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Medium 9781574412840

22. Adventure in Emotion: The LA Neophonic (1964-1968)

Michael Sparke University of North Texas Press PDF

22.

Adventure in Emotion:

The LA Neophonic

(1964–1968)

For much of 1964 Kenton was turned off from music altogether, in what may have seemed like over-reaction to a mere two weeks’ poor reception overseas, but which Stan explained in a long letter to Joe

Coccia dated September 7, 1964. This is just a short extract: “I haven’t been any place other than at home with the children, they need me so much to be with them. I’ve been through a period of adjustment, from wanting to give up music for something else, or retiring completely on a low budget. I’ve had terrible depressions and hardly any creative drive.

I’m delighted to tell you, however, that I’m about to come out of it, and I realize I’ve had these dry periods before, but that doesn’t seem to make it any less painful while they’re taking place.”

John Worster also explains how Stan’s psyche could easily put things out of perspective: “Stan Kenton is a man who’s immense in everything he does. When he trips, he doesn’t just stumble, he falls flat on his face.

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Part 3. Rehearsing a World Premiere, March–April 2010

Robert K. Wallace University of North Texas Press PDF

Rehearsing a World Premiere

PART 3 

R

ehearsals for the Dallas Moby-Dick began on Monday, March 29, and concluded on Wednesday, April

28. All rehearsals for Week 1 were at the KRPC Rehearsal Center. After the stage of the Winspear Opera House was loaded at the beginning of Week 2, rehearsals took place in

both venues, sometimes at the same time. At the end of Week 3 the “Sitz-

probe” rehearsal brought all the musical forces together for the first time.

Three successive rehearsals at the beginning of Week 5—the Piano Tech, the First Orchestral Dress, and the Final Orchestral Dress—preceded the world premiere performance on Friday, April 30.

“Page to Stage” Preview

On March 26 and 27, three “Page to Stage” panel discussions at Southern

Methodist University introduced the Moby-Dick opera to the city of Dallas. The first panel featured Duncan Osborne, an Austin lawyer who is

Herman Melville’s great-great-grandson, and T. Walter Herbert, a Melville scholar from Southwestern University. In the second panel Heggie

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2. Hollywood Highs and Big Apple Blues (1941-1942)

Michael Sparke University of North Texas Press PDF

2.

Hollywood Highs and Big Apple Blues

(1941–1942)

Popular music, then as now, was part of show business, with the emphasis on business. To those running the jungle, musical creativity was only as commendable as the money it generated. These hardheaded business men would see Stan primarily in terms of dollar signs, as “Kenton” became a brand name to be marketed before the public like any other commodity in its particular field. Essential to every professional leader was a personal manager to watch over his interests. In

1941, Carlos Gastel was just starting his managerial career, and eager to sign new artists to join his principal client Sonny Dunham, whose band never made the big-time.

Gastel was not called the Happy Honduran without good reason.

A man of gargantuan appetites, both for gourmet foods and life in general, Carlos lived in the fast lane, and was keen to have Kenton on his roster. Audree Kenton described Gastel as “One of the most colorful figures in show business—big, handsome, persuasive and flamboyant.

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Medium 9781574412505

Part 2: Autumn Winds

Sybil Rosen University of North Texas Press PDF

25

Miles to Go

T

wo months after my return from Georgia, I’m on my way to Texas and

Blaze Foley’s grave. It’s the end of January now, and the thermometers in New York have plunged to zero. The Catskills are white and unmoving, the air so cold it glitters with crystals.

The night before I leave, Yukon the monk helps me try to bury Larue’s ashes in the grove of pines behind the house. The ground is frozen, impossible to dig; no resting place there. It will be summer by the time we finally scatter her ashes in the percolating stream beside the cottage where she last lived.

For now, Yukon sends me off with his blessing. In our long friendship, good-byes have been frequent.

“My gypsy queen,” he breathes, passing a hand over the top of my head.

He wears a woolen cap pulled down to just above his eyelids. “It’s a love story through space and time.”

“There’s no such thing as time,” I grouse. “I’m convinced of that now.” I don’t know whether to laugh or cry. “Do you think I’m going crazy?” I ask him.

He peers at me and shrugs. “If something can heal you, let it.”

