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An Evening of Cross-Cultural Improvisation (Steve Loza, Farzad Amoozegar, Qi Li, Manoochehr Sadhegi) Wed 11/16 7PM

Event Start: 
Wednesday, November 16, 2016 - 7:00pm
Location: 
701C Dodge Hall (The Center for Ethnomusioclogy)

The Center for Ethnomusicology presents:

An Intimate Evening of Cross-Cultural Improvisation featuring Steve Loza, Qi Li, Farzad Amoozegar, and Manoochehr Sadhegi.

Wednesday Nov. 16, 2016
7PM-9PM
701C Dodge Hall (Center for Ethnomusicology)
Free and Open to the Public, Reception to Follow

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Qi Li is a highly accomplished performing artist on the erhu, the Chinese two-string bowed fiddle, and a prolific educator of Chinese music.  After graduating from the China Conservatory of Music in 1982, she performed for several years as erhu soloist with the Beijing-based National Traditional Orchestra of China (the most renowned orchestra of Chinese instruments).  She has been featured in concerts at prestigious venues such as Madison Squire Garden (New York), Ronald Reagan Building (Washington. D.C.), and Avery Fisher Hall/Lincoln Center (New York). She also directs several Chinese music groups in California, including the Los Angeles Chinese Music Ensemble.

Farzad Amoozegar is a specialist in the Persian plucked lutes tar and setar. As a teenager, having migrated from Iran to Canada, he began learning the classical radif tradition at the age of eleven from Master Mohammed Reza Lotfi in US, and then moved to Iran during his early twenty to study under master musicians such as Hossein Alizadehi, Dariush Tala'i, Hooshang Zarif, Masood Shareai, and Ershad Tahmasbie. While in Tehran, he has also lectured on Iranian music at Azad University, led various workshops on tar and setar, and performed throughout Iran and the Middle East. Currently, he is a doctoral candidate in the departments of ethnomusicology and anthropology at UCLA.

Steven Loza has taught at UCLA since 1984 and currently serves as chair of the Department of Ethnomusicology. His areas of research include topics such as religion as art and musical mesitzaje, the mixing of race and culture.  He is the author of Barrio Rhythm: Mexican American Music in Los Angeles and Tito Puente and the Making of Latin Music. among numerous other publications. He has directed ensembles focusing on Latin American music, world jazz, and intercultural improvisation.  He has recorded three CDs of his music; a recent composition was premiered by the Mexico City Philharmonic Orchestra.


Manoochehr Sadhegi was born in Tehran, Iran, and came to the U.S. to study music, completing his MA in ethnomusicology under Mantle Hood at UCLA. He is considered a Grandmaster or Ostad of the saunter, a Persian hammered dulcimer. He was awarded the 2003 National Heritage Fellowship Award by the Library of Congress and in 2002 he was a recipient of the Durfee Foundation Master Musician Award. Through the past fifty years he has performed concerts of classical Persian music on the santur  lectured at various schools and universities, taught performance privately and with group projects (including a performance ensemble at UCLA), recorded various CD projects, and performed Persian classical music on the santur.

Prof. Matthew Sakakeeny: Instrumentality: Technologies of Voice in the New Orleans Brass Band (4/10, 12-2PM)

Event Start: 
Thursday, April 10, 2014 - 12:00pm - 2:00pm
Location: 
701C Dodge Hall, Center for Ethnomusicology, Columbia U Morningside Campus (Broadway & 116th St.)

The Center for Ethnomusicology at Columbia University Presents:

Instrumentality: Technologies of Voice in the New Orleans Brass Band

Matthew Sakakeeny
(Associate Professor of Music, Tulane University, and alumnus, Columbia PhD program in Ethnomusicology)

(click image to enlarge)

Thursday April 10, 2014
12:00-2:00 pm

Center for Ethnomusicology, 701C Dodge Hall
Columbia University Morningside Campus (Broadway at 116th St.)

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Speaker Bio:

Matthew Sakakeeny is Associate Professor of Music at Tulane University. An ethnomusicologist, journalist, and musician, Matt is the author of the book Roll With It: Brass Bands in the Streets of New Orleans (Duke University Press, 2013) and articles in EthnomusicologyBlack Music Research Journal, and other publications. He graduated from the Columbia University ethnomusicology PhD program in 2008. 

