Dissertations / Theses on the topic 'New orleans jazz fest'

The internship report contains an analysis of The Jazz & Heritage Festival and Foundation as applied to the author's internship with the non-profit organization from January through May 2010. Included are a brief organizational history and a description of the intern's duties as assistant to both the gallery director and development associate. An analysis of the Foundation will be discussed as well as researched best practices for similar festivals, non-profit professionals, and other art organizations. The report will conclude with recommendations for organizational growth and improvement.

In this bachelor project, Leon Falk has examined the interplay and collective improvisation in New Orleans jazz and related genres - in particular the interplay among the wind instrumentalists in New Orleans jazz and brass bands. The main goal has been to develop as a trombone player and ensemble musician.This reflective thesis includes a description of the process of the project and the exam concert, a historical reflection about the New Orleans jazz and brass band tradition and an analysis of 9 interviews with contemporary musicians playing traditional jazz: Jens "Jesse" Lindgren, Björn Ingelstam, Ulf Johansson Werre, Joakim Falk, Claes Ringqvist, Klas Lindqvist, Hans Ingelstam, Niklas Carlsson and Örjan Kjellin. The thesis ends with a conclusive reflection about the project as a whole and Leon Falk's own play style in ensemble with other wind instruments.

Repertoar examenskonsert: St James Infirmiry (trad), Room Rent Blues (Irving Newton), At the Georgia Camp Meeting (Kerry Mills), Should I Reveal (Nacio H Brown / Arthur Freed), Savoy Blues (Edward Kid Ory), While We Danced At the Mardi Gras (Alfred M Opler / John H Mercer), Cash is King (Leon Falk), Girl Of My Dreams (Sunny Clapp).Musiker examenskonert: Leon Falk (trombon/sång), Adam Falk (klarinett/tenorsaxofon), Erik Tengholm (trumpet/kornett), Jocke Falk (trumpet/kornett), Uno Dvärby (kontrabas/banjo), Sara Karkkonen (piano), Jonathan Leidecker (trummor).

The New Orleans Jazz & Heritage Foundation is a non-profit 501 (c) (3) organization. The Foundation presents the famous New Orleans Jazz & Heritage Festival and utilizes the proceeds from the Festival for year-round community development programs in the areas of education, economic development and culture. The Foundation also owns the broadcast license of radio station WWOZ 90.7. The Foundation is constantly seeking to expand its involvement with the local community. Thus, Mr. Don Marshall, Executive Director of the Foundation, created the Jazz & Heritage Gallery. My internship position was as the first Gallery Director for the newly created Jazz & Heritage Gallery. Throughout the course of my internship I successfully curated three exhibitions: Inspiration Exhibition, Femme Fest 2009, and Outside the Tent. I also managed the various business affairs of the Jazz & Heritage Gallery, including communications with artists and the public, and collaboration with numerous local organizations and seeking grants. This report includes the Foundation and Festival's history, organizational structure, current programming and my contributions to the Foundation. It also includes detailed recommendations based on the SWOT analysis of the Foundation as well as best practices suggestions.

This report is the analysis of a three month internship with the Development Department of the New Orleans Jazz & Heritage Festival and Foundation, Inc., This report includes an organizational profile, description of the development department, S.W.O.T. analysis, best practices, and intern recommendations as applied to my experiences with the organization from May 21 to August 10, 2010.

Thesis (D.M.A.)--Boston University
This study contributes to the literature on New Orleans jazz by providing a chronological documentation of the contributions of teachers and mentors who provided jazz education outside of public or private schools. This study documents the pedagogical styles and techniques used by teachers and mentors who transferred the jazz style and tradition to young students in New Orleans. The jazz education of students in New Orleans has been a comprehensive effort consisting of schoolteachers, private tutors, and community groups teaching the jazz style and tradition to young musicians. Jazz educators have risen above the obstacles offunding and slow acceptance ofjazz by the public schools to maintain a rich musical heritage in the city. The efforts of these teachers and mentors, have contributed to New Orleans maintaining an active and viable jazz community.

For nearly 200 years, there has been a neighborhood in New Orleans, Louisiana named Milneburg, which has been constantly reimagined by its inhabitants and others. From its inception as a port of entry in 1832 until the 2011, it has been called a world-class resort, the poor-man's Riviera, a seedy red-light district, a cradle of jazz, a village, a swath of suburbia and a neighborhood. It has been destroyed eight times due to storms, fires, and civic or governmental neglect. Each time its residents have rebuilt it. In its last iteration as a post-Katrina neighborhood, the residents reestablished the Milneburg Neighborhood Association in order to define its boundaries, gain control of its redevelopment and restrict who lived there as well as what activities were permitted. This is a case study of the trajectory of Milneburg and the cultural adaptations of its residents to keep it distinct, vital and respectable.

