343 Matching Annotations
- May 2023
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www.mendeley.com www.mendeley.com
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like tsaba tsaba, its musical traits reveal it as being more of ahybrid, sub-genre of the original styles of South African jazz: marabi, African Jazz and kwela.
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characteristics commontomuch South African jazz,such as short repetitive motivic melodies, basslines and drum grooves.
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www.mendeley.com www.mendeley.com
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What separates mbaqangafrom previous styles is the straight beat. Previously urban black music was rhythmically swung in general.
seems to contradict other definition (straight beat)
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www.mendeley.com www.mendeley.com
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How did jazz develop in South Africa?
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www.mendeley.com www.mendeley.com
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As Chapter One pointed out, ‘South African jazz’ derives from the amalgamation of transnational (mainly American) jazz and indigenous South African musics. Although this stylehas many ‘dialects’, there is some conceptual consensus regarding elements that historically came to signify a South African jazz sound. These include marabi (with its distinctive I-IV-V chord progression), mbaqanga (this was especially felt in the importance of the rhythmical drive and interest and repeating harmonic progressions, rather than the other formal attributes Stellenbosch University https://scholar.sun.ac.za85 of mbaqanga itself), ghoema or indlamu, amongst others. One of the ways in which Shepherd, Dyer and Makhathini connect with the South African lineage of jazz, and a sense of place therefore registers in th eir work, is through the incorporation of these elements in certain songs or tracks
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Apart from mbaqanga and marabi, other styles also developed due to the amalgamation of local styles and American jazz. One of these is Cape jazz, which Coplan (2013) describes as follows: I use the term ‘Cape jazz’ knowingly, because the Mother City has its own characteristic style, strongly indebted to the American tradition starting with African-American minstrelsy, but mixed with old indigenous rhythms and melodies, mission Stellenbosch University https://scholar.sun.ac.za12 hymnody, ‘Malaysian’ choral music, and Afrikaans Coloured ghoema parade band music. (Coplan, 2013:56)Cape jazz also bears influences from moppies (up- beat Malay choirs) and langarm, as well as music played by bands from the Muslim community (Ansell, 2005:70). A telling characteristic of Cape jazz is the ghoema beat (see Figure 1.3), which Johannes (2010:35) describes as:a low pitch on every beat within the bar of music which gives the music its driving quality with the higher pitch playing a syncopated pattern to complement the singing and prevailing syncopation of ghoema music (Johannes, 2010:35).Figure 1.3Ghoema beat(from Johannes, 2010:35)This influence is more noticeable in the music of Cape Townian musicians such as Abdullah Ibrahim or Robbie Jansen, although it is also regarded as an important element of jazz in South Africa. Marabi, mbaqangaand ghoema rhythms are markers in the broad style known as South African jazz
see p 12 for the ghoema rhythm
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www.mendeley.com www.mendeley.com
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Like that of its antecedents, the harmonic base of mbaqanga is the cyclical repetition of four primary chords. Short melodies, usually the length of the harmonic cycle, are repeated and alternated with slight variations, and call-and-response generally occurs between solo and chorus parts. The characteristics that differentiate mbaqanga from previous styles are a driving, straight beat, rather than swung rhythms; melodic independence between instrumental parts, the bass and lead guitars providing particularly strong contrapuntal lines; and electric rather than acoustic guitars and bass guitar
definition
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www.baslerafrika.ch www.baslerafrika.ch
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The music style Marabi was characterized by a repeating, ostinato accompaniment, usually in the harmonic pattern I–IV–I64–V, upon which potentially endlessly melodies were improvised.
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Marabi
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viva.pressbooks.pub viva.pressbooks.pubTitle1
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www.thejazzpianosite.com www.thejazzpianosite.com
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Modern Jazz Theory
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musictheory.pugetsound.edu musictheory.pugetsound.edu
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Chapter 31 Introduction to Jazz Theory
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viva.pressbooks.pub viva.pressbooks.pubVI. Jazz1
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www.mendeley.com www.mendeley.com
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The History of Jazz
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southafrica.co.za southafrica.co.za
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Mbaqanga
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southafrica.co.za southafrica.co.za
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South African Jazz
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southafrica.co.za southafrica.co.za
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Sound of Soweto
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viva.pressbooks.pub viva.pressbooks.pubii–V–I1
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www.thejazzpianosite.com www.thejazzpianosite.com
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Jazz Chord Progressions
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www.thejazzpianosite.com www.thejazzpianosite.com
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Jazz Genres
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www.mendeley.com www.mendeley.com
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Colonialism
Colonialism
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www.mendeley.com www.mendeley.com
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maskanda, often marketed as “Zulu blues.”