Abstract:
The instrumentality of musical instruments is to act as a voice unmoored from language. Linguistic anthropologists have argued that speech acts produce subjectivity through vocal sound, and instruments extend this sonic materiality into domains where semantic meaning is augmented or even replaced by musical voicings. In New Orleans, the instruments of the brass band are sound technologies utilized to communicate particular messages to a community of listeners. In the local tradition of the jazz funeral, musicians determine the emotional register of the procession: mournful hymns regulate the slow march to the gravesite and upbeat popular songs signal the transition to celebratory dancing after burial. The musicians not only organize the memorial by changing tempo and repertoire, they communicate to the living and the dead through the material sound of their instruments. Black New Orleanians occupying public spaces where lynchings, race riots, segregation, and gentrification have taken place "give voice" to these submerged histories by marching and dancing to the beat of the brass band. And the most recent generation of musicians has drawn upon hip-hop, integrating the direct language of rap into a polyphony of voices that includes horns, drums, and group singing. In this case study of the brass bands of New Orleans, a holistic approach to sonic materiality integrates the spoken, the sung, and instrumental sound in a densely layered soundscape that creates meaning and value for radicalized subjects of power.

Writing Musical Lives -- John Szwed

Event Start: 
Tuesday, April 13, 2010 - 5:30pm
Location: 
701C Dodge Hall

Writing Musical Lives
John Szwed
The Center for Ethnomusicology, 701C Dodge Hall, April 13, 5:30 pm
 
This talk will focus on some of the virtues and problems of writing about the lives of musicians.  It will include a quick survey of the types and uses of life narratives by ethnomusicologists, folklorists, social scientists, and popular writers, with a short discussion of some recent innovative biographical works.  Examples will be drawn from a variety of biographies, including my books on Sun Ra, Miles Davis, Jelly Roll Morton, and Alan Lomax
 
John Szwed is Professor of Music and Jazz Studies at Columbia University, and Editor-in-Chief of the web site JazzStudiesOnline.org.  He is John M. Musser Professor Emeritus of Anthropology, African American Studies, and Film Studies at Yale University. His PhD is from Ohio State University, and he has done field research in Newfoundland, the Georgia Sea Islands, and Trinidad. He has taught at Swarthmore College, New York University, the University of Pennsylvania (where he was Director of the Center for Urban Ethnography and Chair of the Program in Folklore), and in 2003-04 and 2005-2007 he was Louis Armstrong Professor of Jazz Studies at Columbia University.  Szwed has received fellowships from the Guggenheim Foundation and the Rockefeller Foundation, and was awarded a Grammy for Doctor Jazz, a book included with Jelly Roll Morton: The Complete Library of Congress Recordings by Alan Lomax; Some of his books include Afro-American Anthropology; After Africa, Folk Songs and Their Makers; Afro-American Folk Culture: An Annotated Bibliography; Space is the Place: The Lives and Times of Sun Ra; Jazz 101; So What: The Life of Miles Davis;  Crossovers: Essays on Race, Music, and American Culture; Blues for New Orleans: Mardi Gras and America's Creole Soul; and Alan Lomax: The Man Who Recorded the World.  As a journalist Szwed has written for The New York Times, The Washington Post, the Village Voice, Wire, and other publications.

Columbia Forges Partnership with ARChive of Contemporary Music

Collection of be-bop, bluegrass, blues, country, jazz, rap, reggae, rock, zydeco and other forms to be made available for research and education

NEW YORK, April 7, 2009 — Columbia University has joined in a cooperative agreement with the ARChive of Contemporary Music, the largest collection of popular music in the world, to integrate the resources of the archive into arts programming at the university and other educational and scholarly activities.

The partnership is between the archive, Columbia University Libraries and the Arts Initiative at Columbia. Holdings of the archive include the Keith Richards Blues Collection, endowed by Richards, and the 50,000 disc World Music collection. read more »

"You Can't Listen Alone": On The Sociality of Listening in a Vernacular South African Jazz World

Event Start: 
Wednesday, October 29, 2008 - 7:30pm - 9:30pm
Location: 
301 Philosophy Hall
Brett PyperThe Center for Jazz Studies invites you to join us for the inaugural lecture of the fall 2008 semester of our Louis Armstrong Visiting Professorship program

"You Can't Listen Alone":
On The Sociality of Listening in a Vernacular South African Jazz World

featuring
Brett Pyper
University of the Witwatersrand, Johannesburg, South Africa
 
Introduced by Gwen Ansell
the Louis Armstrong Visiting Professor
at the Center for Jazz Studies, Fall 2008
 
Wednesday, October 29, 2008, 7:30 pm
301 Philosophy Hall
, Columbia University Morningside Campus
 read more »
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