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No Place to Fall

Robert Earl Hardy University of North Texas Press PDF


No Place to Fall

SHATTUCK AND surviving summer in the West Texas oil fields, much to his relief, Townes Van

Zandt was accepted at the University of Colorado at Boulder in September 1962, the fall after his sister Donna graduated.

He loved Colorado, loved the Boulder area, and, short of following in his parents’ footsteps to the University of Texas, CU was an obvious choice for Townes. The Van Zandts had just moved back to Texas, to Houston, where Harris had accepted a position as vice president of the Transwestern Pipeline Company— something less stressful, hopefully, than his work with the giant

Pure Oil—and Townes naturally liked the idea of staying far from home. He signed up for a general liberal arts schedule at Colorado. “I hit that place like a saddle bronc hits the arena—coming right out of military school and all,” Townes later said.1

His dramatic description is only partially misleading. Before hitting CU “like a saddle bronc,” Townes had a false start and quietly withdrew from school on October 8, after barely a month of classes. He had first phoned his parents and told them that he was uncomfortable, and that he was sure he just wasn’t ready

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5 Accommodation: Logooli Adoption and Use of ‘Book’ Music

Jean Ngoya Kidula Indiana University Press ePub

Tsinyimbu tsya Ikitabu, ‘book’ music, refers to translated hymns, gospel songs, and choruses or refrains introduced by missionaries, and to compositions in (pseudo) missionary styles by local Christians written in hymnals or booklets. The missionary-initiated repertoire was compiled into the two most used hymnals, Tsinyimbu tsya Nyasaye (TTN) in Lulogooli and Nyimbo za Injili (NZI) in Kiswahili.1 Missionaries came from diverse denominational backgrounds and had varied alliances;2 songs were therefore sourced from European high churches and Protestant hymnody, from the gospel hymns of the Great Awakenings and revivals of eighteenth- and nineteenth-century North America and Europe, and from the repertoire of the Pentecostal and Holiness explosions of the late nineteenth and early twentieth century. Some sources consulted include Redemption Songs: 1,000 Hymns and Choruses; Golden Bells; Tabernacle Hymns; and the Kiswahili hymnbook Nyimbo Standard.3

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Medium 9780253010988

3. Negotiating the Elements: Palestinian Freedom Songs from 1967 to 1987

Kanaaneh, Moslih ePub

The study of Palestinian music making during the second half of the twentieth century poses various challenges due to the complex ramifications of al-Nakba (the catastrophe) of 1948. Aside from the natural changes that occur in any given musical culture over time, abrupt political and social transformations such as this have been a driving force of change in Palestinian musical culture. In this chapter I examine the predominant social and cultural forces that have influenced Palestinian musicians active between 1967 and 1987. In this endeavor I track myriad musical choices and artistic processes and investigate how their musical performances or productions were initiated, approached, and achieved. The collective processes of making music were intrinsically tied to how these artists conceptualized art, themselves, and their role in society. Building from various case studies I speak to how musicians achieved their art while navigating the politics of tradition and innovation, Western classical and popular musical forms, and indigenous Palestinian folk material.1 I focus this discussion on four highly influential musicians and ensembles active between 1967 and 1987: Mustafa al-Kurd, a songwriter from Jerusalem; al-Baraem and Sabreen, two Jerusalemite musical groups; and Firqat Aghāni al-Ashiqeen, or simply Al-Ashiqeen, a Palestinian protest ensemble operating from Syria. My analysis focuses on Palestinian musicians who stayed in historic Palestine after al-Nakba of 1948,2 including Hussain Nazek of Al-Ashiqeen, who left Jerusalem after 1967, and interrogates many of the political, social, and cultural factors that influenced their music-making decisions.

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Medium 9780253010407

16 Then and Now

Kathy Sloane Indiana University Press ePub

We were all thin.
We all had more hair.

George Cables

Helen Wray

Today, there are many wonderful, young musicians. They’re extraordinary. It’s wonderful they’re keeping that music going. But they’re emulating these people that have already done that. Maybe it’s just because I’m getting older [that] I don’t hear it as strongly in the present generation, as wonderful as they are.

I think the generation of musicians of Dexter’s era definitely had it harder than the kids coming out of Juilliard and music schools today. There was something about the music at that time, when all those guys were still here – I don’t know what it is. My only thought is they did have it harder, having lived under segregation when they were traveling. We all got closest to the African American bands. They seemed to be the warmest, if you can generalize. I probably shouldn’t generalize because it wasn’t across the board like that.

I hear George [Cables] talk about when he was a young musician coming up and he was on the road with Joe Henderson and how hard it was. They had to pay their own accommodations, and Joe didn’t pay the guys very much. So they’d bunk two in a room and they’d barely have enough money to eat. And the drugs were so prevalent in the clubs then; it was hard to avoid it. Luckily, the young guys today aren’t into all the coke and stuff that was going around then.