The Gems of Jazz is a prospective TV series that features local New Orleans Jazz musicians. The purpose of the show, created and hosted by Virgile Beddok, is to look into the lives of the people who make the New Orleans Jazz scene all that it is, and has been. This paper delves into each stage of the creative and production processes that enabled the completion of this pilot episode which features master drummer Herlin Riley as a guest.

While Jane Jacobs' frontal assault on "modern planning" is now over forty years old, communities around the United States are still struggling to deal with the legacy of modernist interventions that dramatically altered the historic urban form and culture of their downtowns. In the worst cases, whole zones were transformed into nearly unusable space. Reintegrating these lost spaces into the urban fabric is one of the most significant challenges of urban planners and designers today. Despite the ubiquity of lost spaces in American cities, comparatively little research has been done on the specific historic urban forms that were altered. This dissertation seeks to explore the processes of landscape change through a case study of Louis Armstrong's downtown neighborhood in New Orleans. It employs an urban morphological framework to uncover the specific landscape changes that occurred in the neighborhood over time. This micro-level view is broadened through an examination of the political economic forces that helped to transform the once vibrant neighborhood into the lost space of today. This study concludes that while it is tempting to identify the twentieth century modern interventions as the cause of lost space in New Orleans, such a reading unnecessarily isolates the modern development era from the historical continuum of land use that helped define the city. When the scope of inquiry into the causes of lost space is widened to include the historic formation of landscape remnants, long-standing patterns of lost space development begin to appear that stretch back to the founding of the city. Modern development, seen in this light, exacerbated existing negative landscape features more than created them.

Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed Sept. 14, 2006). Includes abstract. Keywords: New Orleans; jazz; trumpet; cornet; collective improvisation; conversational process; dixieland; pedagogy; swing; blues. Includes bibliographical references.

Thesis advisor: Carlo Rotella
Thesis advisor: Cynthia A. Young
From the BLKARTSOUTH literary collective in the 1970s, to public-storytelling-based education and performance forms in the aftermath of Hurricane Katrina, and fiction and nonfiction collections in the years since the storm, this study traces how New Orleans authors, playwrights, educators, and digital media makers concerned with social justice have mirrored the aesthetics and epistemologies of the collaborative African diasporic expressive traditions that began in the antebellum space of Congo Square and continue in the traditions of second-line parading and Mardi Gras Indian performances today. Combining literary analysis, democratic and performance theory, and critical geography with interviews and participant observation, I show how New Orleans authors, theatre makers, and teachers have drawn on "second-line" knowledges and geographies to encourage urban residents to recognize each other as "divided subjects" whose very divisions are the key to keeping our social and political systems from stabilizing and fixing borders and ethics in a way that shuts down possibilities for dissent, flux, and movement. Building on diverse scholarly arguments that make a case both for New Orleans's exceptionalism and its position, especially in recent years, as a model for neoliberal urban reform, this study also shows how the call and response aesthetics of community-based artists in New Orleans have influenced and benefited from the rise of global democratic performance and media forms. This dual focus on local cultures of resistance and New Orleans's role in the production of national and transnational social justice movements enables me to evaluate New Orleans's enduring central role in the production of U.S. and transnational constructs of African diasporic identity and radical democratic politics and aesthetics. Chapter One, "Second Line Knowledges and the Re-Spatialization of Resistance in New Orleans," synthesizes academic and grassroots analyses and descriptions of second lines, Mardi Gras Indian performances, and related practices in New Orleans through the lenses of critical geography and democratic theory to analyze the democratic dreams and blues approaches to history and geography that have been expressed in dynamic ways in the public spaces of New Orleans since the era of Congo Square. My second chapter, "'We Are Black Mind Jockeys': Tom Dent, The Free Southern Theater, and the Search for a Second Line Literary Aesthetic," explores the unique encounter in New Orleans between the city's working-class African American cultural traditions and the national Black Arts movement. I argue that poet and activist Tom Dent's interest in black working-class cultural traditions in New Orleans allowed him to use his three-year directorship of the Free Southern Theater to produce new and lasting interconnections between African American street performances and African American theatre and literature in the city. Chapter Three, "Story Circles, Educational Resistance, and the Students at the Center Program Before and After Hurricane Katrina," outlines how Students at the Center (SAC), a writing and digital media program in the New Orleans public schools, worked in the years just before Hurricane Katrina to re-make public schools as places that facilitated the collaborative sounding and expression of second-line knowledges and geographies and engaged youth and families in dis-privileged local neighborhoods in generating new democratic visions for the city. This chapter contrasts SAC's pre-Katrina work with their post-Katrina struggles to reformulate their philosophies in the face of the privatization of New Orleans's public schools in order to highlight the role that educational organizing in New Orleans has played in rising conversations throughout the US about the impact of neo-liberal school reform on urban social formations, public memory, and possibilities for organized resistance. Chapter Four, "'Running and Jumping to Join the Parade': Race and Gender in Post-Katrina Second Line Literature" shows how authors during the post-Katrina crisis era sought to manipulate mass market publication methods in order to critically reflect on, advocate for, and spread second-line knowledges. My analysis of the fiction of Tom Piazza and Mike Molina, the non-fiction work of Dan Baum, and the grassroots publications of the Neighborhood Story Project asks how these authors' divergent interrogations of the novel and non-fiction book forms with the form of the second line parade enable them to question, with varying degrees of success, the role of white patriarchy on shaping prevailing media and literary forms for imagining and narrating the city. Finally, Chapter Five, "Cross-Racial Storytelling and Second-Line Theatre Making After the Deluge," analyzes how New Orleans's community-based theatre makers have drawn on second-line knowledges and geographies to build a theatre-based racial healing movement in the post-Katrina city. Because they were unable and unwilling, after the Flood, to continue to "do" theatre in privatized sites removed from the lives and daily spatial practices of local residents, the network of theater companies and community centers whose work I describe (such as John O'Neal's Junebug Productions, Mondo Bizarro Productions, ArtSpot Productions, and the Ashé Cultural Arts Center) have made New Orleans's theatrical landscape into a central site for trans-national scholarly and practitioner dialogues about the relationship of community-engaged theatre making to the construction of just and sustainable urban democracies
Thesis (PhD) — Boston College, 2011
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English

