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Zeitschriftenartikel zum Thema "Jazz musicians United States Biography":
1
Patalano, Frank. „Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians“. Perceptual and Motor Skills 90, Nr. 2 (April 2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.
Annotation:
Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).
2
Patalano, Frank. „Psychosocial Stressors in the Lives of Great Jazz Musicians“. Perceptual and Motor Skills 84, Nr. 1 (Februar 1997): 93–94. http://dx.doi.org/10.2466/pms.1997.84.1.93.
Annotation:
Brief biographical information on four great jazz tenor saxophone players of the past is presented to illustrate the similar psychosocial stressors these men seemed to experience, namely, severe substance abuse, haphazard working conditions, lack of acceptance of their art form in the United States, marital and family discord, and a vagabond life style. Ages at death of 80 great jazz musicians may indicate that the stressful life style of jazz musicians may be reflected in a shortened life span, but a control group is needed.
3
FOSLER-LUSSIER, DANIELLE. „Cultural Diplomacy as Cultural Globalization: The University of Michigan Jazz Band in Latin America“. Journal of the Society for American Music 4, Nr. 1 (14.01.2010): 59–93. http://dx.doi.org/10.1017/s1752196309990848.
Annotation:
AbstractFrom January to May 1965 the University of Michigan Jazz Band traveled extensively in Latin America for the State Department's Cultural Presentations Program. This tour serves as a case study through which we can see the far-reaching effects of cultural diplomacy. The State Department initially envisioned its cultural and informational programs as one-way communication that brought ideas from the United States to new places; yet the tours changed not only audiences, but also the musicians themselves and even the communities to which the musicians returned. Both archival and oral history evidence indicate that the Michigan jazz band's tour succeeded in building vital imagined connections across international borders. The nature of these connections demonstrates that the cold war practice of pushing culture across borders for political purposes furthered cultural globalization—even though the latter process is often regarded by scholars as a phenomenon that began only after the end of the cold war. The jazz band's tour highlights the essential role of music and musicians in fostering new transnational sensibilities in the politicized context of the cold war.
4
Kwaczyńska, Olga. „The Reception of American Jazz in Japan: An Outline of Issues“. Kwartalnik Młodych Muzykologów UJ, Nr. 44 (1) (2020): 33–46. http://dx.doi.org/10.4467/23537094kmmuj.20.027.13900.
Annotation:
The following article presents the history of Japanese jazz, from the first musical contacts to its contemporary successes and problems of the jazz music market. An important role in the development and evolution of jazz in Japan (even before the post-war US occupation of that country) was played by the presence of American military forces in the Philippines, which, as an American-dependent territory, maintained cultural contacts with the United States, where jazz had been born at the beginning of the 20th century and became one of the most popular forms of music. Apart from contact with Filipino musicians, who were the first source of jazz education for the Japanese, the rise of jazz cafés (jazzu-kissa) was also important for the development of jazz in the Land of the Cherry Blossom. The cafés played a huge role in generating interest in jazz and shaping musical tastes. The article also shows the influence of jazz on the formation of a modern, American-type lifestyle among the Japanese middle-class. In addition, the article discusses the complex issue of the authenticity of Japanese jazz in relation to American jazz and the role of world-famous Japanese musicians, such as Toshiko Akiyoshi, in overcoming stereotypes. The aim of the article is to demonstrate the universality and at the same time the local character of contemporary Japanese jazz as well as the distinguishing features of jazz in Japan.
5
GARCÍA, DAVID. „“We Both Speak African”: A Dialogic Study of Afro-Cuban Jazz“. Journal of the Society for American Music 5, Nr. 2 (14.04.2011): 195–233. http://dx.doi.org/10.1017/s1752196311000034.