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Medium 9780253357069

10. The Violin: Technique and Style

Jeffery Kite-Powell Indiana University Press ePub


The Violin: Technique and Style


The seventeenth century was a period in which profound changes in style bridged the musical aesthetics of the Renaissance and the Baroque. As a result, seventeenth-century styles include elements of both periods. The complex nature of seventeenth-century music offers a wealth of musical expression to violinists who attempt to understand it. Since an in-depth analysis of the numerous musical styles that developed during the seventeenth century is beyond the scope of this paper, my intention is to identify the major stylistic trends which motivated the musicians of the era, and to explain how these trends affected both the violin and the violinist.

Any discussion of style will eventually address issues of technique. Inasmuch as the seventeenth century was a volatile period of stylistic change, techniques had to adapt rapidly in order to communicate those changes more effectively. I shall explain the stylistic connection to those changes in technique.

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Medium 9781574412666

XXXIV. Texas Plates

Vince Bell University of North Texas Press PDF


Texas Plates


wo months after moving to Nashville, we packed up the Jeep with the guitar, the border collie, and boxes of CDs and made a swing through the northwestern U.S., playing not only in

Washington and Oregon but also Montana, Colorado, New Mexico, and Texas. In Portland, it was NXNW, the Pacific Northwest’s version of Austin’s SXSW. In Denver, it was a show with Bill Morrissey, during the worst snowstorm they’d seen that early in the year in decades.

Finally settled in the hollow in the Nashville woods, I began to record my second CD, Texas Plates, with producer Robin Eaton. Just as with

Phoenix, the basics were recorded live: me and my guitar, Mickey

Grimm on drums, percussion, and cajon. Over the next year outstanding players were added: Pat Bergeson, Lewis Brown, Pat Buchanon, Chris Carmichael, Dave Jacques, Brad Jones, Al Perkins, Ross

Rice, Aly Sujo. Kami Lyle, and Maura O’Connell sang harmonies. I thought it ironic that Maura, a woman from Ireland, sang some of the more ringing notes on “Second Street,” to help me typify what, a half a world away, is in the hearts of a truckload of Tejanos as we were all looking for work.

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Medium 9780253010766

1 Early Roots of the Heifetz Family

Galina Kopytova Indiana University Press ePub

THE HEIFETZ FAMILY TREE includes over one hundred people across five generations and family members who now reside in the United States, Australia, Israel, Latvia, and Russia. The oldest Heifetz name preserved in family memory is that of Ilya (or Elye), Jascha’s paternal grandfather, who was born around 1830. Two photographs of Ilya survive in the personal records of his descendants; one is an individual portrait, and the other a group photograph featuring Ilya, surrounded by his children and grandchildren. With one photograph now located in Russia and the other in the United States, these two unique, symbolic documents unite the Heifetz clan across the world.

According to family legend, Ilya Heifetz worked as a teacher (melamed) in a Jewish boys’ school (cheder) and lived with his large family in Polotsk, a provincial city in the western Russian province (guberniya) of Vitebsk, which is now part of Belarus. The surviving family group photograph dates from the late 1890s, when Ilya was well over sixty and his wife, Feyga, was no longer alive. An earlier photograph from the 1870s shows Jascha’s father, Ruvin, as a child, with his mother and grandmother, and is stamped, “Novo-Alexandria (Poulavy).”1 Novo-Alexandria was the name of a settlement in the Lublin province located on the bank of the Vistula (Wisła) River, seventy-five miles from Warsaw. Formerly known as Puławy, the city was renamed Novo-Alexandria in 1846 after a visit by Empress Alexandra Fyodorovna, wife of Tsar Nicholas I. It functioned as an important trade center between Russia, Austria, and the Baltic region, and reverted to its former name, Puławy, in 1918. By the end of the nineteenth century, Novo-Alexandria had experienced a large influx of Jewish settlers; about 2,500 of its 3,500 residents were Jewish.

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Medium 9780253348661

20. Mixed Ensembles

Jeffery KitePowell Indiana University Press ePub


An abundance of instrumental ensemble music survives from the sixteenth century. Some of it was composed expressly for the lushly scored, magnificently splashy court and civic entertainments of the period—the festivals, funerals, coronations, and wedding celebrations—about which extensive eyewitness coverage exists and, thus, several excellent studies have been written (see Brown, Sixteenth-Century; Bowles, Musical; and Saslow, Medici for listings). The majority, however, was intended for ordinary, everyday courtly and domestic use—about which relatively little information from the period survives and, thus, no comprehensive study has been undertaken.

