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Discipline ( c 1985) The Making of Burning for Buddy, pt i (1996) Bibliography WickesIBJ, i M. Shore : “Bill Bruford,” Modern Drummer , 3/1 (1979), 9 K. Dallas : “Musicians’ World: Drums: Indiscipline behind Bruford,” Melody Maker (21 Nov 1981),45 C. Stern : “Drums,” Musician, Player & Listener , no.40 (1982), 63 S. K. Fish : “Bill Bruford,” Modern Drummer , 7/6 (1983), 8 Freff : “Crimson: Organizing Conflict in Time and Space,” Musician , no.70 (1984), 28 A. Lange and C. Doherty : “Bill Bruford: a Drummer’s

among others. Bibliography G. Endress : “Die Klangwelt des Schlagzeugs: Paul Motian,” Jazz Podium , vol. 22/May (1973), 18–21 S.K. Fish : “Paul Motian: Drawing from Tradition,” Modern Drummer , vol. 4/2 (1980), 16–9 J. Blum : “Paul Motian: Conversation with a Drummer,” JT , vol. 17/10 (1987), 15 C. Braman : “Paul Motian: Method of a Master,” Percussive Notes , vol. 32/2 (1994), 11 K. Micallef : “Paul Motian: Nice Work if you can Get it,” Modern Drummer , vol. 18/6 (1994), 26–9 B. Korall : “Paul Motian: Embracing the Past, Forging

Bibliography B. McLarney : “Roy Brooks: Unsung Hero,” DB , 34/16 (1967), 15 J. Dulzo : “Exquisite Thunder,” Detroit News (6 Feb 1981), §F, p.4 B. Priestley : Mingus: a Critical Biography (London, Melbourne, Australia, and New York, 1982), 190 R. Mattingly and S. K. Fish : “M’Boom,” Modern Drummer , 7/9 (1983), 8 H. Boyd and L. Sinclair : Detroit Jazz Who’s Who (Detroit, 1984) B. Sweet : “Roy Brooks: ‘Drumist’ with Jazz’s Finest,” Modern Drummer , 19/5 (1995), 118

Here ( c 1992, Verve Forecast 314-517657-2) Bibliography D. Levine : “Chad Wackerman: Enjoying All Challenges,” Modern Drummer , 7/5 (1983), 14 Freff : “Frank Zappa’s Scott Thunes and Chad Wackerman,” Musician , no.70 (1984), 70 R. Flans : “Chad Wackerman,” Modern Drummer , 12/12 (1988), 20 [incl. discography] K. Micallef : “Hearsay: Chad Wackerman: Forty Reasons to Buy his Record,” JT , 21/8 (1991), 8 < http://home.earthlink.net/~unclemeat/wackerman.html > (1999)

Been? (1980, Conc. 145) G. Russell: The African Game (1983, BN 85103) H. Jones: Lazy Afternoon (1989, Conc. 4391) C. Brown: All my Life (1990, Bullseye Blues 9501) L. Schneider: Blind Date (1992, Ste. 31317) T. Purrone: In the Heath Zone (1997, Ste. 31410) Bibliography S.K. Fish : “Keith Copeland: Tradition,” Modern Drummer , 8/5 (1984), 28 Obituary, Allegro , 115/4 (2015) http://www.keithcopeland.com

'70s; GrayF G. Lees : “Inside the New Bill Evans Trio,” DB , 29/29 (1962), 24 M. Henaels : “Paul Motian: I’d Like to Bring Back the Art of Playing the Drum Set,” JF [intl edn], no.56 (1978), 30 C. Flicker : “Paul Motian ou l’amour des formes,” Jm , no.273 (1979), 26 S. K. Fish : “Paul Motian: Drawing from Tradition,” Modern Drummer , 4/2 (1980), 16 S. Cotta : “La grande oreille de Paul Motian,” Le monde de la musique , no.61 (1983), 68 D. Soutif : “Motion + Emotion = Motian,” Jm , no.323 (1983), 24 S. Lake : “Paul Motian,” Wire , no.25 (1986),

74 H. L. Lindenmaier : 25 Years of Fish Horn Recording: the Steve Lacy Discography, 1954–1979 (Freiburg, Germany, 1982) [incl. list of compositions] C. Preiss : The Steve Lacy Festival Handbook (New York, 1982) [incl. discography] R. Cook : “A Duck is Calling your Name: Some Thoughts on Steve Lacy and the Art of Going Solo on Soprano,” The Wire , no.19 (1985), 23 D. Bailey : “Derek Bailey im Gespräch mit Steve Lacy,” JP , 35/3 (1986), 16 R. Parry : “Futurities: Steve Lacy’s Lyrics,” Coda , no.216 (1987), 22 K. Whitehead : “Steve Lacy: the Interview

jaunty (the verse containing the rhyme “pony” and “macaroni” did not appear until 1842 ). ( See Revolutionary War, the.) "The Star Spangled Banner," by Francis Scott Key, printed on silk to commemorate the bombardment of Fort McHenry, 1814. Library of Congress, Rare Book and Special Collections Division. The words of “The Star-Spangled Banner” were written in September 1814 by Georgetown lawyer, Francis Scott Key, who wrote lyrics to a popular melody (to which he had previously composed separate lyrics nine years earlier). The melody was composed in England c 1770

