Podcast appearances and mentions of catherine tackley

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Best podcasts about catherine tackley

Latest podcast episodes about catherine tackley

How to use a musical score - for iPod/iPhone

Open University lecturers Catherine Tackley and Naomi Barker outline how music is written down, what a musical score is and what it does. You will also learn how musicians use and interpret musical scores in their work.

score open university catherine tackley
How to use a musical score - for iPod/iPhone

Transcript -- Open University lecturers Catherine Tackley and Naomi Barker outline how music is written down, what a musical score is and what it does. You will also learn how musicians use and interpret musical scores in their work.

score transcript open university catherine tackley
How to use a musical score - for iPod/iPhone
How do conductors use scores?

How to use a musical score - for iPod/iPhone

Play Episode Listen Later Jul 13, 2015 5:00


Conductor Mark Heron talks to Catherine Tackley, of the Open University, about what happens in rehearsals. He talks about ‘rehearsal marks’, letters placed in the score to help a conductor to identify a particular place to the players when starting and stopping to practise particular parts of a piece.

How to use a musical score - for iPod/iPhone
Transcript -- How do conductors use scores?

How to use a musical score - for iPod/iPhone

Play Episode Listen Later Jul 13, 2015


Transcript -- Conductor Mark Heron talks to Catherine Tackley, of the Open University, about what happens in rehearsals. He talks about ‘rehearsal marks’, letters placed in the score to help a conductor to identify a particular place to the players when starting and stopping to practise particular parts of a piece.

How to use a musical score - for iPod/iPhone
How does a score help in rehearsals?

How to use a musical score - for iPod/iPhone

Play Episode Listen Later Jul 13, 2015 5:33


Conductor Mark Heron talks to Catherine Tackley, of the Open University, about ‘rehearsal marks’, letters placed in the score to help a conductor to identify a particular place to the players when starting and stopping to practice particular parts of a piece.

How to use a musical score - for iPod/iPhone
Transcript -- How does a score help in rehearsals?

How to use a musical score - for iPod/iPhone

Play Episode Listen Later Jul 13, 2015


Transcript -- Conductor Mark Heron talks to Catherine Tackley, of the Open University, about ‘rehearsal marks’, letters placed in the score to help a conductor to identify a particular place to the players when starting and stopping to practice particular parts of a piece.

How to use a musical score - for iPod/iPhone
How does a score help develop the performance?

How to use a musical score - for iPod/iPhone

Play Episode Listen Later Jul 13, 2015 4:05


Conductor Mark Heron talks to Catherine Tackley, of the Open University, about the different types of information which can be found in a score and how conductors go about interpreting this to develop a performance.

How to use a musical score - for iPod/iPhone
Transcript -- How does a score help develop the performance?

How to use a musical score - for iPod/iPhone

Play Episode Listen Later Jul 13, 2015


Transcript -- Conductor Mark Heron talks to Catherine Tackley, of the Open University, about the different types of information which can be found in a score and how conductors go about interpreting this to develop a performance.

How to use a musical score - for iPod/iPhone
How does a score help develop the interpretation?

How to use a musical score - for iPod/iPhone

Play Episode Listen Later Jul 13, 2015 5:02


Conductor Mark Heron talks to Catherine Tackley, of the Open University, about some of the different ways in which conductors have approached performing established classical works such as Beethoven’s Symphony No. 5.

How to use a musical score - for iPod/iPhone
Transcript -- How does a score help develop the interpretation?

How to use a musical score - for iPod/iPhone

Play Episode Listen Later Jul 13, 2015


Transcript -- Conductor Mark Heron talks to Catherine Tackley, of the Open University, about some of the different ways in which conductors have approached performing established classical works such as Beethoven’s Symphony No. 5.

