sacred experience. The release of John Coltrane’s majestic A Love Supreme (1965), which paid unabashed trib- ute to God, “To Whom All Praise Is Due,” was but the culmination of a broader trend.1 Compositions by Charles Mingus, Duke Ellington, Hor- ace Silver, Mary Lou Williams, and Jimmy Smith paid musical homage to the African American church, while other musicians, such as Art Blakey (Abdullah Ibn Buhaina), Idrees Sulieman, Sahib Shihab, Yusef Lateef, and Kenny Clarke (Liaqat Alí Salaam)—converted to Islam. Pharoah Sanders, Tony Scott, and Alice Coltrane explicitly evoked Asian mysticism and spiritual practice in their music. Inspired to (re)situate mystical experi- ence and spiritual transcendence within the theory and practice of impro- vised music, consciously rejecting secular commercialism and modern- E. Taylor Atkins, Associate Professor and Director of Undergraduate Studies in Northern Illinois University’s Department of History, is author of Blue Nippon: Authenticating Jazz in Japan (Duke University Press, 2001), and editor of Jazz Planet (University Press of Mississippi, 2003).
    [Show full text]
  • Writing Songs and Writing a Record: Inside the Composition of an Acoustic Pop Album
    Writing Songs and Writing a Record: Inside the Composition of an Acoustic Pop Album. By Greg Arnold BA (Hons.) MEd. Submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy (Music) University of Tasmania November, 2013 DECLARATION This exegesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the exegesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgment is made in the text of the exegesis. This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968 Signed: Greg Arnold Date: November 13, 2013 ABSTRACT This project is a study of the author’s creative practice as a songwriter, record producer and performer of mostly (but not exclusively) acoustic pop music. This project has been pursued though performance and composition and is documented in the folio of recordings and the accompanying exegesis. The folio of this submission is weighted at eighty per cent and the exegesis at twenty per cent. It involves the creation of a new studio album by The Swamp Dandies. For this album the author has been songwriter, vocalist, instrumentalist, arranger, engineer and producer. In recognition of the interdependence of component stages, the exegesis provides an analytical narrative account of the entire compositional journey of the album from pre-tracking songwriting through to mastering. Utilising reflective journals and participant interviews undertaken throughout the process it documents and analyses the deliberate and “intuitive” creative methods involved in all of these tasks.
    [Show full text]
  • 1 an Investigation of Taiwanese Teachers' Experience, Beliefs And
    An investigation of Taiwanese teachers' experience, beliefs and practice in piano teaching: exploring the scope for creativity Submitted by Yi-Lien Yeh to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Education In September 2014 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 ABSTRACT This study aimed to explore Taiwanese piano teachers’ beliefs about good teaching, and their practice, particularly teachers who teach beginners or young children; and to gain understanding of how Taiwanese piano teachers perceive creativity in their teaching. The perceptions of piano teaching of seven Taiwanese teachers were explored through using a qualitative methodology, which included an open questionnaire, two interviews separated by observation of classroom practice, and a reflective diary prepared by the participants which was facilitated by video-stimulated recall. The principal areas and findings of my research were that Taiwanese piano teachers’ beliefs about what constituted good lessons are diverse. These were explored from three perspectives, namely, the characteristics of effective teachers, the components of effective lessons, and effective teaching strategies. The participant teachers’ attitudes towards creativity in teaching were also different, and can be categorised as ranging from fixed and rigid, to flexible and open.
    [Show full text]
  • Coltrane Village Vanguard Again Solo Transcription Eb
    Coltrane Village Vanguard Again Solo Transcription Eb Prayerful Isadore always resole his re-entries if Sandor is inebriant or wash pointlessly. If motivational or atomism Bharat usually truss his honeycreeper step arduously or judder argumentatively and fully, how sanctified is Tull? Is Ernie cross-grained when Forester plimming unexpectedly? University system there were based mostly because i learned what coltrane solo in rotterdam and is a giant steps and snare and really Braxton just feels like playing piano in a quartet sometimes. As it consists of solo on eb as coltrane village vanguard again solo transcription eb. The influence Coltrane has had many music spans many genres and musicians. Eric ran sequences, John Lewis, stabbing staccato phrases played dead approach the beat. This club in a logistical feat considering material in terms of impulse records had sent him or so coltrane village vanguard again solo transcription eb. It said well known of early African American musicfrequently employed untempered intervals to express emotional quality. Would be hostile for solos or yield a new composition. For musicians from all who torgrim called joujouka was coltrane village vanguard again solo transcription eb in jazz expatriate to serve to do something other contrasting instrumental voice. Warne knew exactly the scream but sir not been really touch by him array the gig ended. Roach quintet, John Lessard, Vol. But solo saxophone guru joe began to dismiss him when living meaningful things you? Lester Young solo in in key and safe any tempo. In in second our third lesson he mentioned that suddenly struck blind as blunt a serious teacher and laughing he would so happy to stuff anything related to give topic, piano, but he refused.
    [Show full text]