Because modern writers have tended to concentrate on the extraordinary and exceptional, it is easy to assume that the well-documented practices that applied to the extraordinary and exceptional also applied to everyday music making. The aim of this chapter is to present whatever shreds of practical information are included in the writings of contemporary theorists, the few scattered references to specific instrumentations found in the original music sources, and the evidence provided in contemporary iconography, so that decisions on the performance of sixteenth-century “chamber” and dance music can be made that are both practical and appropriate.

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Medium 9780253010186

6. The Political and Cultural Milieu

Lawrence Bennett Indiana University Press ePub

Emperor Leopold I’s successor, Joseph I (1678–1711), proved to be one of the most energetic, forceful, and intelligent leaders in the entire history of the Habsburg dynasty.1 His early death at the age of thirty-two, after only six years on the throne, can be counted as a major blow to the Austrian Empire. Charles VI, his brother and successor, lacked Joseph’s decisiveness, financial aptitude, and personal charm. Even before he assumed his role as emperor, Joseph had selected his own, more secular advisors. Reconstituting the Aulic Council, he delegated many of the affairs of state to his most trusted councilors.

Joseph was the eldest son of Leopold and his third wife, Eleonore Magdalena Theresia of the Palatinate-Neuburg. Since neither of Leopold’s first two marriages had produced a surviving male heir, Joseph’s birth was received with special rejoicing. In several ways his childhood and early training contrasted sharply with his father’s. Thus, he was not prepared for an ecclesiastical career, as Leopold had been. And in spite of his mother’s austerely religious inclinations, Joseph’s education was not entrusted to the influential and conservative Jesuits. Instead, he received a rather practical and liberal education directed by Karl Dietrich Otto, prince of Salm, with special training in history, politics, and military strategy. His instructors included Prince Eugene of Savoy, the imperial military hero. Especially gifted as a linguist, Joseph spoke French fluently; he was also proficient in Latin, Italian, Spanish, Czech, and Hungarian.

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Medium 9780253223180

13. Tuning

Stanley Ritchie Indiana University Press ePub

Intonation is certainly one of the more contentious and complex issues in music- making. Over the centuries theorists have wrestled with the problem of the distribution of the “comma”—the amount by which the octave is exceeded when one tunes only in perfect thirds and fifths. In order to arrive at a pure octave, the comma must be divided into small parts that are subtracted from various intervals within it. A number of different solutions, so-called temperaments, were arrived at in the seventeenth and eighteenth centuries, which made some keys more tolerable than others, but as composers experimented with increasingly chromatic keys the subdivision of the comma became, of necessity, more and more equal. In equal temperament, the modern solution to the problem, in which the comma is divided into twelve equal parts, no interval other than the octave is pure.

For string players there are two types of intonation: vertical and horizontal. The latter is often referred to as “expressive” intonation, in which sharps are raised and flats lowered in order to produce a particular expressive effect, and is commonly used in solo performance. When playing in a string quartet or orchestra, however, it becomes immediately apparent that this kind of intonation does not work, and it is in these contexts that familiarity with “vertical” intonation, by which thirds and sixths in a chord are pure, is essential. One should first become familiar with vertical intonation in order to understand that when using “expressive” intonation one is playing deliberately, if creatively, out of tune.

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Five: Opportunities in America

William Brown Indiana University Press ePub

Following the Debussy competition in 1946 but before playing the debut concert, Pressler began studying with Madame Isabelle Vengerova, a formidable teacher who was born in Russia and had studied in Vienna with Joseph Dachs, Theodor Leschetizky, and Anna Essipova.

“I was in New York, and I played the Chopin F Minor Concerto at the Metropolitan Opera House as a benefit concert for Hebrew University,” says Pressler. “I was brought to her. She was at this time a teacher at both Juilliard and at Curtis in Philadelphia. She had Bernstein as a student and many others, Graffman, Lateiner, Rezits, Foster.

Fig. 5.1. Isabelle Vengerova. Courtesy of The Curtis Institute of Music.

“I had lessons with her for six months to a year at her apartment in New York. What she showed me, just in that short time—even if I couldn’t do it at that time—revolutionized my thinking, because it was, for me, the discovery of the wrist. It is always something that goes with the key, that plays into the key, like you have a shock absorber on a car, providing cushioning. She, being a student of Leschetizky, taught me her exercises. I saw that and used it and organized it so that it would help me. Everyone who studied with Vengerova came out differently, understanding it differently, and then found his way through her opening of the door, his own way of doing it. Okay, we all do it differently, and we all expect something different out of it, but it has helped me. It has helped [her other students], and it has helped my students.”

