Welcome to Tone East Music's fundraiser to help develop the Serbia Children's Jazz Festival in Novi Sad.
After a 3 month assignment, helping the University of Novi Sad, developed a jazz program at the Academy of Art, and working with the Children's Choir of Novi Sad, a few business leaders in the town thought it be a wonderful idea to establish a children’s festival and workshops as an addition to the other music curriculum. Hope you can help us continue developing a standard of excellence and good taste with a contribution.
The Festival is to take place in Novi Sad,Serbia and several other places in the city. One of its primary goals is to encourage the youth to develop their music taste through jazz. We will start by renovating the grounds and refurbishing "Academy West", while preserving the great architecture of this monumental edifice, for this is so important to maintain the high tradition and standard.
The importance of Jazz, particularly in the highly developed civilization exceeds the power of human understanding, not only ecologically or economically, but also in a cultural, social and humanistic sense.
The creative market connects the culture, art and all other areas of human creation, representing social development with the important potential of self-upgrading.
It is an honor to be a participant of the Festival of GOOD TASTE and the opportunity for the beginning of the new business ventures and continuation of the old ones. In a pleasant atmosphere of good taste, jazz music, gourmet dishes and wine, the role of the donors and the educators of the young generations and families, will bring to the participants warm recognition for the high level of awareness.
The central person of the project and author, is Mr. Antonio Underwood, world-known jazz artist, who will be staying in Novi Sad this year to insure the necessary logistics and workshop developmental landscape and outcome based lesson plans are implemented. Thus far, we have created the logistical guidelines for application to all young artist auditions, adjudication process for individual, ensemble evaluation, with pre/post assessments protocol for the individual and group performers.
The primary goal of the Serbia Children's Jazz Festival, is to encourage young people to develop their music taste through jazz. The importance of Jazz, particularly in the highly developed civilization exceeds the power of human understanding, not only ecologically or economically, but also in a cultural, social and humanistic sense. This process of Jazz education, workshops, and additional programming will continue throughout the school year up to the Children's Exit festivities at the Petrovaradin Fortress..
Every purchase of "Dobar dan" LP is $5USD/5 Euros/561 RSD EP [Extended Play] will go towards the development, renovation, and sustainability of the festival.
The fundraiser CD, Dobar dan, mastered by Jason @ NBCUniversa
This project, composed, performed, and produced by Antonio Underwood, speaks to his experience while teaching jazz history at the academy of Novi Sad. Capturing a true essence of the cultural exchange between African Cultured American life and this Southeastern European cultural area.
STUDENT AUDITION APPLICATION
Invitation to audition for the
PROJECT OF GLOBAL CLASSROOM FOR A SUSTAINABLE SOCIETY
~The Serbia Children's Jazz Festival~
For early development of jazz music taste at a festival of optimism
Supported by the leaders and the companies of GOOD TASTES
Young Artists Auditions (YAA) Application
1. Young Artists Audition will be in person or by UTube audio with application.
2. Musical selections shall be limited to 10 minutes or less. Surpassing this time limit will result in disqualification.
3. Deadline for all applications/Utube audition must be delivered by email 5:00 p.m. on designated date to be announced.
Please fill out the form below, print it, and submit it by e-mail or in person by designated date to:
NAME(S) ________________________________________________ INSTRUMENT(S) ________________
DATE OF BIRTH _____________________________ GRADE IN SCHOOL ________________________
EMAIL __________________________________________ CELL PHONE ______________________
NAME OF PARENT(S) OR LEGAL GUARDIAN(S) ________________________________________________
EMAIL __________________________________________ CELL PHONE ______________________
CURRENT PRIVATE MUSIC TEACHER ____________________________________________________
TEACHER’S ADDRESS ________________________________________________________________
TEACHER’S EMAIL __________________________________________________________________
TEACHER’S PHONE (this number will be used for ALL contest communications)__________________
LENGTH OF STUDY WITH THIS TEACHER _________________________________________________
COMPLETE TITLE OF SELECTION(S)_______________________________________________________ COMPOSER
___________________________________________ PUBLISHER __________________
_________________________________________ PERFORMANCE DURATION _________________ (Must not be longer than 25 minutes)
A) I certify that I fall into one (or more) of the following categories: (Select all that apply.)
___ a resident of the REPUBLIC OF SERBIA
___ any student performer through 12th grade or Gymnasium equivalent, in one of the following categories: Jazz Instrumental Soloist/Jazz Quartet, Quintet, etc/Jazz Orchestra/Jazz Band/Jazz Vocal Soloist/Jazz Vocal Ensemble
B) For a STUDENT to be eligible, they understand that each application form, performance recording is submitted to: The SCJF and must be post-marked a month before Festival or received no later than 5:00 p.m. on the deadline set. This deadline is firm.
C) The undersigned applicant(s) and applicant’s parent(s) or guardian(s) certify that the information provided herein is true and correct; that we have read, understand and agree to abide by the provisions of the application and the Regulations contained on The SCJF website. The applicant(s) and applicant’s parent(s) or guardian(s) further releases The SCJF from any and all claims or cause of action arising out of conduct of The SCJF for which this application is submitted.
D) The Program Music Director, Antonio Underwood of The SCJF, may require that additional cuts to the length of the selection(s) be made if it is necessary.
*If any cuts are made, they will be decided at the sole discretion of the Program Music Director and the decision is final and without appeal.
E) I have read and understand the Young Artists Auditions Rules and Regulations on the YAA website and signify my understanding by initialing where indicated below:
Student(s) Parent(s)/Guardian(s) Teacher(s) Initials_______ ____________ _______
F) All applicants selected must be available for the festival on _________,_______,___at______PM. at The Petrovaradin Fortress.