In this bachelor project I tried to find if I could enhance my playing and composing by listening to music in an analyzing manner. I listened to jazz music that was recorded in the 1920s and jazz music that was recorded in the present day to try and find different aspects of the music that I enjoyed. Using these aspects, I composed music for a 7-piece band and performed that music in a concert. The goal of this project was not to create a fusion of these different styles of music but to contemplate on what I like in these different styles of music and how I can use that knowledge to my advantage.

Låtlista:

"En Helt Vanlig Blues" - Uno Dvärby

"Fel Väder" - Uno Dvärby

"Henderson" - Uno Dvärby

"Det Blir bättre Sen" - Uno Dvärby

"Äntligen Fredag" - Uno Dvärby

Medverkande musiker

Max Agnas - Piano

Jakob Bylund - Trummor

Björn Bäckström - Saxofon/klarinett

Uno Dvärby - Kontrabas

Hannes Junestav - Trombon

Viktor Spasov - Gitarr

Erik Tengholm - Trumpet

Konserten filmades och finns bifogad som länk. 

https://www.youtube.com/watch?v=fSH0aAKE5vY&t=1115s

This essay will use the views of two African American newspaper columnists, E. Belfield Spriggins of the Louisiana Weekly and Dave Peyton of the Chicago Defender, to argue that though New Orleans and Chicago both occupied a primary place in the history of jazz, in many ways jazz was initially met with ambivalence and suspicion. The struggle between the desire to highlight black achievement in music and the effort to adhere to tenets of middle class respectability play out in their columns. Despite historiographical writings to the contrary, these issues of the influence of jazz music on society were not limited to the white community. Tracing these columnists through the years of 1925-1929, a critical point in the popularity of jazz, reveals how considerations of black innovation and economic autonomy helped alter their opinions from criticism to ownership.

Troupers: Essays in Three Rings is a collection of fourteen essays focused mainly on variety entertainers (including the author). It leads the reader through a menagerie of the author's own enthusiasms--from clowning and circus elephants, to hot jazz and the ukulele. While the primary occupation of the "troupers"spotlighted here has always been to delight audiences, many of them--both human and animal--could not escape the hardscrabble, the sundered relations, the violence of everyday life. The author tells the stories of these "troupers" here, stories that reveal both their suffering and their refusal to suffer.