Thinking Allowed
Live Music - from Dance Hall to the 100 Club

Thinking Allowed

Play Episode Listen Later May 22, 2013 28:12


Live music - from Dance Hall to the 100 Club.The social history of music in Britain since 1950 has long been the subject of nostalgic articles and programmes, but to date there has been no proper scholarly study. The writer and Professor of Music, Simon Frith, is one of the co-authors of the first in a three volume series which addresses this gap. He talks to Laurie Taylor about how the organisation and enjoyment of live music changed between 1950 and 1967 offering new insights into the evolving nature of musical fashions; the impact of developing technologies and the balance of power between live and recorded music businesses. The first volume draws on archival research, a wide range of academic and non-academic sources, participant observation and industry interviews. Dr Catherine Tackley, musician and lecturer, and Caspar Melville, lecturer in Global Cultural Industries, join the debate.Producer: Jayne Egerton.

music live professor club britain live music dancehall 100 club caspar melville laurie taylor catherine tackley
New Books in American Studies
Catherine Tackley, “Benny Goodman’s Famous 1939 Carnegie Hall Jazz Concert” (Oxford UP, 2011)

New Books in American Studies

Play Episode Listen Later Mar 19, 2013 40:35


Feed: “How do I get to Carnegie Hall?” Comic: “Practice!” When I first began to build a jazz record library back in the early 1960s, one particular album stood out. A rare “double-album,” Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert was more akin in appearance to the records in my parents’ classical record collection. The back stories and analyses of the concert, the marketing of the recording 12 years later in 1950, and the subsequent canonization of the concert and recording is the story Catherine Tackley tells in her new book for the Oxford Studies in Recorded Jazz Series, Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert (Oxford University Press, 2011) Tackley is an extremely busy and talented woman. An academic, musician, writer, teacher, and performer, she adores both the study of and playing jazz. She played Goodman’s songs herself with her big band Dr. Jazz and the Cheshire cats “in a room full of the world’s leading jazz scholars.” Now that’s academic courage! Benny Goodman, billed the “King of Swing,” was uneasy about the longevity of the label; a perfectionist and an artful player of both jazz and classical music, he feared that he’d be typecast. His Carnegie Hall concert was “sold” by promoters at the time as an important event in the history of the evolution of jazz in general and swing in particular. Nonetheless, Tackley recounts how Carnegie Hall had been the site of both classical and popular music, with “crossover” antecedents to “jazz” concerts going back as far as 1912 when an integrated audience attended the Clef Club orchestra consisting of all black musicians who “played a program of traditional spirituals and compositions by black composers.” And there were others, including Paul Whiteman’s orchestra and W.C. Handy featuring Fats Waller, all of whom played at Carnegie Hall before Goodman. Goodman and his band were already well known to the public due to his many live, nationally broadcast radio programs. Tackley uses a musician’s and historian’s approach in analyzing the subtle differences in the arrangements and performances on the January 16, 1938 program. She also tells interesting anecdotes about drummer Gene Krupa, trumpeter Harry James, vibe-player Lionel Hampton, pianist Jess Stacey and many others. Members of Duke Ellington’s and Count Basie’s bands also participated in the jam session that night, too. Ironically, for the musicians who played that evening, it might have been just another working night. After the concert many of the musicians went to the Savoy Ballroom to hear a battle of two other famous bands –Count Basie and Billie Holiday dueling it out with Chick Webb and Ella Fitzgerald! Finally, the author tells the story of the concert’s own creation myth when 12 years later, in 1950, the acetates from the concert were “found” and subsequently marketed by Columbia Records. Goodman, the critics, and the producers at Columbia thought the release might revive swing. Jazz and Goodman had long moved on to other forms, but the concert on January 16, 1938 became part of jazz history nonetheless. Tackley’s story of the concert, the individual song performances, the critical and audience responses, and the later marketing of the recording gives the reader a fascinating glimpse at how the music that night became part of jazz’s and America’s cultural legacy. On a personal note, my wonderful father-in-law, who passed away in February, 2013, was a WWII veteran who adored big bands and the music of Benny Goodman. Learn more about your ad choices. Visit megaphone.fm/adchoices

New Books in Music
Catherine Tackley, “Benny Goodman’s Famous 1939 Carnegie Hall Jazz Concert” (Oxford UP, 2011)