Annotation:
AbstractFrom 1947 to 1948 the Dizzy Gillespie orchestra with Chano Pozo produced some of the most important recordings that contributed to the development of Afro-Cuban jazz. Pozo had already led a successful career as a professional musician in Havana before he moved to New York City, where he met Gillespie and joined his bebop big band. The integration of a black Cuban percussionist into Gillespie's all-black band raises important questions about the racial politics enveloping the popularization of bebop, Afro-Cuban jazz, and the work of others in contemporaneous political, cultural, and intellectual arenas. This article provides new documentation of Pozo's performances with the Gillespie band in the United States and Europe and shows the ideological concerns that Pozo and Gillespie shared with West African political and cultural activists, Melville Herskovists and his students, and early jazz historians in the 1940s. The article suggests an alternative methodology for scholarship on jazz in the United States that approaches jazz's extensive engagements with Cuban and other Afro-Atlantic musicians as embodying the crux of jazz's place in the Afro-Atlantic.
6
Ikechi, Emeka, Ayebanoa Timibofa und Otuare Theophilus Kika. „Aesthetics of Protest in Black American Literature: A Study of June Jordan’s Directed by Desires and Richard Wright's Native Son“. Scholars International Journal of Linguistics and Literature 5, Nr. 2 (24.02.2022): 51–57. http://dx.doi.org/10.36348/sijll.2022.v05i02.003.
Annotation:
The introduction of jazz and blues in the United States of America influenced the works of Afro American writers both in content and form. These jazz and blues musical songs were used as mediums to protest against racism, class, gender and other inhuman practices meted on the blacks in the United States. Although these songs were not formally written, they became a source of inspiration for writers afterwards in terms of themes and style. The later writers who changed to formal literature borrowed from the themes and styles of these jazz and blues musicians. This paper is signicant because it has examined the thematic preoccupation of June Jordan’ Directed by Desires and Richard Wright's novel, Native Son. Findings show that both writers were thematically and stylistically influenced by the jazz and blues era of art in Af ro American Literature. Data for this essay was collected via qualitative research methodology, while the postcolonial theory was adopted for analysis. The paper submits that themes of racism, class, gender and protest were features of the jazz and blues era which later writers modelled their works after.
7
Tsipursky, Gleb. „Jazz, Power, and Soviet Youth in the Early Cold War, 1948−1953“. Journal of Musicology 33, Nr. 3 (2016): 332–61. http://dx.doi.org/10.1525/jm.2016.33.3.332.
Annotation:
Examining the history of jazz in the Soviet Union between 1948 and 1953, this essay sheds light on the role of popular music in the cultural competition of the early Cold War. While the Soviet authorities pursued a tolerant policy toward jazz during World War II because of its wartime alliance with the United States, the outbreak of the Cold War in the late 1940s led to a decisive turn against this music. The Communist Party condemned jazz as the music of the “foreign bourgeoisie,” instead calling for patriotic Soviet music. Building on previous studies of the complex fate of western music in the USSR during the postwar decades, this article highlights a previously unexamined youth counterculture of jazz enthusiasts, exploring the impact of anti-jazz initiatives on grassroots cultural institutions, on the everyday cultural practices of young people, and on the Cold War’s cultural front in the USSR. It relies on sources from central and regional archives, official publications, and memoirs, alongside oral interviews with jazz musicians and cultural officials.
8
Gregory, Dianne. „Analysis of Listening Preferences of High School and College Musicians“. Journal of Research in Music Education 42, Nr. 4 (Dezember 1994): 331–42. http://dx.doi.org/10.2307/3345740.
Annotation:
Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Instrumental biases were found among high school and college musicians' preferences for relatively unfamiliar classical music. College music majors' preferences, in general, were less “own-instrument-based” than were those of high school musicians. In addition, the results suggest training broadens receptivity within and across music genres. There seems, however, to be no predictable connection between the degree to which one “knows ” an excerpt and preference for the excerpt.
9
Levitin, Alexis. „Litany 6-9 by Salgado Maranhão“. Latin American Literary Review 47, Nr. 93 (05.05.2020): 69–70. http://dx.doi.org/10.26824/lalr.176.
Annotation:
Salgado Maranhão, winner of all of Brazil's major poetry awards, has toured the United States five times, presenting his work at over one hundred colleges and universities. In addition to fourteen books of poetry, he has written song lyrics and made recordings with some of Brazil’s leading jazz and pop musicians. He has published three collections of his work in English: Blood of the Sun (Milkweed Editions, 2012), Tiger Fur (White Pine Press, 2015), and Palavora (Dialogos Books, 2019). On Nov. 13, 2017, Salgado received an honoris causa doctorate for his cultural achievements from the Federal University of Piaui in Teresina, Brazil.