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Two: Representational Dance and the Problem of Authenticity

Matthew Krystal University Press of Colorado ePub

Representational Dance and the Problem of Authenticity

In retrospect, I am convinced that some of the artisans and dancers saw my understanding of K’iche’ representational dance as incomplete. I was, perhaps, too concerned with traditional dance, those forms that are performed typically during the fair in honor of the patron saint, that last several hours and have certain and clear roots in pre-Columbian practice. They likely sensed that I had a bias that favored traditional dance as more authentic than the folkloric dances, shorter theaticalized pieces that show a degree of influence of twentieth-century intellectual interest in “the folk.” It was true that I had attended folkloric performances at local community events, but I pursued traditional dance performances outside of Totonicapán, sometimes traveling for days to do so. Time in Toto was spent largely in the morería talking with artisans and traditional dancers. After repeated invitations from a few dancers in the Vanguardia Indígena (Indigenous Vanguard) I recognized that appearing in the upcoming show was very important to them. A gap between what I thought worthy of attention and what was meaningful to my K’iche’ consultants persisted. As part of an ongoing effort to adjust focus and broaden my perspective, I decided to join the trip.

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Medium 9781574412109

Chapter 1. On the Trail of the Lonesome Pine: ca. 1916-October 1948

Ron Forbes-Roberts University of North Texas Press PDF

6

One Long Tune: The Life and Music of Lenny Breau

region had become an entrenched enclave of Franco-American culture where 65 percent of its 40,000 residents spoke French as their first language, and still held tightly to the cultural traditions earlier generations had brought with them from the townships of Quebec.

One of the most highly valued of these traditions was the practice and appreciation of music, and the Cotes were well equipped to make a significant contribution to the region’s culture in this regard.

Alphonse Cote, a journeyman carpenter, built fiddles in his spare time, and Aldina sang traditional French folk songs, church music, and light classics in a beautiful soprano voice. All of their eleven children possessed musical gifts, but the one whose talents would become known to the broadest audience was their sixth child, Rita

Francis. Born in Sherbrooke, Quebec, on August 17, 1921, Rita grew up singing her mother’s stock of songs as well as pop tunes of the time. Then, in the early 1930s, she and thousands of young people of her generation were captivated by a new sound that swept out of the southern states on radio and records by Jimmie Rodgers, the Carter family, and other early country singers. “It just hit so fast in Maine,” she says. “The French people really went for the country music.

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Medium 9780253352415

Four: The Debussy Competition

William Brown Indiana University Press ePub

While preparing for the Debussy competition, Pressler met a musician who became a great influence in his life, Paul Loyonnet, a touring French concert pianist who had studied with Charles-Marie Widor and Isidor Philipp at the Paris Conservatory. Noted by Charles Timbrell to be “an important link to the traditions of the nineteenth century,” Loyonnet was performing a concerto with the Palestine Symphony Orchestra and needed someone to play the orchestral part on a second piano.

Pressler began rehearsing with Loyonnet, which proved to be valuable to Pressler in two ways. The first was that Loyonnet was the first person ever to speak to him about technique. “That’s what I learned with Loyonnet: to keep the fingers strong and have the arm relaxed and free.” Loyonnet practiced the high-finger playing of the French School, which often caused tendonitis, but, according to Pressler, “he had a way of freeing his hand by keeping his arm loose, which is the best prescription to avoid tendonitis.”

