1012 Chapters
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Chapter 1. The Dance of Prophecy (Missouri and Illinois)

Kenneth W. Hart University of North Texas Press PDF
The Dance of Prophecy(Missouri and Illinois)On October 2, 1827, Joseph Pfautsch, a successful, thirty-twoyear-old master barrel-maker from Austria, was betrothed toMargaretha Hoermann, a twenty-seven-year-old farmer’s daughter from Altmuenster, Bavaria.

1. They were married at the Catholic church in the tiny town of Maineck (population 200) in the upperFranconia district. The Pfautsches were married for eleven years before Margaretha gave birth to a son, Johann, in 1838.

2. Soon after, they decided to move to Missouri, along with Joseph’s brother and his family. Like many Germans the couples had been charmed by the writings of Gottfried Duden, a German who lived in that part of theNew World in the late 1820s and wrote to his friends and relatives back in Europe about the beauty of the Missouri Valley.

3. Its similarities to the Rhineland and its opportunities for prosperity made it attractive to many German immigrants. The Pfautsches settled in the largely German community of Hermann, about sixty miles west See All Chapters
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7 - Terry Gibbs and “The Tailor”

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

Mel first met vibraphonist Terry Gibbs in 1948 while both men were living in New York City. Gibbs remembered his initial encounters with Mel:

Mel was with Tex Beneke, and he used to try to find me all the time because he loved Tiny Kahn's drumming. He knew that I grew up with Tiny, and had all of these things I could tell him about Tiny. So he would find me and we'd talk a little bit, but we never really got to know each other until I moved out to the West Coast.

When I moved out to the West Coast and wanted to start a band, that's when we got really tight. Mel was looking for a band to play with, and even though he had Bill Holman's rehearsal band and Med Flory's band, all they did was rehearse and my band ended up as a working band almost immediately.1

The two men first recorded together in September of 1957 on an album titled Jazz Band Ball—Second Set (Mode).2 It was during that session that Gibbs famously gave Mel his nickname, “The Tailor.” Gibbs recalled the exact reason:

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2. Value

Estelle R. Jorgensen Indiana University Press ePub




All that we do as musician-teachers is driven by matters of value and the particular things that we prize. Lately, there has been a lot of political and religious talk in the United States about values.1 The prejudicial ways in which this word has too often been used as a code for certain beliefs that are held to be immutable and that may reflect the views of a limited spectrum of society make me uneasy. Some view their particular conceptions of values as normative and castigate any who do not share them. Still, the sometimes negative ways in which the word “value” has been used do not constitute a sufficient reason to avoid the word; rather, it is even more important to rescue the term “value” as an important element of a teacher’s belief system and a legitimate way to think about music education.

Most simply put, a value is an idea that one treasures and lives by. Values guide one’s actions and one not only assents to them but loves to live in reference to them. They constitute imperatives that cause one to be disposed to act in accordance with them. In considering how to organize a discussion of these values, I felt that one possibility lay in returning to the Aristotelian virtues, ideas that drew from and fertilized the Greek idea-practice of paideia—the cultured, enlightened, civil citizen revived in the Renaissance, forwarded in the Enlightenment, and resurrected in the late twentieth century by such writers as Mortimer Adler.2 Following Aristotle would have been a comparatively straightforward task since educational philosophers have explored this terrain.3 Still, I am not at all sure that Aristotle (or his teacher, Plato) had things entirely right. In her book Reclaiming a Conversation, Jane Roland Martin makes an excellent case for the notion that Plato, Aristotle, and other ancient Greek writers had some things quite wrong, particularly in their exclusion of domesticity and the private sphere from their ethical formulations of education.4 Other promising starting points, such as the notion of the “cardinal virtues” in Christianity with its ancient roots notably in the thinking of Thomas of Aquinas, seemed not to be sufficiently broadly construed for my taste, and given the church’s historic treatment of women and their spheres of influence, I was also uncomfortable grounding my discussion in these virtues.5 Nor could other religions be presumed to concur with these particular virtues.

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6. The 1960s: Urban Folk Revival

S. Kay Hoke INshort ePub


Since the end of World War I the history of popular music in America has been one of interplay between musical styles and technological advances in sound reproduction. Of the many influences affecting the popular music scene, two are especially noteworthy: the introduction of microphones and amplifiers, allowing performers to project their sound without mastering the same techniques used by performers of art music; and the movement of mainstream popular music from a European-inspired written tradition to a vernacular style derived from oral tradition.

Until the 1920s the primary consumers of popular music were the literate middle and working classes, who had both the ability to read music and the means to buy a piano on which to reproduce it in the home. The emergence of affordable electronic sound reproduction made popular music accessible to a broad audience unconstrained by geography or the necessity for formal musical training. By 1925, control of the popular music industry had begun to shift from publishing houses to radio stations, record companies, and manufacturers of sound reproduction equipment. Popular music in the United States has always been dominated by styles directed toward and listened to by the so-called mainstream audience: urban, middle-class whites. In the first half of the century that music was the product of Tin Pan Alley; in the second half it has been rock. But styles particular to other groups in the population have sometimes attracted broad-based audiences as well—for example, the music of rural whites, first known as hillbilly and later as country, and the music of African Americans, which includes blues, jazz, and gospel.

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3 Music for Horn and Ensemble: Orchestra, String Orchestra, Band, Wind Ensemble, or Other Instrumental Group

LINDA DEMPF Indiana University Press ePub

In instrumental music, the term concerto has come to mean a work with two or more contrasting performing forces. As the horn became recognized as a solo instrument during the baroque period, the earliest solo concertos were written for horn and strings with the horn playing in the clarino style, with florid and virtuosic writing using the upper partials of the horn. During the classical period, performers such as Giovanni Punto and Ignaz Leutgeb exploited the full range of technical possibilities of hand horn technique, inspiring composers such as Mozart and Rosetti to write the excellent works that solidified the horn’s place as a solo instrument. With the development of the valve horn, composers became interested in exploring and furthering the musical and technical possibilities of the horn concerto even further. This has come to include solo works for horn and the contrasting forces of orchestra, string orchestra, band, wind ensemble, and brass band, and in contemporary music, the wide variety of instrument combinations that make up the modern ensemble.

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