10
Vad, Mikkel. „“Very Female, with the Allure of a Foreign Aura”: Vocality, Gender, and European Exoticism in the US Careers of Alice Babs and Caterina Valente“. Journal of the Society for American Music 15, Nr. 4 (November 2021): 424–46. http://dx.doi.org/10.1017/s1752196321000304.
Annotation:
Abstract“How can America import ‘American’ jazz?,” asked the music editor of Good Housekeeping, George Marek, in 1956. Marek answered, “Singers, particularly if they are very female, give the home-grown music the allure of a foreign aura.” Taking these statements as a starting point, this article gives an account of the US careers of Alice Babs and Caterina Valente. Gender, class, and ethnicity were key elements in the US construction of Babs's and Valente's musical personae, which was especially heard in their vocality, with an emphasis on high-pitched vocal stylings, melismas, and “white” timbres to signify gender and European exoticism. The US careers of Babs and Valente show us that musical Americanness or Europeanness are not created separately on either side of the Atlantic. Their European identities were not created in Europe and then imported to the United States but were created in the process of transmission into the United States. Importantly, the article argues that race and ethnicity were used by musicians, critics, and listeners to position Babs and Valente as Europeans. Their whiteness was transposed in a US context and their stories tell us as much about US ideologies of whiteness as it does about European ethnicities.
Dissertationen zum Thema "Jazz musicians United States Biography":
1
Gaines, Adam W. „Work of Art : the life and music of Art Farmer“. Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.
2
Sugg, Andrew Norman. „Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy“. Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.
Annotation:
Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.
3
Lington, Aaron Joseph. „The Improvisational Vocabulary of Pepper Adams: A Comparison of the Relationship of Selected Motives to Harmony in Four Improvised Solos“. Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5576/.
Annotation:
Park "Pepper" Adams, III (1930-1986) is one of the most influential baritone saxophonists in the history of modern jazz. In addition to his time feel, his timbre, and other conceptual techniques, a great deal of Adams's improvisational style and vocabulary can be illustrated by his use of three motivic devices. These three motivic devices are: (1) his utilization of the sixth degree of the major scale as an important melodic pitch; (2) his use of a paraphrased portion of the melody of the popular song "Cry Me a River;" and (3) his use of the half-whole octatonic scale when the rhythm section sounds a dominant chord. This dissertation traces the way in which Adams applies these three motivic devices through four of his original compositions, "Enchilada Baby," "Bossallegro," "Lovers of Their Time," and "Rue Serpente." All four of these compositions were recorded by Adams on his 1980 album, The Master. In addition to the motivic analysis, a biography of Adams is included. Complete transcriptions by the author of Adams's improvised solos on the four compositions are included in the appendices.
4
Hubbs, Holly J. „American women saxophonists from 1870-1930 : their careers and repertoire“. Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259304.
Annotation:
The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one reference source.The introduction presents a brief background on women's place in music around 1900 and explains the study's organization. Chapter two presents material on saxophone history and provides an introduction to the Chautauqua, lyceum, and vaudeville circuits. Chapter three contains biographical entries for forty-four women saxophonists from 1870-1930. Then follows in Chapter four a discussion of the saxophonists' repertoire. Parlor, religious, and minstrel songs are examined, as are waltz, fox-trot, and ragtime pieces. Discussion of music of a more "classical" nature concludes this section. Two appendixes are included--the first, a complete alphabetical list of the names of early female saxophonists and the ensembles with which they played; the second, an alphabetical list of representative pieces played by the women.The results of this study indicate that a significant number of women became successful professional saxophonists between 1870-1930. Many were famous on a local level, and some toured extensively while performing on Chautauqua, lyceum, and vaudeville circuits. Some ended their performing careers after becoming wives and mothers, but some continued to perform with all-woman swing bands during the 1930s and 40s.The musical repertoire played by women saxophonists from 1870-1930 reflects the dichotomy of cultivated and vernacular music. Some acts chose to use popular music as a drawing card by performing ragtime, fox-trot, waltz, and other dance styles. Other acts presented music from the more cultivated classical tradition, such as opera transcriptions or original French works for saxophone (by composers such as Claude Debussy). Most women, however, performed a mixture of light classics, along with crowd-pleasing popular songs.School of Music
5
Ormsby, Verle A. „John Jacob Graas, Jr. : jazz horn performer, jazz composer, and arranger“. Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/560288.
