My recital will feature jazz music from different decades in the 20th century. The program will feature well known jazz standard tunes from influential artists such as John Coltrane, Joe Henderson, Miles Davis, Steve Swallow, and others. The program will include both solo jazz arrangements for piano such as ���Alone Together���, ���Quiet Now���, and ���Falling Grace��� as well as jazz combo arrangements featuring drums, bass, and trumpet. The jazz music will include different styles of jazz such as ���swing���, ���modal���, and ���bebop���. In doing so, this will allow me to demonstrate a variety of ways to play and improvise over the various songs adding to the listener experience of the recital. The recital will also include improvisational solos by other combo members including drum solos, trumpet solos, and bass solos. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

Thesis (Ph. D.)--University of Chicago, Divinity School, March 2003. / Includes bibliographical references. Also available on the Internet.

Syfte: Denna undersökning utreder om polariserande Suncovers skulle kunna påverka djupseendet. Metod: Mätningarna genomfördes på tre meters avstånd med en modifierad variant av Frisby Davis Distance Stereotest och med jämförande mätningar mellan bruna Suncovers från Polaroid, gråa Suncovers från Polaroid och utan solskydd. Undersökningarna gjordes på 36 frivilliga försökspersoner som alla hade samsyn och inte mer visusskillnad mellan ögonen än 0,1 med en synskärpa över 0,9 Snellen-visus. Resultat: Utan solglasögon var medelvärdet på stereoseendet för försökspersonerna 16,0´´ ± 10,7´´. Med polariserande Suncovers blev det en försämring, denna försämring var 2,8´´ med gråa Suncovers (p = 0,08) och 5,4´´ med bruna Suncovers (p = 0,02). Slutsats: Med de bruna Suncovers fanns en signifikant försämring i jämförelse med utan Suncovers även om skillnaden var liten. Att det är en större påverkan med bruna Suncovers än med gråa kan möjligtvis bero på att de bruna till skillnad mot de gråa absorberar våglängderna ojämnt över det synliga spektrumet.

No description available.

<p>Miles Davis, never one for self-effacing humility, took his boasting to new heights when he proclaimed in a <i>Rolling Stone</i> interview from December 1969, "I could put together the greatest rock and roll band you ever heard." Most critics agree that <i>A Tribute to Jack Johnson</i>, recorded between February and April of 1970, was his attempt to do just that. The album featured an ensemble that was closer to a rock power trio than a jazz quintet, musicians who were as schooled in rock and R&B as in jazz, and a prominent use of emerging instrument and studio technologies previously unheard in Davis's music. In highlighting these stylistic markers, <i>A Tribute to Jack Johnson</i> made definitive the musical transition that Davis's immediately preceding works had set in motion. </p><p> Though few fans of the era would have been surprised by Davis's invocation of the value-laden vocabulary of "greatness" in describing his music, many were taken aback by his desire to associate with rock and roll. For a musician trained in the jazz tradition and revered as a master of the genre, the intentional incorporation of influences from popular music was viewed by many jazz listeners as nothing short of heretical. What did it mean, then, for Davis to make such a claim - and such an album - at the particular time that he did? </p><p> To address these two questions, I investigate in my dissertation the production, circulation, and reception of both the stand-alone album <i>A Tribute to Jack Johnson</i> and the documentary film for which parts of the album were initially the soundtrack. Combining my training in music with scholarly perspectives on identity politics, technology studies, film studies, and African American social and political history, I demonstrate how this recording comprises both a signal incursion into accepted jazz practice, and a unique window onto vital debates around jazz, popular culture, and identity constructions in the U.S. in the early 1970s. This dissertation thereby offers one approach for continuing the critical re-evaluation of fusion jazz that has prominently been in progress since the late 1990s.</p> / Dissertation

No description available.

In this essay, I examine how the nineteenth-century cultural phenomenon of phrenology is made apparent in the abolitionist arguments of Rebecca Harding Davis’s “Blind Tom” (1862), a nonfiction character sketch of the popular blind slave and idiot savant-musician. The first portion of my argument constructs a probable reality that allows for the influence of Davis’s exposure to phrenology first as a student, then later as a writer. I then perform a critical assessment of “Blind Tom,” revealing how Davis relies upon phrenological terminology, such as that employed by famous phrenologist Orson Squire Fowler, in her descriptions of the musician’s physical appearance in order to call for his freedom, from not only slavery on the Georgian planation he called home, but also, from being paraded as an sideshow and a spectacle before audiences across America.

Thesis (Ph. D.)--University of Washington, 1989. / Vita. Includes bibliographical references (leaves [211]-218).

Thesis (D.Ed.Min.)--Southwestern Baptist Theological Seminary, 2006. / Includes abstract. Includes bibliographical references (leaves 174-180).

Thesis (M.S.)--University of California, Davis, 2009. / Text document in PDF format. Title from PDF title page (viewed on November 4, 2009). "Received by ITS-Davis: April 2009"--Publication detail webpage. Includes bibliographical references (p. 113-122).