text, including chatty digressions about domestic matters in the Stein/Toklas household (“What happened today, a narrative”) and what seem evocations of religious imagery, including the opening lines: “To know to know, to love her so./Four saints, prepare for saints./It makes it well fish.” The text vaguely suggests a community of saints, headed by St. Teresa and St. Ignatius, who go about daily rituals and exchange social pleasantries (“How do you do. Very well I thank you. And when do you go. I am staying on quite continuously.”) But the text as presented to Thomson

atmosphere along with singers, characters and roles. ‘Where else can you see two women making love in a public place?’ (Reynolds, in Blackmer and Smith, En Travesti , 1995 , p.133). Such coupling runs the gamut, moreover, from the ‘principal boy’ of lower-class British pantomime, with her fish-net stockings and full-hipped swagger, to the aristocratic Octavian playing butch to the Marschallin's femme in a fin-de-siècle Viennese bedroom, which has sometimes been seen as a symbolic performance of lesbian desire (Mary Garden refused to ‘out’ herself by creating the role); and

Hüttenbrenner before sum. 1826 1828, op.64/1 xvi, 141; iv, 121 825a Ewige Liebe TTBB E. Schulze before sum. 1826 1828, op.64/2 xvi, 144; iv, 126 825b Flucht TTBB K. Lappe by early 1825 1828, op.64/3 xvi, 148; iv, 133 835 Bootgesang TTBB, pf W. Scott, trans. D.A. Storck 1825 1826, op.52/3 xvi, 89; iii 847 Trinklied aus dem 16. Jahrhundert TTBB F. Gräffer July 1825 1849, op.155 xvi, 29; iv, 139 848 Nachtmusik TTBB K.S. von Seckendorff July 1825 1849, op.156 xvi, 166; iv, 143 865 Widerspruch TTBB, pf J.G. Seidl ?1826 1828, op.105/1 xvi, 93; iii version a [for version b see

a simple walking step, became popular in the USA, providing an entrée to the dance floor for commercial ragtime numbers such as Alexander’s Ragtime Band. Variants of the one-step included the bunny hug and turkey trot, and there were other ragtime dances such as the horse trot and fish walk. But it was the foxtrot, developed in the USA around 1912 and promoted by the dancing team of Vernon and Irene Castle, that really established a new era in dancing; it reached Britain in 1914 and in due course spread through Europe. After ragtime, the actual steps or the movement

to strike a small drum ( ban gu ) in alternation. Woodblocks of several types have emerged over recent centuries. The muyu (‘wooden fish’), described in the Ming dynasty Sancai tuhui ( 1619 ), is one of the oldest. It is most commonly constructed of mulberry or camphor wood, with a hollow interior resonating chamber, the exterior elaborately carved in a rounded abstraction of a fish (although some older muyu are in fact fish-shaped). The muyu is struck with a beater in accompaniment of Buddhist chant. The woodblock known as nanbangzi (‘southern bangzi

use of oscillators and of instruments based on them. Stockhausen’s Alphabet ( 1972 ) pursues similar applications to those in the last two works by Lucier mentioned above: several oscillators create Chladni patterns, shatter panes of glass and affect gas flames and the movements of fish swimming in a tank of water. Hugh Davies has exploited difference tones between oscillators and other sound sources in Quintet ( 1967–8 ) and Mobile with Differences ( 1973 ). For Organica I–IV (early 1970s) David Johnson devised a set of hand-held tubes containing small oscillators

1985 — The sun shines down (Auden), high v, pf, 1937 (1997) — Fish in the unruffled lakes (Auden), high v, pf, 1938 (1997, ed. C. Matthews), rev. 1942–3 (1947) Pears, Britten, London, 28 Feb 1943 — The Red Cockatoo (A. Waley, after Po Chü-i), high v, pf, 1938 (1994) Shelton, Brown, Snape Maltings, 17 June 1991 — Tell me the Truth about Love (cabaret song, Auden), 1v, pf, 1938 (1980) H. Anderson, D. Ibbott, BBC, 14 June 1949 — A Cradle Song: Sleep, beauty bright (W. Blake), S, C, pf, 1938 (1994), V. Bell, K. Roland, J. West, Snape, 23 July 1994 — Calypso (cabaret song

regional music and dance of South Kalimantan] (Banjarmasin, 1986) [pubn of Proyek Penelitian dan Pencatatan Kebudayaan Daerah 1978/1979] V.K. Gorlinski : ‘Some Insights into the Art of Sapé′ Playing’, Sarawak Museum Journal , 39 (1988), 77–104 V.K. Gorlinski : ‘ Pangpagaq : Religious and Social Significance of a Traditional Kenyah Music-Dance Form’, Sarawak Museum Journal , 40/61 (1989), 279–301 [special issue] V.K. Gorlinski : The Sampéq of East Kalimantan, Indonesia: a Case Study of the Recreational Music Tradition (thesis, U. of Hawaii, Manoa, 1989)