Annotation:
This paper is divided into two broad sections. The first section traces the life and career of John Graas through an examination of the contents of the John Graas Memorabilia and Memorial Library, which contains photo albums, newspaper clippings, records and tapes, approximately one hundred original compositions, and personal correspondence between the author and people who knew and worked with Graas.The second section is an examination and discussion of Graas's original compositions. This discussion traces Graas's compositional development and growth as an acknowledged jazz composer through the melodic analysis of selected original compositions.Findings1. John Graas was a classically-schooled horn player who studied with Max Pottag and Wilhelm Valkanier, and performed with the Indianapolis and Cleveland orchestras.2. He was best known for being the first horn player to achieve prominence in the jazz field. Graas acquired his jazz skills first as a performer with Thornhill, Beneke, and Kenton, and later as a composition student of Lennie Tristano, Shorty Rogers and Dr. Wesley LaViolette. 3. Numbering over one-hundred compositions, Graas’ works range from standard to innovative works for various-sized ensembles, including works for solo horn, solo piano, a television score, and his Jazz Symphony #1, written for full symphony orchestra and nine-piece jazz ensemble.Conclusions1. Graas was acknowledged as the first horn player to achieve prominence in the field of jazz, as recognized by such top, jazz polls as Down Beat, Metronome, and Playboy, from 1955 to 1961.2. His early improvisations helped to open the jazz field to future jazz hornists: Watkins, Amram, Ruff, Varner.3. Graas showed true pioneer spirit by working hard to expand limits placed on the horn by classical tradition, in order to reach a new and different standard of performance.School of Music
6
Seigfried, Karl Erik Haddock. „"At once old-timey and avant-garde" : the innovation and influence of Wilbur Ware“. Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3101225.
7
Sugg, Andrew Norman. „Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman / by Andrew Norman Sugg“. Thesis, 2001. http://hdl.handle.net/2440/21706.
Annotation:
Includes bibliographical references (leaves 350-359).xi, 359 leaves : music ; 30 cm.
Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2001
8
Duncan, James Bryan. „Narrative frames and the works of John Coltrane“. Thesis, 1999. http://hdl.handle.net/1957/33659.
Annotation:
In Culture and Imperialism, Said illustrates that we have no "autonomous
cultural forms," but rather "impure" ones that are the products of historically
"discrepant experiences." American culture has an interesting relationship with the
history of imperialism. The Europeans that settled the U.S. imported slave labor to
assist in the growth of the new nation and this practice ironically "hybridized"
American culture despite institutionalized segregation of the races, mixing disparate
cultural ideas in a common social location.
Said's theory fits an analysis of jazz in America since the music was
instigated by the enslavement of native Africans, West Indians and inhabitants of the
Caribbean, and the tensions this produced between traditional European and non-European cultural experiences are emblematic of its evolution into a popular form of
music. Concomitant to its popularity in the later 1930s was a scholarly interest in the
history of jazz, which culminated in narratives ascribing to it a recognizable
"American" history and a set of familiar European aesthetic characteristics, neglecting
the "discrepant experiences" of jazz history.
During the 1940s, some artists were working with musical ideas that
expanded the innovative spaces left open by those preceding them. Criticized for
playing "anti-jazz," they produced music for audiences who were late to realize the
significance of their contributions. Among them was John Coltrane, a saxophonist
who took these controversial approaches into unconventional musical territories.
Similar to the shortsighted criticisms weighed against his mentors, critics regarding
Coltrane neglected the ways in which his music is important as an expression of the
fundamental power struggles that are at the heart of American culture.