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Medium 9780253356260

6 Vocalizzi, Solfeggi, and Real (or Ideal) Composition

Nicholas Baragwanath Indiana University Press ePub

Before the demise of the great tradition, the practice of counterpoint (and, less often, harmony) was commonly taught in Italy by masters of singing. The disciplines were not regarded as separate, as they are today. On the contrary, a glance at the faculty lists of the conservatories shows that expertise in vocal training appears to have been considered a prerequisite for the teaching of counterpoint, just as proficiency at the keyboard was an essential foundation for the teaching of harmony or accompaniment. The founding faculty of 1838 at the Istituto musicale in Lucca included, for instance, Eugenio Galli as professor of “solfeggio and counterpoint” and Massimiliano Quilici as professor of “bel canto and accompaniment.” At the Conservatorio di Santa Maria della Pietà dei Turchini in Naples, the teaching of counterpoint by the primo maestro di canto was enshrined in the “Rules and Statutes” of 17461 and reaffirmed in Perrino’s reformist open letter of 1814.2 At the Milan Conservatory Nicola Vaccai, having made his name as a singing teacher, composer, and author of a popular method for training the voice (1832), went on to teach courses in harmony and counterpoint from 1835 to 1837 before serving as director and professor of composition until 1844. His colleague Pietro Ray, a student of Sala, delivered lessons in singing for thirty years (1808–38) before taking over the counterpoint class (1837–50). He published courses of instruction in both disciplines, including a progressive series of solfeggi for sopranos (1832) and a practical-theoretical treatise on counterpoint (1846). Alberto Mazzucato succeeded Ray as professor of singing from 1839 to 1851 and, like him, went on to teach counterpoint and composition, until his appointment as director of the Conservatory in 1872. Lauro Rossi, his predecessor as director, contributed not only a detailed course book for lessons in harmony (1858) but also vocal exercises for sopranos (1864, 1866).3 At the time of Puccini’s studies in Milan, Alberto Giovannini, who was primarily responsible for lessons in singing from 1877 to 1903, also taught classes in “theory and solfeggio” from 1881 to 1886. Similarly, at the Liceo musicale in Bologna, Alessandro Busi delivered the main class in “Counterpoint (composition)” from 1871–95 as well as taking up the position of professore di canto in 1884.

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Medium 9781574413298

14. FLYIN’ SHOES

Robert Earl Hardy University of North Texas Press ePub

14

Flyin’shoes

AT A HOTEL IN DUBLIN, while on tour at the end of October 1990, Townes printed on a sheet of wrapping paper, in his usual all-capital-letter style, the lyrics to a song he titled “Ruester’s Blues,” then he signed it, wrapped a package with the paper, and sent it to his friend Danny “Ruester” Rowland in Kentucky. Ruester was always glad to hear from Townes, who was fairly good about keeping in touch as he traveled, but these lyrics were somewhat disturbing. “Don’t want to be here when the reaper comes,” the song begins; “Don’t want to hear his machine no more/Don’t care where he’s goin’/where he’s from/I just gotta be away from here.” The second verse—illustrated with Townes’ drawing of a moon with a face—is equally dark: “Tired of the rising/tired of the felling [sic]/Forgotten the moon/the sunshine too.” He goes on with a personal message offering at least some grim hope: “Seems all my friends be ripe for plantin’/Listen my friend, good luck to you.”1

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Medium 9780253014221

4. Works for Children

Sofia Moshevich Indiana University Press ePub

Unlike Béla Bartók, Shostakovich never taught piano or showed any interest in pedagogical works. In fact, were it not for his young daughter Galina, who had turned eight and was just starting to play the piano, we would likely not have this beautiful set of seven easy piano pieces entitled Children’s Notebook. Shostakovich promised his daughter that as soon as she mastered one piece, he would compose another. Galina remembers that it took her a month or two to learn each piece, so the first six were written over a period of more than a year. The seventh piece—“Birthday,” a real birthday present—was written somewhat later.1 In 1945, Galina attempted to premiere the set at a children’s concert at the Composers’ Union, but she had a memory lapse, and her father finished the remaining pieces.

The first six pieces—“March,” “Valse,” “The Bear,” “Merry Tale,” “Sad Tale,” and “The Clockwork Doll”—were published in 1945, but “Birthday” was not published until 1983, when it appeared with the rest of the set in volume 39 of the Collected Works. Shostakovich recorded all seven pieces during the 1947 Prague Spring Festival.

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Medium 9780253009098

4 The Subject Is Jazz: 1946–1958

Billy Taylor Indiana University Press ePub

Once back from europe, it didn’t take long for reality to set in. My early years in New York gave me lots of exposure, but when you’re absent for months at a time, people tend to forget about you. While I was overseas with Don Redman, the music scene in New York went on without me, so I needed to reestablish myself. And with a new wife to support, I was desperate for work and willing to take just about any job I could get. One day, I was at the Musicians Union Hall to attend to some business when a guy approached me and said, “Hey, man, someone’s looking for a piano player. Do you want the gig?” Of course, at that time, I was in no position to refuse.

The job was on Eighth Avenue at a lousy bar, the sort of raucous, seedy joint where you’d find ladies of the evening and every other imaginable vice. The piano was on top of the bar, behind the bartender. The manager’s instructions were succinct: “Play as loud and as long as you can, and when you get tired, stop and I’ll come and turn on the jukebox.”

