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19. The Restless Searcher (1960)

Michael Sparke University of North Texas Press PDF

19.

The Restless Searcher

(1960)

It must be coincidental, but Kenton greeted the start of every new decade with a fresh initiative. In 1950 it had been strings and concert music. By 1960 Stan needed the dance halls to survive, and anyway he couldn’t begin to afford the luxury of a large string section. French horns had already been found wanting, changes had already been made to both saxophone and trombone sections, and Stan loved his high trumpets too much to meddle with them. He needed a whole new sound, but was at a loss to know how to proceed. Old friends Gene Roland and

Johnny Richards were recruited to offer advice.

Meanwhile the band kept working, as did Stan’s sense of humor.

After “Love for Sale” on January 25, 1960, Kenton acknowledges the prolonged ovation from what sounds like a large crowd at Cal-Poly State

University, and observes: “It’s very nice of you to react that way. I do however want to advise you that jazz musicians are different than musicians of other forms of music. When they hear a lot of applause they immediately start thinking in terms of money and all sorts of things that are unbecoming to a non-profit organization such as this!”

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One: A Brief Biography

William Brown Indiana University Press ePub

Menahem Pressler was born on December 16, 1923, in Magdeburg, Germany. In 1939 he and his family fled to Palestine as the Nazi regime made life increasingly difficult for Jews in Europe. Pressler, who had begun playing the piano at age six, continued his musical studies during these years of turmoil. In 1946, while still a student, he flew to San Francisco where he won first prize at the First International Debussy Competition. Soon after, he began his solo career, which included an unprecedented four-year contract as soloist with the Philadelphia Orchestra under the direction of Eugene Ormandy.

While continuing his successful career as a soloist in recital and with orchestras, Pressler co-founded the Beaux Arts Trio, which today is considered the world’s foremost piano trio, regularly appearing in major international music centers and festivals. Since its debut concert on July 13, 1955, the Trio has performed throughout North America, Europe, Japan, South America, and the Middle East, as well as at the Olympics in South Korea and Australia. Annual concert appearances include series at the Metropolitan Museum of Art, the Celebrity Series of Boston, and the Library of Congress. The Trio has recorded fifty albums, including almost the entire chamber literature with piano on the Philips label, and has been awarded numerous honors, including England’s Record of the Year Award, four Grammy nominations, Musical America’s Ensemble of the Year, the Toscanini Award, the German Recording Award, the Prix Mondial du Disque, three Grand Prix du Disques, the Union de la Presse Musicale Belge Award, and Record of the Year awards from both Gramophone and Stereo Review. On July 14, 2005, the Trio celebrated its fiftieth anniversary with a performance at the Tanglewood Festival.

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Appendix B. A Performer's Guide to Medieval Music: Contents

Jeffery Kite-Powell Indiana University Press ePub

APPENDIX B

A Performer's Guide to Medieval Music

Ross W. Duffin, editor

Contents

PREFACE ROSS W. DUFFIN

PART 1 REPERTOIRE

I. Sacred Music

1. Chant WILLIAM P. MAHRT

2. Organum ALEJANDRO ENRIQUE PLANCHART

3. Motet & Cantilena JULIE E. CUMMING

4. Polyphonic Mass Ordinary ALEJANDRO ENRIQUE PLANCHART

II. Non-Liturgical Monophony

5. Introduction ELIZABETH AUBREY

6. Latin CHARLES E. BREWER

7. Occitan ELIZABETH AUBREY

8. French ELIZABETH AUBREY

9. Iberian MANUEL PEDRO FERREIRA

10. Sephardic JUDITH R. COHEN

11. Italian BLAKE WILSON

12. German HURBERT HEINEN

13. English PAUL HILLIER

III. Lyric Forms post 1300

14. French Ars Nova CHARLES E. BREWER

15. Italian Ars Nova ALEXANDER BLACHLY

16. Ars Subtilior LUCY E. CROSS

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Chapter 1: Symbolic Meanings, Sonic Penance

Robert L. Kendrick Indiana University Press ePub

Chapter 1

Symbolic Meanings, Sonic Penance

In the ritual year of early modern Catholics, the days before Easter represented the longest single commemoration, collective and personal, of the central events of salvation. Despite the survival or re-invention of historical Holy Week traditions today, it is still hard to imagine how much prayer and penitence were packed into the seventy-odd hours between the afternoons of Wednesday and Saturday. The three central days—the Triduum—recalling the Passion included the chanted words, participatory rites, and sonic behavior of liturgical Maundy Thursday (“Feria V in Coena Domini,” hereafter F5), Good Friday (“Feria VI in Parasceve,” hereafter F6), and Holy Saturday (“Sabbato Sancto,” hereafter SS). Beyond the structures of the Divine Office and Mass, there were community actions: processions, “entombments of Christ,” depositions from the Cross, ceremonies of mourning and weeping, and, less appealingly, group violence. The social re-enactment of Christ’s atonement went hand in hand with individual purging of sin via penance and often Confession. This dialectic between the audible expression of mourning and the internalization of remorse was vital for the Week’s meaning.

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1 Beginnings: 1921–1938

Billy Taylor Indiana University Press ePub

The seductive power of jazz resides in its distinctive sway, its particular saunter, its gait, its swing. The genealogy of that swing begins in West Africa, where a primal pulse spawned the ritual drumming, call-and-response singing, and orisha-possessed dancing that were the musical and spiritual life’s blood of its people. Like an endless vine with roots planted firmly in the soil of its African origin, that dynamic Mother Pulse stretched the length of the Atlantic Ocean and was carried as precious cargo in the musical memories and bodies of the enslaved and scattered people who became the Diaspora. Wherever these enslaved people landed, their African heartbeat, their fertile musical Mother Pulse, generated seedlings, new musical forms specific to their new environments but still identifiably African. In the Caribbean, these seedlings matured in forms like junkanoo, mambo, mento, and reggae. In the United States, the transplanted Africans injected the creative pulse of their homeland into their field hollers, work songs, spirituals, blues, and jazz. When the slave law silenced their drumming, the Mother Pulse persisted nonetheless, emerging as the body rhythms of the ring shout and the juba-pattin’ on the plantations, the handclaps of the black church, the vocal percussion of the quartet, the syncopation of ragtime, jazz, the backbeat of R & B, and the beat-boxing of the South Bronx. Songs from their African homeland emerged in new African American melodies that essentially use the five notes of the pentatonic scale; the hollers, guttural tones, and bent notes of the blues and black gospel; the flatted thirds and sevenths of jazz.

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