I analyze several of Coltrane's recordings to illustrate how they are artifacts
which can be studied for evidence of the tendency in narratives to preclude the "hybridity" important to the history of jazz. My focus is on the liner notes that
accompany the recordings, which I read "contrapuntally" with other forces in their
production in order to discuss the tensions between economics, communication and
representation that are integral to an understanding of Coltrane's music.Graduation date: 1999
Bücher zum Thema "Jazz musicians United States Biography":
1
Oliphant, Dave. KD: A jazz biography. San Antonio, Tex: Wings Press, 2012.
2
Jasen, David A. Black bottom stomp: Eight masters of ragtime and early jazz. New York: Routledge, 2002.
3
Jasen, David A. Black bottom stomp: Eight masters of ragtime and early jazz. New York: Routledge, 2001.
4
Hillman, Christopher. Bunk Johnson: Life & times. Speldhurst: Spellmount, 1988.
5
Hillman, Christopher. Bunk Johnson: His life & times. New York: Universe Books, 1988.
6
Catalano, Nick. Clifford Brown: The life and art of the legendary jazz trumpeter. New York, NY: Oxford University, 2000.
7
Petersen, Leif Bo. The music and life of Theodore "Fats" Navarro: Infatuation. Lanham, Md: Scarecrow Press, 2009.
8
Nolan, Tom, und Tom Nolan. Three chords for beauty's sake: The life of Artie Shaw. New York: W.W. Norton, 2010.
9
Meyer, Edward N. The life and music of Kenny Davern: Just four bars. Lanham, Md: Scarecrow Press, 2010.
10
Mour, Stanley I. Innovators of American jazz. Berkeley Heights, NJ: Enslow, 2013.
Buchteile zum Thema "Jazz musicians United States Biography":
1
Marlow, Eugene. „Beijing’s Leading Indigenous and Expat Jazz Musicians“. In Jazz in China, 155–78. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0014.
Annotation:
This chapter focuses on jazz musicians in Beijing. While Shanghai owned China's jazz history spotlight in the first half of the twentieth century, Beijing is not without its own indigenous leading lights, musically speaking. Some have been trained in classical music in China and in the United States and have returned to Beijing to perform; others are self-taught. Many are young; some have been around before and after Mao. All are devoted to the music. In Beijing, saxophonist Fan Shengqi is by all accounts the most enduring jazz musician who performed before, during and after Mao. His involvement in the contemporary Chinese music scene is reflected in his participation in China's first guitar festival, held in August 2005 on what is described as “scenic Hainan Island” located in the South China Sea.
2
Weltak, Marcel. „Jazz in Suriname“. In Surinamese Music in the Netherlands and Suriname, 86–91. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496816948.003.0008.
Annotation:
There was an enormous influx of jazz in Suriname itself, especially in the decades after World War II. Jazz and swing got their niche alongside other more traditional native music and European classical and ‘light’ entertainment music. Many Surinamers were inspired by jazz from the United States. A few of them founded their own jazz bands. Jazz records came into the country via the American soldiers who were stationed in Suriname during World War II “to protect the bauxite industry.” Musicians in Paramaribo first heard and saw the North American orchestras in the movie houses.
3
Goldschmitt, K. E. „Copying the Bossa Nova“. In Bossa Mundo, 24–51. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.003.0002.
Annotation:
This chapter analyzes the initial proliferation of bossa nova in the United States and United Kingdom in the early 1960s, primarily as a jazz and dance fad. By using material culled from top English-language periodicals of the era, it traces the popularity of bossa nova in the United States from its adoption by jazz musicians in the early 1960s, the invention of a dance to accompany the musical trend, and the ultimate rejection of bossa nova by purists in the jazz press. It also shows how the style’s initial popularity was partially due to the divisive racial politics that had overtaken jazz in that era, allowing the Otherness of bossa nova to temporarily offer an alternative for jazz musicians and fans.
4
Marlow, Eugene. „The Japanese Invasion“. In Jazz in China, 67–78. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817990.003.0007.