Maskanda - zulu blues
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www.discogs.com www.discogs.com
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www.youtube.com www.youtube.comYouTube1
- Apr 2023
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www.offi.fr www.offi.fr
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philharmoniedeparis.fr philharmoniedeparis.fr
- Mar 2023
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soundcloud.com soundcloud.com
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soundcloud.com soundcloud.com
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soundcloud.com soundcloud.com
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www.youtube.com www.youtube.com
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www.flickr.com www.flickr.com
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Getting Things Done with Index Cards<br /> by Jazz DiMauro
referenced in Lifehacker article as early as 2005
Note the use of envelopes for separation. Did this predate the Noguchi Filing System, inspired by it or wholly separate?
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ubiquitycompilations.bandcamp.com ubiquitycompilations.bandcamp.com
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soundcloud.com soundcloud.com
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soundcloud.com soundcloud.com
- Feb 2023
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soundcloud.com soundcloud.com
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soundcloud.com soundcloud.com
- Jan 2023
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archive.org archive.org
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.com
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www.npr.org www.npr.org
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Spaces in both language, text, and music help to create the texture of what is being communicated (and/or not).
Link to Edward Tufte's latest book in section entitled "Spacing enhances complex meaning, encourages slow, thoughtful reading":
<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>KevinMarks</span> in #meta 2023-01-19 (<time class='dt-published'>01/19/2023 11:32:19</time>)</cite></small>
Link to Indigenous astronomy example of negative spaces (like the Great Emu)
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latenighttales.bandcamp.com latenighttales.bandcamp.com
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swingrepublic.bandcamp.com swingrepublic.bandcamp.com
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quod.lib.umich.edu quod.lib.umich.edu
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- wikipedia:en=Peer_Gynt_(Grieg)
- duke ellington
- music
- history
- wikipedia:en=Swinging_Suites_by_Edward_E._and_Edward_G.
- jazz
- billy strayhorn
- musicbrainz:recording=9c54c2de-6e9a-48fb-ab41-0a067d8d9ed6
- musicbrainz:work=d5d9aa32-e0b0-33ac-aa1f-c4860ffb01bf
Annotators
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quod.lib.umich.edu/m/mp/9460447.0005.205/--duke-ellington-billy-strayhorn-and-the-adventures-of-peer -
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www.youtube.com www.youtube.com
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github.com github.com
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URL
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www.sciencedirect.com www.sciencedirect.com
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URL
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- Dec 2022
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www.youtube.com www.youtube.comYouTube1
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www.mixcloud.com www.mixcloud.com
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cinematicorchestramusic.bandcamp.com cinematicorchestramusic.bandcamp.com
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guruandsolar.bandcamp.com guruandsolar.bandcamp.com
- Oct 2022
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soundcloud.com soundcloud.com
- Sep 2022
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www.discogs.com www.discogs.com
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antshrike Aug 14, 2017ReportEdited 5 years agoreferencing There Goes The Neighborhood! (CD, Album) CCD79506Wow, did Gary Bartz unwittingly predict 9/11?The title of this is "There Goes The Neighborhood!"…the cover photo shows Bartz with the World Trade Center looming in the background…and the very last piece is titled "Flight Path"…eerie...
Eerie indeed!
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- Aug 2022
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soundcloud.com soundcloud.com
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jazzalavillette.com jazzalavillette.com
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URL
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soundcloud.com soundcloud.com
- Jul 2022
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soundcloud.com soundcloud.comMorning1
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www.youtube.com www.youtube.com
- Jun 2022
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festivalsduparcfloral.paris festivalsduparcfloral.paris
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.com
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www.tsfjazz.com www.tsfjazz.com
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- May 2022
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www.youtube.com www.youtube.com
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www.youtube.com www.youtube.com
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cataloguebm.villeurbanne.fr cataloguebm.villeurbanne.fr
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- Apr 2022
- Mar 2022
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musicbrainz.org musicbrainz.org
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Witzig: 2 Drumsets gleichzeitig im Einsatz – bei klassischem Piano-Trio-Jazz :-)
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- Jan 2022
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www.jazzthing.de www.jazzthing.de
- Jul 2021
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www.migrationencounters.org www.migrationencounters.org
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Billy: And jazz helped me discover that because it's like a chain. African American people help each other out through their music, that helped other people out, that helped me out. Eventually I took my friend out of a heroin addiction because of that, because of the music. And I started crying when he told me. He was like, "Dude, I just wanted to thank you because you took me out of my heroin addiction." I actually did something. So that music was really important for me. It gave me an identity.Anita: So, you were attracted to African American blues and jazz?Billy: Yeah, because my brother was listening to it and so I'm like, "Dude, what are you listening to? This is weird We usually listen to rock." He's like, "Man, this is called blues, bro. This is a really cool music, and it has to do with African American people back in the day and it tells the story of America."Billy: So, I just looked into it and I became obsessed with it. I couldn't stop. Once I discovered Louis Armstrong, that was just it. I could not stop playing jazz and so yeah, in North Carolina, I was just feeling kinda crappy and that music came at the perfect time.
