What at first appears to be just another collage dedicated to a concert location, upon closer inspection is rather remarkable.Jazz bassist and historian Matthias Heyman will detail the visual codes embedded in the collage – and use it as a lens on the jazz community in 20th century Belgium.Edward ' Kid' Ory was a jazz musician of New Orleans' heritage.Tags: How To Teach Problem Solving In MathTufts University Research Paper NavigatorWrite Essay IbtWww Zs GessayovaHow To Write An Introduction To A Research Paper ExampleHoldings Company Business PlanEssay About The SunflowerCritical Shakespeare Essays
more During the 1930’s, Armstrong, who had established himself internationally as one of the greatest of all jazz musicians during the 1920’s, continued to make prolific musical recordings, appeared in Hollywood films, and maintained a rigorous touring schedule entertaining audiences worldwide. Using boxes of Ampex reel-to-reel tape as canvas, he compiled around 500...
more While Louis Armstrong is best known for his singing and trumpet playing, he was also known to be an engaging, witty writer as well as artful bricoleur of collages.
Louis Armstrong’s father was a work man and his mother sold her body.
But this did not stop Armstrong from doing what he was doing.
The 1950s proved to be regeneration for Armstrong, as both a musician and a role model to several.
Though he had been singing since his early days in Chicago, it was not until the 1950s that audiences recognized his great skill as a singer as well.
Citing Merleau-Ponty’s phenomenology and placing the body’s perceptual experience as the basis of existential reality, I then argue that the human voice offers self actualization in a way that other sensory categories cannot, because the voice gives us control over what and how we hear in a way that we cannot control, through our own bodies alone, our sight, touch, taste, and smell.
This idea combines with a listener’s imagined performance of vocal music, in which I propose that because of our familiarity with the articulations of human sound, as we hear a voice we are able to imagine and mimic the choreography of the vocal tract, engaging a physical and bodily listening, thereby making not only performance but also listening a self- affirming bodily reflection on being.
more Doctoral dissertation, University of Pittsburgh, 2005In exploring the semiotics of vocal timbre as a general phenomenon within music, theoretical engagement of the history of timbre and of musical meaning bolsters my illustrative analyses of Laurie Anderson and Louis Armstrong.
I outline first its reliance on subtractive filtering imparted physically by the performer’s vocal tract, demonstrating that its signification is itself a subtractive process where meaning lies in the silent space between spectral formants.