The Bass-less Trio

<p>Miles Davis asserts in his autobiography, that "a great artist needs to be able to stretch" [Davis, Troup, 1990]. While I may not a great artist, I aspire to make art with my music, and in my own musical journey I have been interested in trying out new ideas. Jazz musicians, because of their various skills (and in particular, in the art of improvisation) find themselves straddling musical boundaries and genres, just to pay the rent. In my own projects however, this musical adroitness was born just as much out of artistic curiosity as it was necessity, leading me to compose and perform in a variety of contexts and styles for a broad range of instrumentation. These contexts and styles include: duos for saxophone and piano accordion; Bach sonatas with string ensembles; improvising live dance music with DJs; organ trios; in electronica contexts; art and poetry collaborations. The need for creativity has expressed itself in all of my work, to varying degrees. On reflection, it's the need to create something new and fresh out of work and ideas that are already explored to some extent. This desire is consistent with the jazz legacy I have inherited. In much the way Louis Armstrong began transforming popular songs into jazz vehicles, Charles Mingus took ideas from older African American musical traditions and transformed them to offer a fresh perspective on those traditions, and Miles Davis borrowed ideas from rock and soul music to pioneer new directions in jazz during the 1960s and 1970s, I too am looking for new avenues of expression for jazz musicians.</p>

The Bass-less Trio

<p>Miles Davis asserts in his autobiography, that "a great artist needs to be able to stretch" [Davis, Troup, 1990]. While I may not a great artist, I aspire to make art with my music, and in my own musical journey I have been interested in trying out new ideas. Jazz musicians, because of their various skills (and in particular, in the art of improvisation) find themselves straddling musical boundaries and genres, just to pay the rent. In my own projects however, this musical adroitness was born just as much out of artistic curiosity as it was necessity, leading me to compose and perform in a variety of contexts and styles for a broad range of instrumentation. These contexts and styles include: duos for saxophone and piano accordion; Bach sonatas with string ensembles; improvising live dance music with DJs; organ trios; in electronica contexts; art and poetry collaborations. The need for creativity has expressed itself in all of my work, to varying degrees. On reflection, it's the need to create something new and fresh out of work and ideas that are already explored to some extent. This desire is consistent with the jazz legacy I have inherited. In much the way Louis Armstrong began transforming popular songs into jazz vehicles, Charles Mingus took ideas from older African American musical traditions and transformed them to offer a fresh perspective on those traditions, and Miles Davis borrowed ideas from rock and soul music to pioneer new directions in jazz during the 1960s and 1970s, I too am looking for new avenues of expression for jazz musicians.</p>

The Concept of the Silk Road in the 19th and 20th Centuries

The concept of the Silk Road first attained prominence in the latter half of the 19th century as part of European attempts to impose economic and political claims upon the lands and peoples of Xinjiang (also known as East Turkestan, Chinese Central Asia, or Chinese Turkestan). These claims were given cultural substance at the turn of the century by a series of expeditions undertaken by Western explorers and archaeologists, who ventured into the deserts of northwestern China in search of Greco-Indian art and antiquities. The study and display of such artifacts were motivated primarily by a desire to highlight the eastward migrations of Indo-European speakers into Central Asia. When these same expeditions began to reveal the presence of ancient Chinese ruins and antiquities as well, Chinese scholars and officials joined their Western counterparts in the field, using the material proceeds of their excavations to construct competing narratives of the westward influence of Chinese civilization. In the decades since the end of World War II, the concept of the Silk Road has come to dominate popular and scholarly associations with the region, monopolizing everything from the advertising of Central Asian and Middle Eastern cuisine to the names of academic monographs and international string ensembles. The elusive and malleable idea of “the Silk Road” has provided an attractive ideological platform over the past 200 years for major political, economic, and cultural actors throughout Eurasia to assert their imagined historical importance across both time and space, often with a highly romanticized gloss. In that sense, it is a purely modern intellectual construct, one that would have been utterly unfamiliar and likely incomprehensible to those historical agents it purports to describe.

Serenading Spanish Students on the Streets of Paris: The International Projection of Estudiantinas in the 1870s

Spanish estudiantina plucked string ensembles achieved immense popularity in the last two decades of the nineteenth century and were an important catalyst in the creation of the sonority of a variety of European and American popular musics. Such ensembles had precedents in Spanish student groups dating back to the Renaissance and the rondallas (or groupings of plucked instruments) that were associated with popular outdoor serenades. However, the modern estudiantina movement can be traced back to 1878, and was consciously framed as a modern historical construct. A large grouping of youths and former students, donning Renaissance student dress, decided to form a society to visit Paris during Carnival, on the eve of the 1878 Exposition Universelle. They took Paris by storm, performing in a variety of street settings, reinforcing the exotic stereotypes of serenading musicians associated with Spain, and bringing to life historical notions of the minstrel. In the decade that followed, the European performance contexts of the estudiantinas included theatres, outdoor venues and expositions, garden parties and salons – and they became fixtures of the music hall and the café chantant. This paper explores early English and French constructions of the estudiantina phenomenon, and how the groups were framed in the light of exotic street musics and prevailing tropes of Spain. It also examines how the outdoor performance settings of the estudiantinas were translated onto the theatrical stage.

The Influence of Beginning Instructional Grade on String Student Enrollment, Retention, and Music Performance

The purpose of this study was to investigate three primary variables concerning the starting grade level of beginning string instruction in public schools: (a) initial enrollment, (b) retention data for both the end of the first year and at the seventh-grade year of instruction, and (c) music performance level in the seventh grade. Secondary variables including schedule of instruction, decision makers, grade-level organization, and private lessons also were examined. Research objectives were developed to provide string teachers with information for use when they consider the grade level of beginning instruction in their school districts. Later starting grades yielded the highest retention rates, when retention data for both the end of the initial year of instruction and the beginning of seventh grade were compared with starting grade level. The starting grade level of instruction did not, however, affect initial enrollment figures or music performance of string ensembles.