'Like cupcakes melting in the sun...' /

'Like cupcakes melting in the sun...' was a performance of 7 compositions that explore outsider jazz styles, including exotica, smooth, and free jazz. The compositions were arranged for 8 musicians, with Jeff Kaiser on trumpet, Drew Ceccato on saxophone, Andrew Pask on saxophone, Michael Vlatkovich on trombone, Kjell Nordeson on drums and percussion, Leah Bowden on drums and percussion, Marcus Gilroy Ware on electric bass, and Philip Skaller on piano/ keyboards. The dissertation concert was held on May 8th, 2014 at the Conrad Prebys Concert Hall at the University of California, San Dieg

'Like cupcakes melting in the sun...' /

'Like cupcakes melting in the sun...' was a performance of 7 compositions that explore outsider jazz styles, including exotica, smooth, and free jazz. The compositions were arranged for 8 musicians, with Jeff Kaiser on trumpet, Drew Ceccato on saxophone, Andrew Pask on saxophone, Michael Vlatkovich on trombone, Kjell Nordeson on drums and percussion, Leah Bowden on drums and percussion, Marcus Gilroy Ware on electric bass, and Philip Skaller on piano/ keyboards. The dissertation concert was held on May 8th, 2014 at the Conrad Prebys Concert Hall at the University of California, San Dieg

The protest music of Nina Simone and Buffy Sainte- Marie: trauma, gender-based violence, and minority feminisms

Throughout the 1960s and 1970s Nina Simone and Buffy Sainte-Marie’s contributed many protest songs to the civil rights movement and indigenous rights efforts respectively. Much of their protest music told stories about the specific racialized and gendered oppression women of color faced during this time. In particular, both musicians foregrounded gender-based trauma narratives from the perspective of women of color. I position Simone and Sainte-Marie’s protest songs about gender-based violence at the intersection of black and indigenous feminist theory, social trauma scholarship, and transnationalism in order to understand the ways in which gender- based violence informed their respective protest music. Rooted in a historical context pertaining to colonial violence against women of color, I begin my study with Simone and Sainte-Marie’s autobiographical accounts of violence and abuse in their own words. In doing so, I create a trauma-informed foundation in which to understand how their personal experiences with trauma inform their protest music about gender-based violence. Using Simone’s “Four Women,” “Go Limp,” “Blues for Mama,” and “Backlash Blues” and Sainte-Marie’s “Cod’ine,” “The Incest Song,” “Rolling Log Blues,” and “Sweet, Fast Hooker Blues” as points of departure, I examine their usage of both folk and blues stylistics as a means for consciousness-raising about gender- based violence in their protest music.Durant les années 1960 à 1970, Nina Simone a contribué plusieurs chansons de manifestations au mouvement pour les droits civils, tout comme Buffy Sainte-Marie, qui a contribué sa musique manifestante au mouvement activiste pour les droits autochtones. Leur musique raconte des histoires d'oppressions liées à la race et au sexe. En particulier, les deux femmes ont mis de l’avant la violence sexiste à travers la perspective des minorités visibles comme thèmes majeurs. Pour comprendre comment leur musique manifestante a été influencé par la violence sexiste, je vais situer la musique de Simone et Sainte-Marie au centre intersectionelle de la théorie féministe, noire et indigène, l'érudition du traumatisme social et le transnationalisme. Ancrée dans le contexte historique coloniale de la violence contre les femmes de minorités visibles, je vais commencer mon étude avec les anectodes autobiographiques de la violence et de l'abus subit par Simone et Sainte-Marie. Ainsi, j’utilise ce contexte personnel pour expliquer comment le traumatisme a influencé la création de la musique manifestante qui s’adresse à la violence sexiste. En utilisant les chansons « Four Women », « Go Limp », « Blues for Mama » et « Backlash Blues » par Simone et les chansons « Cod'ine », « The Incest Song », « Rolling Log Blues » et « Sweet, Fast Hooker Blues » par Sainte-Marie comme points de départ, je peux examiner l'usage des styles de folk et de blues par les deux musiciennes afin d'attirer l'attention à la violence sexiste qui est au centre de leur musique manifestante

Capitalism and the production of realtime : improvised music in post-unification Berlin

After the fall of the Berlin wall in '89, and the subsequent implosion of the East German economy, the Berlin improvised music community flourished with venues springing up almost overnight in the East's abandoned industrial and residential areas. Artists from around the world, inspired by West Berlin's reputation as a counter- culture Mecca, moved in, taking advantage of cheap living costs and a depressed rental market. Berlin supported much of the (often illegal) activity as the artists generated cultural capital, refurbished derelict buildings, and gentrified neighborhoods. Twenty years later, Berlin has transformed into a 'global city,' while improvised music continues to flourish. What role are improvisers, and the broader subcultural arts scene, playing in this economic and political production? In this thesis I consider the possibility that improvised music functions in important ways as a formalist 'avant-garde' for the dominating and hegemonic forces of global capitalism and representative democracy. In this sense, Berlin provides a unique and liminal cultural field in which to study and shed light upon 'state-of-the-art' social, political and economic processes. Improvised music, referred to in Berlin as 'realtime music' (Echtzeitmusik), is structurally aligned with a contemporary organization of society in which commodity value lies in process instead of fixed objects, authenticity resides in the realtime spectacle of becoming and change, and power is a direct measure of speed and maneuverabilit

The Family History of Nicholas Paul Alexander /

Childhood of Ulrich Skaller in Galicia; World War II in Russia; history of Alexander, Goldstein, Perl, Skaller, Brandt, Ament, Kohl, Kalahora and Lebenheim families in Galicia and Russia; contains family trees; translations of scholarly articles on Polish Jewry.Brandt familyAment familyKalahora famil