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8. Artistry off the Rails (1947)

Michael Sparke University of North Texas Press PDF

8.

Artistry off the Rails

(1947)

As 1947 dawned, Stan Kenton had achieved just about everything he had set out to accomplish in music. Stan had every reason to be satisfied, but below the surface problems were accumulating. For six years almost without a break, Kenton had driven himself at a pace that would have exhausted most men within a month, and for the first time in his life he was feeling tired. The constant travelling, lack of sleep, snatched meals, and ever-present cigarettes were having their effect. Once they reached a hotel the guys could often relax before that night’s performance, but for

Kenton it meant another round of radio shows, intensive interviews, personal appearances. Everyone wanted a piece of Stan Kenton.

On top of that, Violet was giving him grief. They had planned the orchestra together, but for Violet the dream had turned sour, for the simple reason the couple had no home life together. Stan was constantly on the road, and even the short periods he was able to sleep over, his mind was as much on music as marriage. Violet had become a grass widow, and their daughter Leslie can hardly have known who her father was. Now Violet was hassling Stan that if their marriage was to last, somehow he had to spend more time with her, and that demand was incompatible with leading a road band. Kenton was truly between a rock and a hard place.

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CHAPTER 5: Clothed in the Sun and Standing on the Moon: Meditating Motherhood in the Cult of the Madonna del Parto

Getz, Christine Indiana University Press PDF

Chapter 5

8

Clothed in the Sun and Standing on the Moon

Meditating Motherhood in the Cult of the Madonna del Parto

“A certain Jewish woman, very tired from labor and unable to do anything but cry, and not expecting anything other than to give up the spirit immediately, having given up on the midwife and her pain and anguish nevertheless increasing, saw a great light come from above when between many pains of the soul and body and at the same time heard a voice from this light which said “invoke the name of Mary and you will be saved.”

The woman, all of a faithful heart and full of confidence in the Lord, invoked the name of Mary with a loud voice and immediately gave birth to a baby boy.”1

—Silvano Razzi, pub. 1587

In her seminal study Women of the Renaissance, Margaret L. King asserts that the lives of most Renaissance women were defined by motherhood.2 While women who nourished their own babies gave birth every twenty-four to thirty months, those who sent out their children to nurse conceived and brought children to term at an even faster rate.3 Infant mortality rates were relatively high and the pressure to produce an heir fairly intense. The Milanese tradesman Giambattista

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Appendix C Talking About the Horn

Stephen Gamble and William Lynch University of North Texas Press PDF

APPENDIX

C

Talking About the Horn

Talking About the Instrument: No. 7, The Horn

Illustrated Talk by Dennis Brain

General Overseas Service

Pre-Recorded on March 19, 1956

Recorded Talks Reference Number: TOX 39218

Broadcast on Tuesday March 27, 1956, 06:30–07:00 GMT

The second radio talk was “No. 7, The Horn” in the series Talking About the Instrument for the

General Overseas Service.

The BBC correspondence files describe the stages of its planning. Brain received a contract for this broadcast on March 8, 1956. Rosemary Jellis, Overseas Talks department, wrote to Miss

Firth, Music Bookings that “At last we have nailed Dennis Brain down to record his programme in this series on Monday, 19 March . . .” It was broadcast on Tuesday March 27, 1956, at

06.30–07.00 Greenwich Mean Time and repeated the next day (Wednesday, March 28) at 02.30 a.m. GMT and Thursday, March 29, at 19.30 GMT. We do not know whether a recording has been preserved. Most likely, as with an enormous number of his BBC recorded programs, it had a shelf life and after that had expired, it would have been destroyed. The only evidence of it, therefore, is the entry in the “program as broadcast” file for General Overseas Service.1

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3 The Russian-Soviet Factor: Facilitating or Disrupting Synthesis?

Aida Huseynova Indiana University Press ePub

Scholarly discourse is so permeated with the dichotomy between Russia and “the West” . . . that it appears as a paradox that Russia should personify “the West” in its Asian borderlands. Yet, Russians saw themselves as resolutely European in Central Asia, sharing in the European civilizing mission to which all imperial powers pretended.

