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Slavery and the impact on contemporary jazz
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“The K’e” was composed by Celius Dougherty, who was born in Glenwood, Minnesota in 1902. His mother was a very talented musician for her entire life, and greatly impacted Dougherty and his musical career. He studied piano and composition with Donald Ferguson at the University of Minnesota from 1920 to 1924, where he also performed his own piano concerto with orchestra, won the Schubert Club's piano competition, and frequently accompanied a voice faculty member, Gertrude Hull, who introduced him to his publisher, the G. Schirmer Company.
Dougherty graduated magna cum laude from the University of Minnesota in 1924, winning scholarships to Juilliard to study piano with Josef Lhévinne and composition with Rubin Goldmark. ]He moved to New York,
where he lived for fifty years. While there, Dougherty became a popular accompanist. He worked with the leading musicians of the 1920's, 30's, and 40's, such as Alexander Kipnis, Eva Gauthier, Nina Kochetz, Igor Gorin, Florance Easton, Richard Crooks, Edward Johnson, Grete Stuckgold and, Povla Frijsh. He drew inspiration for his early music from Walt Whitman, James Joyce, E. E. Cummings, Amy Lowell, Robert Frost and Siegfreed Sassoon. Some of his later composition included essays by children, Chinese poetry (like “The K’e”), the dictionary, newspapers, spirituals, folksongs, and other poetry. Between 1948 and 1971 G. Schirmer published more than fifty songs.
When he graduated from Dartmouth College in 1925 after that he attended Lincoln College at Oxford.
James was trained in music and other subjects by his mother, a schoolteacher. Johnson graduated from Atlanta University with A.B. in 1894. He later obtained a M.A. in 1904 while studing at Columbia. For several years he was principal of the black high school in Jacksonville, Fla. He read law at the same time, and was admitted to the Florida bar in 1897, and began practicing there. During this period, he and his brother, John Rosamond Johnson (1873-1954), a composer, began writing songs. In 1901 the two went to New York, where they wrote some 200 songs for the Broadway musical stage.
He held a variety of odd jobs before winning a scholarship to Columbia University at the age of 23, from which he received a Master's Degree in 1913. At Columbia College in the early 1910s he met John Dewey and Charles Beard, intellectuals like himself and during that time he started publishing essays in journals such as the Atlantic Monthly and the Dial.
The music of jazz became an important aspect of American culture in the early 20th century. The crisp syncopation of ragtime and the smooth tunes of the blues seeped into American mainstream music through dance halls and saloons and later through ballrooms. Instruments like the piano, trumpet, trombone and clarinet became important and symbolized the “swing-feel” of jazz because of their capability to syncopate and improvise precisely. With the help of the booming recording industry, musical geniuses were discovered and their talent and contributions to the emergence of jazz spread throughout the entire country. Such musicians include composer, arranger and pianist Jelly Roll Morton who heavily influenced the development of early jazz by his unique piano style, his “invention” of musical notation for jazz, and his compositions that have become the core in the jazz repertory. Because the style was new and different and so successful in drawing in large audiences, musicians around the world tried to mimic it. Furthermore, Morton’s masterpieces were the first to show notation for complicated jazz music and thus, formed the basis for standard notation in jazz compositions today.
On March 13th the Rochester Oratorio Society and Houghton College Choir performed at the Hochstein Performance Hall in the city of Rochester. It was a predominately vocal concert with an accompanying pianist. The main performance of the evening was the Rochester Oratorio Society’s rendition of Johannes Brahms’ “Ein deutsches Requiem,” in which vocal soloists Elena O’Connor and Benjamin Bloomfield took the front stage, and Linda Boianova joined Kevin Nitsch as a second pair of hands behind the piano.
When he was fifteen years old, his mother died from appendicitis. From fifteen years of age to his college years, he lived in an all-white neighborhood. From 1914-1917, he shifted from many colleges and academic courses of study as well as he changed his cultural identity growing up. He studied physical education, agriculture, and literature at a total of six colleges and universities from Wisconsin to New York. Although he never completed a degree, his educational pursuits laid the foundation for his writing career.
In Canada, Greta Kraus is the uncontested doyenne of the early-music revival in general, and harpsichord playing in particular, but her accomplishments go far beyond the baroque repertoire. She has coached Canadian singers not only in baroque oratorios but in romantic German opera and lieder, and twentieth-century works. The composer R. Murray Schafer studied with her, and so did the keyboard artists Douglas Bodle, Elizabeth Keenan, Patrick Wedd, and Valerie Weeks and the singers Elizabeth Benson Guy, Mary Morrison, Gary Relyea, Roxolana Roslak, and Teresa Stratas. Countless other musicians have come to her for advice, and few if any of them would accept Kraus's theory that her value to Canadian music would have been slighter had the competition been stronger when she arrived on these shores.
The year he was drafted, he had graduated summa cum laude from Macalester College. He was in Vietnam between 1969 and March 1970, about one year total. After returning, he went back to college, to study at
Strom, Yale. The Book of Klezmer the History, the Music, the Folklore. Chicago, Ill: A Cappella Books, 2002. Print.
America was built on rebellion. This was no different for the Beat Generation whom took Americans in the 20th century, into a new way of life. Middle class free spirited people who questioned the practices of everyday lifestyle and mainstream culture, the beats lived in disillusionment with society. The fifties being a time of conservative family morals encouraged the bohemian nature of the beats for their want to experience more. The nature of this rejection is expected but, why? And how does such rebellion begin to take place, what forms does it take, and does such rebellion provide a lasting change?
She attended Syracuse University, which she earned a scholarship to, and won the college short story contest. She graduated as valedictorian in 1960 with a degree in English. Oates then started teaching at the University of Detroit in 1961, and then after a couple of
F. Scott Fitzgerald studied at Newman School, a Catholic prep school found in New Jersey (“F. Scott Fitzgerald” St. James). Fitzgerald played for their football team (“F. Scott Fitzgerald” American). He spent two years at the Newman School then enrolled at Princeton in 1913. He was placed on academic probation in 1917 and figured that it was highly unlikely for him to graduate. So he left Princeton and went to the Army (“F. Scott Fitzgerald” St. James).
In 1908, the family returned to Minnesota, where Fitzgerald attended St. Paul Academy in St. Paul. When he was 13 a piece of writing of his appeared published, for the first time, in the school newspaper. In 1911, Fitzgerald parents sent...
Leonard Bernstein was born in Lawrence, Massachusetts on August 25, 1918. As a young boy he took piano lessons while attending the Garrison and Boston Latin School. After he graduated high school he attended Harvard University, where he studied with several well-known piano players. The composers he studied with include but are not limited to: Walter Piston, Edward Burlingame- Hill, and A. Tillman Merritt. Before he graduated in 1939, he made an unofficial conducting debut with his on incidental music to “The Bird,” and he directed and performed in Marc Blitzstein’s “The Cradle Will Rock.” After graduating Harvard he attended the Curtis Institute of Music located in Philadelphia. At the Curtis Institute of Music he studied piano with Isabella Vengerova, orchestration with Randall Thompson, and conducting with Fritz Reiner. After leaving the Curtis Institute of Music he studied at the Boston Symphony Orchestra’s newly made summer institute, Tanglewood, in 1940. At Tanglewood he studied with Serge Koussevizky the orchestra’s conductor. In later years, Bernstein became a conducting assistant for Koussevisky.
some background on his life. 1"I graduated from New Haven in 1915, just a quarter of a