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Medium 9781607320968

Ten: Back to the Field: Indigenous Folkloric Dance

Matthew Krystal University Press of Colorado ePub

Back to the Field: Indigenous Folkloric Dance

How I came to appreciate and better understand the role of baile folklórico in Totonicapán is an example of the way that my consultants helped me see what is important. I was never directly told that I ought to expand my focus or pay attention to this or that or to ask different and better questions. This would have impinged on my autonomy in a way (as I would come to recognize) that does not square with K’iche’ notions of personhood or norms of social interaction.

Members of Totonicapán’s Vanguardia Indígena occasionally invited me to attend their performances during fieldwork in 1994 and 1995. Through la Vanguardia, K’iche’ Maya indígenas represented Maya indigenous life by performing folkloric dances. Rather than concede the domain of folkloric dance to the nonindigenous, la Vanguardia began to control and share images of Highland Maya life and culture on their own K’iche’ terms. Employing equipment from the regalia shop where I was an apprentice, la Vanguardia’s repertoire included portrayals of central traditional dances. Their performance was infused with ethnic and community pride. Without directly saying that my field research needed adjustment, dancers of la Vanguardia helped me recognize that I must more directly consider indigenous participation in folkloric dance.

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Medium 9781574415872

23 - Memories of Mel

Chris Smith, John Mosca and John Riley University of North Texas Press ePub

The View From the Back of the Band.
Used by permission of the University of Missouri-Kansas City Libraries, Dr. Kenneth J. LaBudde Department of Special Collections,

* See Appendix Transcriptions and Listening Guides for this chapter: “Three and One” and “Tip-Toe”


Mel Lewis devoted his life to developing a unique style of drumming in hopes of making a lasting contribution to jazz music. In a 1967 DownBeat interview he stated,

I hope that I've really fallen into something new and valid in terms of big band drumming. I hope that I'm doing something that will make a real contribution. That's what a musician really strives for—not to be taken for granted as just a good player, but having made a real contribution to the music.1

Mel succeeded. His contributions to jazz drumming and music are unsurpassed.

While Mel's musical contributions will forever be preserved with the music he recorded, his spirit is carried on within the musicians he mentored and performed with. At the time of Mel's death, all of the members of his big band had been with him for at least five years, and several for over a decade. Many of these musicians continue to perform every Monday night at the Village Vanguard in the Vanguard Jazz Orchestra. The group is the modern extension of the Thad Jones/Mel Lewis Jazz Orchestra and Mel Lewis and The Jazz Orchestra. Dick Oatts explained that the Vanguard Jazz Orchestra is the continuation of what Mel spent his life creating:

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8. Discographies and Recordings

Allen Scott Indiana University Press ePub


Discographies and Recordings

These items were selected from many such sources and represent a wide spectrum of musical traditions, from “classical” to world music to popular music. The first category is “Bibliographies of Discographies,” works that are—or contain, in the case of Brian Rust’s Guide—lists of discographies. Two items that are not discographies—Vinyl: A History of the Analogue Record and Wax Trash and Vinyl Treasures: Record Collecting as a Social Practice—are included because they describe the history of recorded sound and the history and social ramifications of collecting.

The second category, “Internet Sources for Recordings,” consists of twelve stable online streaming sources of music. Some are available by subscription only, such as the Alexander Street Press databases; others, such as World Music Central, are free for the user.

The third category, “Specialized Discographies,” lists some important sources with special emphases—classical, opera, choral, early music, women composers, etc.—some of them annotated, some not. The “Ethnomusicology and World Music” section contains discographies not only of subjects of academic studies but also guides to popular world music. The “American Popular Music” section lists sources on rock, hip-hop, the various styles of jazz and the blues, folk music, and popular song.

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Fourteen: Pressler at the TCU/Cliburn Piano Institute

William Brown Indiana University Press ePub

A Lecture Presented at Texas Christian University
Fort Worth, Texas
May 2005

Pressler is often asked to judge piano competitions, not the least of which is the Van Cliburn competition held in Fort Worth, Texas, every four years. He has judged the Van Cliburn several times and enjoys having the opportunity to address his audience of young players who are searching for the very nuances of performance and understanding of music that Pressler offers.

During his most recent visit to the Cliburn Piano Institute in May 2005, Pressler addressed an audience of music teachers and students, a forum in which he spoke about his training, his career, and his life-long love of music. He then took questions from the audience. The forum was recorded.

Tamás Ungar asked me to speak to you today. This is the year my Trio is going to be fifty years old, and I thought that would be a good thing to talk about because, in a way, it speaks about what my life is about, not just what the Trio’s about but what my life is about and what music in my life is about. All of you who are coming here to practice, to learn, to listen, to participate are coming for a number of reasons. The very first one—and I hope the most important one—is the love for music, that which brings you here and that which actually nourishes you and that has nourished me.

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