ADEEB KHALID, The Politics of Muslim Cultural Reform: Jadidism in Central Asia

The role of Russia and Russian music has always been central to discussions of East-West synthesis in Azerbaijani music. Russian and Soviet sources proudly emphasize the positive impact of Russian music on the development of Western art music in Azerbaijan, whereas Western authors focus more on Russia’s distortive influence. Indeed, Russia exerted significant influence on the musical traditions of all nations under its rule in the nineteenth and twentieth centuries, and Azerbaijan was no exception. But each nation responded to Russian influence in its own way, depending on the status of its music before Russian governance and on the cultural energies that stimulated (or discouraged) Westernization and the emergence of new musical and cultural forms. Azerbaijani musicians, who had been involved in cultural and musical exchanges before the Russian era, absorbed Russian influence immediately and effectively. They did not simply emulate Russian models, they developed new forms of East-West synthesis that have been emblematic of Azerbaijani national music ever since. This chapter considers the main channels, tools, and areas of Russian impact on Azerbaijani music and explores the major artistic results of this process. Russia affected all Azerbaijani music based on Western musical and cultural forms, but Russian influence was not a deterministic process, producing cultural hegemony. Azerbaijanis responded to that influence in varying ways in different fields.

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12 - Thad and Mel Get their Opening

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

Throughout 1964, Thad and Mel performed together on a regular basis in their small group with Pepper Adams. However, the most high profile work that Thad and Mel shared was with the Mulligan Concert Jazz Band. Earlier in the year trumpeter Clark Terry had left the Concert Jazz Band, accepting a contract to work for NBC Studios in Los Angeles. Famously, Terry's contract was the first ever offered to an African-American musician by NBC and resulted in his decade of high profile work on The Tonight Show. Amazingly, ABC and CBS had already hired African-Americans in their studio orchestras, but it wasn't until Terry in 1964 that NBC finally followed suit. On Mel and Brookmeyer's recommendation, Mulligan hired Thad Jones to take over Terry's trumpet chair in the Concert Jazz Band.1 The band was not touring or recording at the time, but still played several long residencies at clubs in New York City. Thad soon found himself sitting next to Mel during the Concert Jazz Band's three-week residency at Birdland during March and April of 1964. Even though there are no commercially available recordings of Thad with the band, Bill Crow remembered Thad's performances by saying, “Those gigs were testament to his musical interaction and connection with Mel.”2

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4 The Backroom

Kathy Sloane Indiana University Press ePub

Two young cute black women . . .
you can go backstage at any jazz
concert you want.

devorah major

Eddie Marshall

The backroom. A glorious room. That couch was one of the most comfortable couches in any room, I’ll tell you. And if they wanted DNA evidence about anything, they could probably get it right on that couch. [Laughs] It’s funny, I look at that couch and I can see Flora [Purim]’s little girl sleeping on there, my kids sleeping on that couch in the back, and yeah, little Ayisha. Oh man. You could call it a family-oriented place – [Laughing] – even with all the carrying on.

Most backrooms were small rooms. Like the Five Spot. I don’t know – did the Five Spot even have one? Birdland had a pretty nice one, but it was still small.

I really love Yoshi’s. I find it a very musician-friendly place. You know, they have a backroom and everything, but it could be anywhere. Either you can’t get back there, or when you get back there, it’s really small, very cold. They don’t have people’s autographs on the wall.

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Songs 34–45

Richard D. Sylvester Indiana University Press ePub

34

Судьба {К ПЯТОЙ СИМФОНИИ БЕТХОВЕНА}

Fate {ON BEETHOVEN’S FIFTH SYMPHONY}

Op. 21, No. 1

The impulse behind this song came to Rachmaninoff more than two years before he wrote the other songs in the opus. It stands apart from them in its length (it is his longest song), in its conception as a dramatic monologue demanding “theatrical as well as vocal skills of the highest order” (Martyn, 122), and in its performance history, sung as it was on many occasions by Chaliapin (to whom it was dedicated), with the composer at the piano.

The theme of this song goes back to the last line of Pushkin’s poem The Gypsies, on which the opera Aleko was based: “and from the Fates there is no defense.” Fate was a theme in Song 18, but Pushkin’s theme took on a personal meaning for Rachmaninoff after the failure of his symphony (Kandinskii-Rybnikov 1995). In this ballad, Aleksei Apukhtin personifies Fate (sud’ba, a feminine noun in Russian) as a malevolent old woman tapping relentlessly with her cane, whose unexpected entrances as an “old friend” bring an end to hopes and happiness. Apukhtin subtitled his poem “On Beethoven’s Fifth Symphony,” a reference to the belief that the opening notes of the symphony signify Fate knocking at Beethoven’s door. This may or may not have been the case (see Slonimsky 1989, 166-8), but Rachmaninoff included the subtitle in his song, and used Beethoven’s four-note motto repeatedly, beginning with the song’s first notes.