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Medium 9780253348661

6. Renaissance Flute

Edited by Jeffery KitePowell Indiana University Press ePub

HERBERT MYERS

The Renaissance transverse flute remains one of the more neglected instruments in the revival of early music; it was, by all accounts, much more important in the period than its modern use would indicate. The consort of flutes appears to have been developed in the first decades of the sixteenth century. Transverse flutes had been in common use throughout Europe in the Middle Ages but seem for some mysterious reason to have suffered a marked decline in popularity near the end of the fourteenth century, and little evidence exists of their use throughout the main part of the fifteenth. The flute first reappears near the end of the fifteenth century as a fife, played in association with the side drum for dancing and in military contexts. Virdung (Musica getutscht, 1511) makes casual reference to this military use, which seems to have been the origin of the appellation “German flute,” which continued to distinguish the cross-flute from the recorder long after the flute had become a chamber instrument. (Within Germany itself, however, soldiering was associated specifically with the Swiss, giving rise to the term “Schweitzer Pfeiff” found in German sources.) Perhaps surprisingly, the first evidence of the development of flute consorts is to be found within this outdoor, military setting; the fife cases carried by Maximilian I’s fifers (Plates 3 and 4 of Burgkmair’s The Triumph of Maximilian I, ca. 1519) were clearly designed to carry instruments of at least three different lengths. This evidence is soon followed by the first known illustration of a flute consort “in action”—a pen-drawing (1522/23) by Urs Graf showing a quartet of flutes being played out-of-doors by four Swiss soldiers (reproduced in the article by Anne Smith cited later).

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Medium 9780253350787

9. Composer

Estelle R. Jorgensen Indiana University Press ePub

 

 

 

Thinking about composing from a teacher’s perspective requires focusing on the act of composing and its relationship to performing and listening, and the ways in which composing can be fostered throughout music education, from elementary to advanced levels of instruction. Composing is one of the least-emphasized aspects of musical instruction in general education. Although invoked as a necessary element of musical education in The National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts, and an important aspect of British public music education, it still remains, for too many music teachers, something of a mystery.1 Since undergraduate and graduate music education programs generally pay scant attention to composing, it is not surprising that music teachers often feel unprepared to lead their students in composing and that composing in schools is often undertaken only by the best-prepared musicians who themselves are composers.

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Medium 9780253011565

Chapter 5: Static Rites, Dramatic Music

Robert L. Kendrick Indiana University Press ePub

Chapter 5

Static Rites, Dramatic Music

In a new century given to affect, Lapide’s prolegomena to his commentary on Jeremiah underscore the emotions behind Tenebrae Lessons:

Lamentations were written by Jeremiah from urgent and pressing feeling, and thus they are full of affect . . . here Jeremiah indulges in these affects and his sorrow, without order or ordered discourse, heaping up his sentences in a rush, according to how his pain pours them out.1

This dynamic view of the words stands in sharp contrast to their ossifying projection, as the ritual was fixed by the gradual adoption across Europe of the Roman liturgical books and their standard selection of Lamentations verses, seconded by the seventeenth-century ceremonials describing unchanging local enactment of the Hours.2 But the possibilities for more labile emotion were inherent in the new musical styles, and meant that the changing affect of verses could find audible expression in the settings, beyond the structures of the previous century.

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Medium 9780253356574

4 Defining Jazz Education

Monika Herzig Indiana University Press ePub

4   Defining Jazz Education

I have known David Baker for twenty-five years, actually longer if you count the decade or so I knew him through his jazz improvisation books before ever meeting him in person. Back then, in the 1970s, his and a few others’ were the only books available demystifying the secrets of how to play this music. Before that, it was basically “you either had it or you didn’t,” meaning you either had the talent to learn strictly by ear from the records of the jazz masters, or you were out of luck. Virtually no comprehensive systematic method existed. Until David Baker.

David is an eminent performer, composer, arranger, bandleader, and conductor – but I believe he has made his greatest contributions as a pedagogue. In the same way saxophone great Charlie Parker revolutionized the music of jazz, setting its lingua franca for all generations to come, David has set the standard for its teaching and learning. His methods have been, and will continue to be, the point of departure for today’s jazz educators who follow the path he has efficaciously forged, continuing and building upon his jazz pedagogical legacy.

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