New Books in Music

Play Episode Listen Later Mar 19, 2013 40:35


Feed: “How do I get to Carnegie Hall?” Comic: “Practice!” When I first began to build a jazz record library back in the early 1960s, one particular album stood out. A rare “double-album,” Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert was more akin in appearance to the records in my parents’ classical record collection. The back stories and analyses of the concert, the marketing of the recording 12 years later in 1950, and the subsequent canonization of the concert and recording is the story Catherine Tackley tells in her new book for the Oxford Studies in Recorded Jazz Series, Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert (Oxford University Press, 2011) Tackley is an extremely busy and talented woman. An academic, musician, writer, teacher, and performer, she adores both the study of and playing jazz. She played Goodman’s songs herself with her big band Dr. Jazz and the Cheshire cats “in a room full of the world’s leading jazz scholars.” Now that’s academic courage! Benny Goodman, billed the “King of Swing,” was uneasy about the longevity of the label; a perfectionist and an artful player of both jazz and classical music, he feared that he’d be typecast. His Carnegie Hall concert was “sold” by promoters at the time as an important event in the history of the evolution of jazz in general and swing in particular. Nonetheless, Tackley recounts how Carnegie Hall had been the site of both classical and popular music, with “crossover” antecedents to “jazz” concerts going back as far as 1912 when an integrated audience attended the Clef Club orchestra consisting of all black musicians who “played a program of traditional spirituals and compositions by black composers.” And there were others, including Paul Whiteman’s orchestra and W.C. Handy featuring Fats Waller, all of whom played at Carnegie Hall before Goodman. Goodman and his band were already well known to the public due to his many live, nationally broadcast radio programs. Tackley uses a musician’s and historian’s approach in analyzing the subtle differences in the arrangements and performances on the January 16, 1938 program. She also tells interesting anecdotes about drummer Gene Krupa, trumpeter Harry James, vibe-player Lionel Hampton, pianist Jess Stacey and many others. Members of Duke Ellington’s and Count Basie’s bands also participated in the jam session that night, too. Ironically, for the musicians who played that evening, it might have been just another working night. After the concert many of the musicians went to the Savoy Ballroom to hear a battle of two other famous bands –Count Basie and Billie Holiday dueling it out with Chick Webb and Ella Fitzgerald! Finally, the author tells the story of the concert’s own creation myth when 12 years later, in 1950, the acetates from the concert were “found” and subsequently marketed by Columbia Records. Goodman, the critics, and the producers at Columbia thought the release might revive swing. Jazz and Goodman had long moved on to other forms, but the concert on January 16, 1938 became part of jazz history nonetheless. Tackley’s story of the concert, the individual song performances, the critical and audience responses, and the later marketing of the recording gives the reader a fascinating glimpse at how the music that night became part of jazz’s and America’s cultural legacy. On a personal note, my wonderful father-in-law, who passed away in February, 2013, was a WWII veteran who adored big bands and the music of Benny Goodman. Learn more about your ad choices. Visit megaphone.fm/adchoices

New Books Network
Catherine Tackley, “Benny Goodman’s Famous 1939 Carnegie Hall Jazz Concert” (Oxford UP, 2011)

New Books Network

Play Episode Listen Later Mar 19, 2013 40:35


Feed: “How do I get to Carnegie Hall?” Comic: “Practice!” When I first began to build a jazz record library back in the early 1960s, one particular album stood out. A rare “double-album,” Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert was more akin in appearance to the records in my parents’ classical record collection. The back stories and analyses of the concert, the marketing of the recording 12 years later in 1950, and the subsequent canonization of the concert and recording is the story Catherine Tackley tells in her new book for the Oxford Studies in Recorded Jazz Series, Benny Goodman’s Famous 1938 Carnegie Hall Jazz Concert (Oxford University Press, 2011) Tackley is an extremely busy and talented woman. An academic, musician, writer, teacher, and performer, she adores both the study of and playing jazz. She played Goodman’s songs herself with her big band Dr. Jazz and the Cheshire cats “in a room full of the world’s leading jazz scholars.” Now that’s academic courage! Benny Goodman, billed the “King of Swing,” was uneasy about the longevity of the label; a perfectionist and an artful player of both jazz and classical music, he feared that he’d be typecast. His Carnegie Hall concert was “sold” by promoters at the time as an important event in the history of the evolution of jazz in general and swing in particular. Nonetheless, Tackley recounts how Carnegie Hall had been the site of both classical and popular music, with “crossover” antecedents to “jazz” concerts going back as far as 1912 when an integrated audience attended the Clef Club orchestra consisting of all black musicians who “played a program of traditional spirituals and compositions by black composers.” And there were others, including Paul Whiteman’s orchestra and W.C. Handy featuring Fats Waller, all of whom played at Carnegie Hall before Goodman. Goodman and his band were already well known to the public due to his many live, nationally broadcast radio programs. Tackley uses a musician’s and historian’s approach in analyzing the subtle differences in the arrangements and performances on the January 16, 1938 program. She also tells interesting anecdotes about drummer Gene Krupa, trumpeter Harry James, vibe-player Lionel Hampton, pianist Jess Stacey and many others. Members of Duke Ellington’s and Count Basie’s bands also participated in the jam session that night, too. Ironically, for the musicians who played that evening, it might have been just another working night. After the concert many of the musicians went to the Savoy Ballroom to hear a battle of two other famous bands –Count Basie and Billie Holiday dueling it out with Chick Webb and Ella Fitzgerald! Finally, the author tells the story of the concert’s own creation myth when 12 years later, in 1950, the acetates from the concert were “found” and subsequently marketed by Columbia Records. Goodman, the critics, and the producers at Columbia thought the release might revive swing. Jazz and Goodman had long moved on to other forms, but the concert on January 16, 1938 became part of jazz history nonetheless. Tackley’s story of the concert, the individual song performances, the critical and audience responses, and the later marketing of the recording gives the reader a fascinating glimpse at how the music that night became part of jazz’s and America’s cultural legacy. On a personal note, my wonderful father-in-law, who passed away in February, 2013, was a WWII veteran who adored big bands and the music of Benny Goodman. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Conversation: An OUP Podcast
Catherine Tackley, “Benny Goodman's Famous 1939 Carnegie Hall Jazz Concert” (Oxford UP, 2011)