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Three: Pressler’s Early Training

William Brown Indiana University Press ePub

Times were uncertain in Germany in the early 1920s when Menahem Pressler was born to Moritz and Judith Pressler, owners of a clothing store in Magdeburg, ninety miles southwest of Berlin. But as Pressler recalls, he and his younger siblings, Leo and Selma, had a happy life at home as children.

“What I remember really is, the strongest part of the memory, was that there was always love. Yes, sometimes my father was very, how shall I say, rough. He would say, ‘That has to be done,’ or something like that. None of us children ever was rebellious or would think even in those terms, not to do what he had asked, and mother was as sweet and as kind as could be. And there was and is to this day very fine relations among the three of us.”

The family worked hard and was, as Pressler says, “very, very religious.” “We went to pray. We kept the Jewish holidays, which I, of course, became much less to keep them as I was traveling and playing. But I remember them, and I remember the prayers. And when I can, I like to go and pray. Yes, we were very, very much religious.

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7 Analyses

Steve Larson Indiana University Press ePub

Chapters 1–6 offered a theory of musical forces and related that theory to our experiences of expressive meaning, melodic expectation, and musical rhythm. Chapter 7 illustrates aspects of the theory with analyses of additional musical examples. Because the theory of musical forces illuminates such fundamental aspects of music, it offers a powerful tool for music analysis. Or (because the theory draws so deeply from Schenker’s ideas) it might be better to say that Schenkerian analysis, when supported by this theory of musical forces, offers a powerful tool for illuminating motion, meaning, and metaphor in music. This chapter, however, is not intended as a thorough introduction to such an analysis. To show the real value of such an analytic approach would require another book (and, in fact, I plan a sequel to this volume with that purpose). Instead, this chapter concludes part 1 by showing how some of its ideas are manifested in four musical excerpts. The focus here is on illustrating the theory rather than giving a complete account of any of the excerpts.

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19. Solo Repertoire after 1900

Elisa Koehler Indiana University Press ePub

19  Solo Repertoire after 1900

The development of the trumpet as a prominent solo instrument in the twentieth century would never have happened without the technical strides of jazz trumpeters and the influence of the cornet virtuosos. Like Anton Weidinger and the great Baroque soloists before him, the expansion of trumpet solo repertoire in the twentieth century revolved around virtuoso soloists rather than leading composers. As mentioned in previous chapters, no major composer was a brass player prior to the twentieth century, and the gap in solo literature during the Romantic era reflects this fact as well as the cultural divisions of musical styles.

The cornet soloists of the nineteenth century largely created their own repertoire. Some of the earliest solos for cornet and piano were composed by cornet players from the orchestra of the Paris Opera, notably Joseph Forestier, Stanislas Verronst, Charles-Alexandre Fessy, and Jean Baptiste Schiltz (the leading cornet player in Paris in 1840, according to Wagner).1 Jean-Baptiste Arban included “Twelve Fantasias and Variations” at the end of his famous Complete Conservatory Method in 1864, of which the most popular are Fantasie brilliante, Variations on a Theme from “Norma,” and Variations on “The Carnival of Venice.” Arban also composed several additional “fantasias” on themes from operas, including Verdi’s Aida, Rigoletto, and La traviata.2 In the United States, Herbert L. Clarke composed more than thirty cornet solos, including The Bride of the Waves, The Debutante, The Maid of the Mist, and his own version of Variations on “The Carnival of Venice.”

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6. Combination Strokes

Stanley Ritchie Indiana University Press ePub

A characteristic style of Baroque articulation is one in which slurred and separate articulations occur. In such cases the swift-bow techniques described above come into play:

The first pattern should be played in the lower half, where, on each retake, with the forearm raised so as to suspend it, the bow will rise easily from the string. The second will feel more comfortable in the upper half.

