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press_allthatjazz2003 This impressive photo exhibit focuses attention on the history of America's original art form, Jazz, as seen through the lens of Jazz photographers and musicians. The exhibition give focus on the music called Jazz- is an African-American contribution to the American musical family that has transcended its African-American roots to become an international art form encompassing musicians of many cultures and nationalities. The historic Queen Mary, docked on the water in Long Beach, CA, offers an ideal close-to-home getaway in its 365-room on board hotel. While at the Queen Mary, explore a real Russian submarine, experience the Ghosts & Legends of the Queen Mary show or take a Behind-the-Scenes Guided Tour or a World War II Guided Tour. OMEA Jazz Rules and Regulations The following are the guidelines for local jazz events. 1. OMEA membership is required for all participation directors and Event Chairs. 4. Group types will include Instrumental Jazz Combo (3 - 10 players), Instrumental Jazz Ensemble (more than 10 players with groups not penalized for lack of, or more than one player to a part in the traditional big band instrumentation), and Vocal Jazz Ensemble (more than four singers). It is recommended that these adjudicators be chosen from the approved OMEA Jazz Adjudicator List, however, a four judge stage must have at least two OMEA members from the approved adjudicator list with the others being chosen as out-of-State nationally recognized figures and/or in-State recognized jazz figures holding the $15.00 Associate Membership in OMEA. SPEC4790_3754 Under general supervision, to create jazz programs for radio broadcast; to provide expert guidance in the planning and creation of jazz and other music programs; and to supervise subordinate employees engaged in the selection, arrangement, scripting, and broadcast presentation of jazz programs. CREDENTIALS TO BE VERIFIED BY PLACEMENT OFFICER 1. Amounts of training or experience less than those listed above should be converted to decimal equivalents of 1.0 unit and added together when computing combinations of the different types of preparation. PERSONAL ATTRIBUTES NEEDED TO UNDERTAKE JOB 1. That is, up to 2/3 (or approximately 0.67 unit) of the total preparation required to satisfy requirement #1 may be this type of college training. musis55 1 of 6 Music S-55 - The Evolution of Modern Jazz Through Jazz Rock and Fusion (30193) 2002 Harvard Summer School Mr. Thomas G. Everett, Instructor As jazz is a non-verbal form of expression and communication, a substantial amount of time will be spent listening to, discussing, and experiencing live and recorded examples of "classic" performances and the artists who created them. Midterm Exam -- Thursday, July 18 (Exam will take up only part of the class time.) FINAL EXAM -- Tuesday, August 13 at 2:15 PM, in our usual classroom. Students wishing to have work returned and/or copies of their final exam should present a large self-addressed, stamped envelope to the Professor at the final exam. southsoundjazzworkshop On Thursday, a student recital will be held at 3:00 p.m. in PLU's beautiful Lagerquist Concert Hall. A pianist, composer/arranger, and vocalist, Dr. Joyner is a busy member of the Northwest professional jazz community. He is also a pianist, arranger, and vocalist for In Full Swing, a professional vocal group featured with pop orchestras throughout the country. He has toured internationally, appears frequently in the Puget Sound region, and is involved with a number of local groups, including the Olympia Jazz Initiative big band and the Latin jazz group Obrador. Performing around the Puget Sound area, Richard currently plays with the Governor's Sackbutt Commission, the Syd Potter tet, Jay Thomas' Friendly Fire and Usual Suspects big bands, the award-winning Pierce College Jazz Ensemble and the Olympic Trombone Orchestra. jazz http://www.music.washington.edu/pdf/jazz.pdf Admission to the Bachelor of Music is intended for specially qualified students who wish to emphasize professional training in performance or composition within a four-year program. A minimum of 180 credits is required, of which at least 60 must be taken in departments other than the School of Music, including the Language Skills, Reasoning and Writing in Context, and 20 credits in each of two Areas of Knowledge requirements of the College of Arts and Sciences. Music majors are required to earn a minimum grade of 2.0 in each music course (core and elective) that is to count toward music degree requirements. A GPA of 3.20 in music courses is required for graduation. staff http://www.union.edu/PUBLIC/PARTDEPT/JAZZ/staff.pdf He has taught clinics at the Hochshule für Musik in Dresden, the University of Indiana, the University of Michigan, the Contemporary Arts Center in Cincinnati, among others, and is an artist/mentor in the NYC public school system. Guitarist, composer, arranger, educator and author of two books on chord substitution and one on improvisation, Dom has been teaching jazz improvisation, harmony & theory in private and clinic formats for over 30 years. Internationally-acclaimed jazz and cabaret artist and founding member of Grammy-award winning vocal group Manhattan Transfer, Laurel Massé has appeared on countless recordings and sung in such venues as Carnegie Hall, the Hollywood Bowl, and the Chicago Jazz Festival. He has directed several all-county jazz groups, and presently leads the Kingston High School Jazz Ensemble as well as the Hudson Valley Youth Jazz Orchestra. 