Time in the US, Pastimes, Music; Feelings, Despair, Hope
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- Jun 2021
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www.migrationencounters.org www.migrationencounters.org
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Anita: So, you said you wanted to start off by singing a song?Billy: Yeah, well I’ll sing a song. [Singing] “Well I guess you wondering where I'd been. I searched to find the love within. In my world only you make me do for love, girl, what I would not do. My friends wonder what is wrong with me, but I'm in a daze." Alright. That's it.
Time in the US, Pastimes, Music, Playing, Favorite
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- Apr 2021
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www.baldurbjarnason.com www.baldurbjarnason.com
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Binstock: You once referred to computing as pop culture. Kay: It is. Complete pop culture. I’m not against pop culture. Developed music, for instance, needs a pop culture. There’s a tendency to over-develop. Brahms and Dvorak needed gypsy music badly by the end of the nineteenth century. The big problem with our culture is that it’s being dominated, because the electronic media we have is so much better suited for transmitting pop-culture content than it is for high-culture content. I consider jazz to be a developed part of high culture. Anything that’s been worked on and developed and you [can] go to the next couple levels. Binstock: One thing about jazz aficionados is that they take deep pleasure in knowing the history of jazz. Kay: Yes! Classical music is like that, too. But pop culture holds a disdain for history. Pop culture is all about identity and feeling like you’re participating. It has nothing to do with cooperation, the past or the future—it’s living in the present. I think the same is true of most people who write code for money. They have no idea where [their culture came from]—and the Internet was done so well that most people think of it as a natural resource like the Pacific Ocean, rather than something that was man-made. When was the last time a technology with a scale like that was so error-free? The Web, in comparison, is a joke. The Web was done by amateurs.
This is a great definition of pop culture and a good contrast to high-culture.
Here's the link to the entire interview: https://link.springer.com/content/pdf/bbm%3A978-3-319-90008-7%2F1.pdf
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- Oct 2019
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biblioteca.uoc.edu biblioteca.uoc.edu
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SO WHAT?
Miles Davis was right.
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- Oct 2018
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www.tsfjazz.com www.tsfjazz.com
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- Jul 2017
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hyperallergic.com hyperallergic.com
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The Cooper Hewitt, Smithsonian Design Museum’s The Jazz Age: American Style in the 1920s is billed as the “first major museum exhibition to focus on American taste in design during the exhilarating years of the 1920s.”
Would love to see this!
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www.musikexpress.de www.musikexpress.de
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- Jun 2017
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www.offiziellecharts.de www.offiziellecharts.de
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www.offiziellecharts.de www.offiziellecharts.de
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www.offiziellecharts.de www.offiziellecharts.de
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www.soultrainonline.de www.soultrainonline.de
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www.soultrainonline.de www.soultrainonline.de
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www.soultrainonline.de www.soultrainonline.de
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www.soultrainonline.de www.soultrainonline.de
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Horst Hansen Trio: Auf'm Teppich [oooo]
VÖ: 26.5.2017
AppleMusic / iTunes
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www.soultrainonline.de www.soultrainonline.de
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www.soultrainonline.de www.soultrainonline.de
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www.soultrainonline.de www.soultrainonline.de
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- Feb 2017
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0-quod.lib.umich.edu.mercury.concordia.ca 0-quod.lib.umich.edu.mercury.concordia.ca
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That was the way I learned
We learn by doing. (And annotations do work on the text version. Neat!)
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- Jan 2016
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www.timusic.net www.timusic.net
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The simplest way is to just have the melody played down the octave. This gives you a strong sound. It’s not the most interesting, but it works
Baritone sax
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Notice that the interval between the top two voices is always a 3rd or 4th. This is ideal and correct for the traditional style. It is possible to have a major 2nd in this range but I try to avoid it; in the next octave up it may even sound like a mistake. A minor second should be totally avoided if you are going for a traditional sound
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This is where you maintain the shape of the chord (same interval structure) and move it under the melody
Technique called "Planing"
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It is handy to think of the 9th as replacing the tonic.
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There is another option to consider when harmonizing the tonic chords. If you wish to create a really traditional sound, a la Glenn Miller, then use 6th chords instead of major 7th chords
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There are a few ways to harmonize this F, but the most common method (and my default) is to use a ‘passing diminished.’
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