Ce travail porte sur le motif polyrythmique de «trois sur quatre» dans la musique écrite en circulation à la Nouvelle-Orléans d’avant le jazz enregistré, de 1835 à 1917. S’inscrivant à l’intersection de l’histoire et de l’analyse du rythme, il propose une analyse comparée à partir de trois méthodologies d’analyse (celle des polyrythmies percussives d’Afrique centrale conçue par Simha Arom,celle des dissonances métriques développée par Harald Krebset celle des polyrythmies dans le jazz mise au point par Laurent Cugny) adaptées et appliquées à des corpus archivistiques dépouillés notamment à la Hogan Jazz Archive (à la Nouvelle-Orléans), rendant compte de la vie musicale dans les salons de la bourgeoisie néo-orléanaise du XIXe siècle, puis de l’émergence du ragtime et du premier jazz. Si tout au long de la période étudiée, les exemples de trois sur quatre sont constitués de la superposition d’une figure rythmique contramétrique sur une figure rythmique commétrique, à partir du ragtime et du premier jazz, un modèle de trois sur quatre se distinguant clairement, quantitativement et qualitativement, de son utilisation au XIXe siècle s’établit: le «paradigme du secondary rag». Un exemple issu de The Banjo (1855) du compositeur néo-orléanais Louis Moreau Gottschalk annonce toutefois ce modèle, offrant ainsi de nouvelles perspectives sur l’histoire du ragtime et du premier jazz et l’histoire du rythme dans ces musiques, témoignant de leurs liens notamment avec d’une part, les musiques traditionnelles africaines et leur habitus contramétrique, d’autre part, la musique savante européenne de tradition tonale et son habitus commétrique, mais aussi avec la musique populaire de banjo de la mi-XIXe siècle, qui avait peut-être déjà alors fait la synthèse de ces éléments
This study deals with the “three-over-four” polyrhythmic pattern in written music circulating in New Orleans before jazz was recorded, from 1835 to 1917. Through an interdisciplinary approach using history and analysis of rhythm, it proposes a comparative analysis from three methods –analysis of Central African percussive polyrhythm created by Simha Arom, analysis ofmetrical dissonance as developed by Harald Krebs, and analysis of jazz polyrhythm designed by Laurent Cugny. Those methods are adjusted and used to study archival corpora mostly held at the Hogan Jazz Archive in New Orleans, reporting on musical life in salons of 19th-century New Orleans bourgeoisie, then on the beginnings of ragtime and early jazz. While three-over-four examples are constituted from the superimposition of a contrametric pattern on a cometric pattern throughout the studied period, a new form of three-over-four pattern (clearly distinct in both quantitative and qualitative terms from its 19th-century forms) appears in ragtime and early jazz: the «paradigm of secondaryrag». An example from The Banjo (1855) by New Orleans composer Louis Moreau Gottschalkis quite similar to the new form though, allowing a reinterpretation of ragtime and early jazz history as well as history of rhythm in both musical styles. The discovery reflects on their connections, especially with respect to traditional African music and its contrametric habitus, European art music and its cometric habitus, but also with 19th-century banjo popular music, which had probably already integrated these elements

This study explores the 'pre-academic' phase of jazz historiography in the United States, reviewing the development of the field prior to the appearance of Marshall Stearns' The Story of Jazz in 1956. The men and women who participated in the awakening of American jazz scholarship were partisans of a community of 'hot' record collectors, whose interest in the origins of jazz was a foregone conclusion. An international network of collectors took shape between the 1920s and 1934, providing a mechanism for the circulation of historical information on jazz, which then became the basis for the emergence of a jazz literati writing for a magazines such as Down Beat, Esquire, The New Republic, and Jazz Information. These writers shared a vision of jazz derived from their experiences as 'hot' collectors, including the beliefs that jazz was an 'art form' and should be 'non-commercial.' Inspired by their love for the music and emphasizing 'New Orleans style,' writers like Charles Edward Smith and William Russell explained that jazz was 'born in New Orleans' in works such as Jazzmen (1939) and The Jazz Record Book (1942) During the 1940s the consensus established by the 'hot' collectors and apparent in the early histories began to come under fire as a new wave of 'jazz intellectuals' entered the field. 'Traditionalist' revisionists like Rudi Blesh challenged the prevailing notions of chronology and terminology, while 'modernists' such as Leonard Feather sought to divert attention away from the past in favor of contemporary developments. A war of words ensued within the jazz press which led to a division of the jazz community into antagonistic factions, each with its own view of jazz history and terminology. In addition, the proliferation of vintage jazz reissues by major record companies and the shift away from 78s with the appearance of new technology after 1948 ended the predominance of the old guard of 'hot' collectors on the jazz scene Ultimately, the conceptualization of jazz history deriving from Jazzmen found refuge in New Orleans and became an important part of the culture which it celebrated. Beginning with the establishment of the National Jazz Foundation in the mid-1940s, New Orleanians adopted the 'born in New Orleans' thesis and integrated it into their tourist economy
acase@tulane.edu

The museum as a public place for the continuing cultural education of the individual is a social institution whose purpose has seemingly become dated through the advent of cultural diversity, interactive information technology, and the economic rigours of late capitalism. Whereas the museum still has a place and program, its presence as an architectural type has diminished due, in part, to uncertainty in the architect's response to a changing cultural site. Using a component of a scattered site jazz museum in New Orleans, a design is proposed to establish a museum for the purpose of (re)collecting the many relationships lost to us, rather than establishing the narrative of the traditional museum or sacrificing the museum to the onanistic pleasures of commodity fetishism.