Each one, though, can be played with a “walking” bow-stroke, using the Z-bowing technique described earlier. This will result in, and should be used for, a subtler, less energetic affect. Obviously, then, the first pattern will start in the lower half and work its way down to the point and the second will “walk up” from point to frog:

A useful exercise is to join the two together thus, walking from one end of the bow to the other and back, but still taking care to observe the nuances indicated:

I must distinguish here between situations in which normal alternation of bow direction is indicated and those that call for a double down-bow, as in certain dance movements. The following passage from a trio sonata by Biber, for example, is a dance tune whose sprightly energy suggests retaking the bow in order to give the notes equal emphasis:

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XVI Embracing the Dachstein: Op. 7, Op. 106

Kenneth O. Drake Indiana University Press ePub

Op. 7 and Op. 106 would not seem to have much in common, one sonata from the early years of Beethoven’s creative life and the other from his last decade. What the two share is a breadth of conception and, aside from the Op. 106 Adagio, a spirit of assertiveness that overflows their many bars. The earlier work is perhaps the less self-assured of the two, lacking the cerebral armor of Beethoven’s maturity. Nonetheless, each is colossal in its own way, peculiar to the time of life in which it was written.

With the exception of the Hammerklavier, the E Sonata is Beethoven’s longest piano sonata. However, length calculated in minutes has little meaning for the imagination, which tells time by a different clock, on whose face the hours are marked by sensations and impressions. Op. 2 No. 3 might seem to be longer because each movement is equally imposing, or Op. 111, because its philosophical answer sums up a lifetime of thought.

The first movement of Op. 7 is more unified than that of Op. 2 No. 3. It develops one character and was, as Czerny wrote, conceived in a passionate state of mind.1 Clues in the first four measures define its character: 1. an Allegro molto in 6/8, seemingly swifter than duple subdivision; 2. repeated eighth notes; 3. a dynamic marking of piano, interrupted only by the sforzando on the E chord in m. 3; and 4. unslurred tonic chords, making the passage harmonically stationary.

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2 A Star Is Born

Monika Herzig Indiana University Press ePub

2    A Star Is Born

While Jazz Singer Janet Lawson was on tour in Latvia in the 1990s, she was given a book to read by a friend. It was A Woman in Amber, a memoir about the destruction of Agate Nesaule’s home in Latvia during World War II and her subsequent immigration to Indianapolis. While reminiscing with her mother about washing dishes and working in the cannery in order to support their graduate studies at Indiana University, they mention a busboy named David at LaRue’s Supper Club, who was so crazy about music. During the early 1950s attitudes toward the black and immigrant populations were similar, and Nesaule was expected to be grateful for any job and assumed to have little potential for higher achievements. Despite such humiliating conditions, Nesaule and busboy David excelled in their academic careers, encouraging each other in the kitchen at LaRue’s in 1950. She recalls, “He had to hear every day about Negroes and natural rhythm, and they laughed that a black man talked about music theory and wanted to be a professor.”1

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9 Leaving the Post-Soviet Era Behind

Aida Huseynova Indiana University Press ePub

Following Independence, each of the former [Soviet] republics . . . has had to reassess the conception of national identity that evolved during seventy years of Communist rule and articulate the principles under which it is presently striving to move forward as a national culture.

THEODORE LEVIN, The Hundred Thousands Fools of God: Musical Travels in Central Asia (and Queens, New York)

The breakup of the Soviet Union in 1991 remains among the most dramatic – and traumatic – historical events of the twentieth century. The agony of the dying regime lasted for several years, and it occurred amid political turmoil, economic collapse, and bloody ethnic and regional conflicts. Accordingly, at the end of the twentieth century, Azerbaijanis went through another round of vast social and political changes. It was, perhaps, the most remarkable transformation in the nation’s entire history, as the country stepped into independence with no option of reverting to being a colonial state.

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Embouchure

Essays by John James Haynie, Compiled and Edited by Anne Hardin University of North Texas Press PDF

THE BIG FOUR: EMBOUCHURE

In the early 1990s, I happened to be in the office of Richard

Jones, M.D., and at the registration desk I picked up a little card on which appeared these words: What the mind conceives and the heart believes, the body achieves. Dr. Jones was a surgeon, and I was there to make a decision about a procedure I needed but didn’t want to have! Just meeting him was an experience all its own. He was an imposing figure, which you would expect of a former linebacker of a major college football team. He was also gentle and kind. Immediately I knew that he was the person I wanted to replace my knees. From the beginning I also knew that “what his mind conceived and his heart believed, my body would achieve.”

The same concept has been in my heart all these years because I’ve watched my students accomplish things they never dreamed possible. Douglas Smith, now a professor of music at the Southern Baptist Theological Seminary, once quoted me as saying, “No matter how well you perform, or how much you know about the trumpet, the best thing you can do for your students is to create an environment where learning is a desirable commodity.”

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