12003toronto_addo.handouts2 Participants will explore ways to use African-American Children's literature as a springboard for listening experiences in elementary general music classes. Do the instruments reflect the Jazz historical culture? Will students be able to create a sound carpet with this storydrawing on elements of tone, loudness, duration, and timbre? THEME: Vocal styles, quality ILLUSTRATIONS: The bold colors depict the vegetation and landscape of Summertime CHARACTER PORTRAYAL: Herbie Hancock, Joni Mitchell, Carmen McRae, Angelique Kidjo. CD1 #2 Summertime from Humair, Louiss, Ponty: Trio HLP. Dr. Akosua Obuo Addo, University of Minnesota, Mpls, MN 12 30th International Conference, IAJE, Toronto Canada. New York.: Vintage Classics: The Estate of Langston Hughes. BostonHerald Boston jazz fans have yet another reason to be thankful for John Coltrane: Without the legendary saxophonist's inspiration, the Equinox Music Festival wouldn't exist. ``Coltrane said his desire was to make better and better music because music was a force for good in the universe,'' said musician and Northeastern University professor Bill Lowe. Back in 2000, Duffy approached saxophonist and Northeastern professor Leonard Brown, producer of the John Coltrane Memorial Concert, about taking a different approach to the annual event. The latest takes place on Saturday when the Boston Jazz Repertory Orchestra, of which Lowe is a member, headlines the second annual Holiday Extravaganza at the Copley Theatre. musie54w This course will deal with the basic periods, major styles, and innovative, style-setting artists that have contributed to the historical evolution of jazz up to the end of World War II (1945). Although the course is non-technical in approach, basic terminology and fundamentals of jazz improvisation, music listening, and performance practices will be demonstrated and discussed. The Writing Center at the Grossman Library (Seaver Hall) is available to assist all credit students free of charge. A booklet "Writing Without Credit," is available from Extension School, or may be purchased at the Harvard Coop textbook department. Live listening review due and FINAL EXAM -- 5:30 PM; Regular classroom location (Room 2). jazz2001 http://www.westlib.org/pdf/biblio/jazz2001.pdf He finds that many young jazz musicians, while gifted, have a narrow vision of jazz history. These essays, by an acclaimed jazz writer, deal with racism in jazz's past and present, racism which affected black musicians and a more recent reverse racism against white jazz musicians. L'auteur retrace ici l'itinéraire de la chanteuse depuis les années quand elle chantait pour s'assurer un repas jusqu'à son succès mondial. 1996 This guide profiles 1,440 key jazz musicians and discusses their importance in the world of jazz. Ref 781.65 O98 2000 This authoritative reference source is a collection of sixty essays surveying the entire history of jazz and written by performers, jazz critics and scholars. JazzToolsHandout Enhance the jazz education experience by employing technology in practice sessions, classroom learning, or rehearsal settings. Practicing a set of solo chord changes is a regular practice activity of every jazz performer. Creating an audio recording of a solo provides the opportunity to reflect on our improvising in a way that is impossible to do while playing. Developing the ability to "audiate" Tonic -> Dominant-> Tonic and Tonic -> Sub-Dominant-> Tonic in melodic and harmonic motion is fundamental to beginning improvisation. · Identify and sing melodies and phrases that use Tonic, Sub-Dominant and Dominant. · Transcribe a recorded solo by singing or playing. Why Teach Jazz Music has been a part of the American educational curriculum since the 19th century.1 Traditionally, the content of the music curriculum has been focused on the classics of the western European tradition. In the 1940's, ten colleges offered jazz courses on a noncredit basis, andfive colleges offered jazz for credit. The traditional music education philosophy in the United States in the first half of the 20th century was solidly rooted in the western European tradition. With the current trend toward district and state wide curriculum requirements which are test- and standardbased, it is becoming increasingly important for teachers to justify the content in their music instruction. jazz_reference_sources http://www.library.northwestern.edu/reference/afam/handouts/jazz_reference_sources.pdf NOTE: Unless specified, call numbers refer to books in the Music Library Reference Collection. An Annotated Bibliography of Jazz Fiction and Jazz Fiction Criticism. REF 016.80883 A333a Blumenthal, Howard J. The Jazz CD Listener's Guide. 1970 Supplement to International Jazz Bibliography and International Drum & Percussion Bibliography. 1971/72/73 Supplement to International Jazz Bibliography (IJB) and Selective Bibliography of Some Jazz Background Literature and Bibliography of Two Subjects Previously Excluded. International Bibliography of Discographies: Classical and Jazz and Blues, 19621972: A Reference Book for Record Collectors, Dealers and Libraries. New Hot Discography: The Standard Directory of Recorded Jazz. Elmenhorst, Gernot W. und Walter von Bebenburg. Dictionnaire du JazzNouvelle Edition Revue et Augmentee. | |