In Conversation: An OUP Podcast

Play Episode Listen Later Mar 19, 2013 40:35


Feed: “How do I get to Carnegie Hall?” Comic: “Practice!” When I first began to build a jazz record library back in the early 1960s, one particular album stood out. A rare “double-album,” Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert was more akin in appearance to the records in my parents' classical record collection. The back stories and analyses of the concert, the marketing of the recording 12 years later in 1950, and the subsequent canonization of the concert and recording is the story Catherine Tackley tells in her new book for the Oxford Studies in Recorded Jazz Series, Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (Oxford University Press, 2011) Tackley is an extremely busy and talented woman. An academic, musician, writer, teacher, and performer, she adores both the study of and playing jazz. She played Goodman's songs herself with her big band Dr. Jazz and the Cheshire cats “in a room full of the world's leading jazz scholars.” Now that's academic courage! Benny Goodman, billed the “King of Swing,” was uneasy about the longevity of the label; a perfectionist and an artful player of both jazz and classical music, he feared that he'd be typecast. His Carnegie Hall concert was “sold” by promoters at the time as an important event in the history of the evolution of jazz in general and swing in particular. Nonetheless, Tackley recounts how Carnegie Hall had been the site of both classical and popular music, with “crossover” antecedents to “jazz” concerts going back as far as 1912 when an integrated audience attended the Clef Club orchestra consisting of all black musicians who “played a program of traditional spirituals and compositions by black composers.” And there were others, including Paul Whiteman's orchestra and W.C. Handy featuring Fats Waller, all of whom played at Carnegie Hall before Goodman. Goodman and his band were already well known to the public due to his many live, nationally broadcast radio programs. Tackley uses a musician's and historian's approach in analyzing the subtle differences in the arrangements and performances on the January 16, 1938 program. She also tells interesting anecdotes about drummer Gene Krupa, trumpeter Harry James, vibe-player Lionel Hampton, pianist Jess Stacey and many others. Members of Duke Ellington's and Count Basie's bands also participated in the jam session that night, too. Ironically, for the musicians who played that evening, it might have been just another working night. After the concert many of the musicians went to the Savoy Ballroom to hear a battle of two other famous bands –Count Basie and Billie Holiday dueling it out with Chick Webb and Ella Fitzgerald! Finally, the author tells the story of the concert's own creation myth when 12 years later, in 1950, the acetates from the concert were “found” and subsequently marketed by Columbia Records. Goodman, the critics, and the producers at Columbia thought the release might revive swing. Jazz and Goodman had long moved on to other forms, but the concert on January 16, 1938 became part of jazz history nonetheless. Tackley's story of the concert, the individual song performances, the critical and audience responses, and the later marketing of the recording gives the reader a fascinating glimpse at how the music that night became part of jazz's and America's cultural legacy. On a personal note, my wonderful father-in-law, who passed away in February, 2013, was a WWII veteran who adored big bands and the music of Benny Goodman.