Annotation:
During World War II, the Japanese constructed prisoner of war camps in fifteen countries, including China. These camps numbered approximately 240. The Japanese—whose attack on Pearl Harbor in 1941 brought the United States into World War II— saw their global role as manifest destiny, particularly with respect to China. Militarist Japan's attempt to conquer China began by seizing Manchuria in 1931 and became a full-fledged invasion from 1937 [when they attacked Shanghai] to 1945. This chapters shows that American jazz musicians—all of whom were playing in Shanghai—were not immune to the Japanese invasion and occupation. Some landed in internment camps in China and the Philippines.
5
Gioia, Ted. „Jazz without Boundaries“. In The History of Jazz, 477–506. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190087210.003.0010.
Annotation:
This chapter looks at the spread of jazz—both geographically and institutionally. Almost from the start, jazz seemed destined to travel beyond its birthplace in New Orleans, but the pace of that expansion has accelerated in recent decades. Europe, which once looked to the United States for jazz role models, is increasingly self-sufficient, and other regions are also developing strong, homegrown jazz scenes. At the same time, jazz has broken down other barriers, entering schools and universities, and enjoying the support of influential nonprofit organizations such as Jazz at Lincoln Center. This shift has led to the rise of a new generation of musicians who have learned their craft in formal jazz education programs, and in many instances also teach at them, but also operate with fluency in the world of commercial music and popular culture. Artists discussed in this chapter include Brad Mehldau, Regina Carter, Esbjörn Svensson (and his band e.s.t.), and Joshua Redman.
6
Goldschmitt, K. E. „From Fusion to Funk“. In Bossa Mundo, 76–105. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.003.0004.
Annotation:
This chapter investigates how Brazilian musicians adjusted their approach to appealing to audiences in the United States and the United Kingdom once the Brazilian military dictatorship descended into the “Leaden Years.” Many Brazilian musicians sought to affiliate themselves with sounds that more directly linked them to the African diaspora and the Otherness of Brazilian indigeneity. Drawing on the coverage of this music in major music periodicals of the era, it shows the ways that attention to Brazilian music changed after the height of bossa nova. It features close discussions of the penetration of Brazilian musicians into the jazz fusion and funk scenes, including analyses of landmark recordings by Milton Nascimento, Sérgio Mendes, Airto Moreira, Flora Purim, and Deodato.
7
Hill, Juniper. „Developing Creativity-Enabling Skills“. In Becoming Creative, 28–66. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199365173.003.0002.
Annotation:
This chapter examines six skill sets for enabling creativity that are important across multiple music cultures: physical technique, aural skills, vocabulary and memory facility, syntax tools, decision-making skills, and self-assessment skills. The extent to which musicians develop and are able to employ these skills correlates with their learning experiences. Social environment, values, and belief systems shape different learning approaches. The natures of human memory and oral culture further interact to facilitate creativity-enabling skill development. Valuable insights are drawn from the experiences of classical, jazz, and traditional musicians in South Africa, Finland, and the United States. Formal and informal music education, authoritarian and learner-directed teaching, emphasis on obedience and student agency, and reliance on notation and playing by ear all have long-term consequences for creative development.
8
Snyder, Michael. „The Running Sons“. In James Purdy, 53—C5.P37. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197609729.003.0006.
Annotation:
Abstract While the United States prepared for war, Purdy enlisted and served in the Army Air Corps but was not sent overseas. After basic training, he did desk jobs and was trained in the Spanish language. He was stationed near Biloxi, Mississippi, writing in his tent or barracks. A few weeks after the invasion of Pearl Harbor, Purdy was honorably discharged following throat surgery. He then acted as Norman MacLeish’s personal assistant and companion, traveling into Mexico. Next, he worked for the US Office of Education, part of the Federal Security Agency, in inter-American education relations, before training in Spanish in Puebla, Mexico. He returned to the University of Chicago for more Spanish study, moving in with Gertrude Abercrombie, her husband, and daughter, and mixed with artists and jazz musicians. Soon after the close of World War II, he taught in Havana, Cuba. He struggled to publish, but another story was published in 1946.