G) Dress Code: Casual with appropriate footwear
Student Parent/Guardian Teacher Initials _____ ___________ _________
H) Performers for The Children's Fall Exit Jazz Festival Concert must comply with ALL strict copyright rules for material performed, NO violation of the published rules, abide by all security rules.
Student(s) Parent(s)/Guardian(s) Teacher(s) Initials ______ ____________ _______
Duration of repertoire selection/performances must be ten (25) minutes or less.
Applicant(s) Signature: __________________________________________ Date: ___________________
Parent(s)/Guardian(s) Signature: ______________________________________ Date: ___________________
Music Teacher(s) Signature: ________________________________________ Date: __________________
WORKSHOP ADJUDICATION MODEL
*Applicant must be able to read music, be comfortable with reading and counting simple rhythmic meters, have basic tone production technique and at least one year of musical training on their primary instrument.
String: Able to play all notes in 1st position including one-octave scales. Ability to read music at basic level.
Winds/Brass: Able to play one-octave scales. Able to play whole, half, quarter, 8th note patterns. Ability to read music at basic level.
Percussion: Snare/Set: Able to play a multiple-bounce roll and read 8th note rhythms at different tempi. Able to adapt rhythms in each drum/cymbal.
Timpani: Able to play 8th note rhythms on two drums at moderate tempo.
Piano/Guitar: Able to play major scales of at least one octave, be familiar with basic chords in first position, and able to read single-line melodies.
Intermediate Division I
*Applicant must be able to read music, be comfortable with reading and counting both simple and compound rhythmic meters, have basic tone production technique and at least two years of musical training on their primary instrument.
String: Able to play two-octave scales including shifting into higher position
Winds/Brass: Able to play one to two octave scales in concert Bb, Eb, Ab, C and F major
Percussion: Snare: Able to play a multiple-bounce and double-stroke roll at varying dynamics. Read 8th note 16th note rhythms. Able to play more complex rhythms on each drum/cymbal
Timpani: Able to play single-stroke roll and play 8th and 16th note rhythms on two drums.
Piano/Guitar: Able to play major and minor scales of at least one octave, be familiar with basic chords in first position, and able to read single-line melodies fluently.
Intermediate Division II
*Applicant should have notation reading skills and must have at least three years of musical training and able to play one to three-octaves scales on their primary instrument.
String: Able to play two to three octave scales, shifting into higher position, with vibrato;
Cellist: should be familiar with tenor clef
Winds/Brass: Able to play two octave scales, as range permits, in concert Bb, Eb, Ab, Db, C, F and G major, plus chromatic scale
Percussion: Snare/Set: Able to play a smooth multiple-bounce and double-stroke roll at varying dynamics levels. Read 8 &16th note and triplet rhythms in different meters (4/4, 2/2, 6/8).
Timpani: Able to play a smooth single-stroke roll and able to rhythms on three drums. Have a fundamental knowledge of various percussion instruments.
Piano/Guitar: Able to play major and minor scales of at least one octave, be familiar with basic chords in first position and beyond, and able to read single-line melodies fluently.
*Applicant should have at least three to four years of musical training and able to perform two to three major, minor and chromatic scales and arpeggios.
String: Able to play two to three octave major and minor scales, arpeggios, and have sophisticated bow technique including spiccato;
Violinist: Must have knowledge of 3rd, 4th and 5th positions.
Violists: Knowledge of 3rd position/ Knowledge of alto clef.
Cellist: Knowledge of tenor cleft and thumb position.
Winds/Brass: Able to play two octave major, minor and chromatic scales as range permits, flute, single reed and brass players should be able to double and triple tongue.
Percussion: Snare/Set: Able to play a smooth, clean multiple rudiments at all dynamic levels and complex rhythms on multiple meters.
Timpani: Able to play a smooth, single-stroke roll, and able to play complex rhythms on four drums, including the ability to tune the drums. Have a fundamental knowledge of various percussion instruments (triangle, cymbals, tambourine, etc.). Have at least a fundamental knowledge
of keyboard instruments (xylophone, marimba).
Piano/Guitar: Able to play major and minor scales of at least one octave, be familiar with basic chords in first position beyond, and able to read single-line melodies fluently.
JAZZ WORKSHOP OUTLINE
Jazz Education Curriculum (History and Applied Training)
Jazz workshops in history, instrumental pedagogy, and ensemble performance that define the stylized origin of its cultural American roots from the Southeast, New Orleans, to the big cities. This interesting and oft misunderstood conceptual development is lost today in the pursuit of popular demands. The New Orleans brass band music is a viable and necessary component in the over all understanding and study of the development of jazz through the 20th Century and beyond. This being, directly, linked to its renowned trumpet/vocal performer Louis Armstrong.
The Music program portion will focus on tracing the chronological story of Jazz and its vast history from the end of the 19th century to its influence of music forms in the eclectic time of the 21st century.
Jazz is a collective improvisational art form performed by people from all walks of life; a democratic music form with humble beginnings in America, shared by rich and poor.
This History course is a survey of the historical development of Jazz music in our global society. This music’s origin stems from Africa through African Cultured Americans to its current expansion throughout the world. This participative music is an equal exchange between the performer and listener. These “life” performances are always new and creative; happening right then and there. It is through classic recordings that many can enjoy analysis for what has taken place at that moment, but in order to increase an awareness and enjoyment you must be a part of the exchange as it happens. European Classical Music is pasted from the composer to the conductor for interpretation of the meaning, and then to convey to instrumentalist’s for translation to the listener in a formal setting.
Jazz is the American Classical art form that has influenced innovative thinking, creative thought and all types of abstract thinking and art throughout the entire world. Created by the slave descendants of African Cultured Americans, as a means of entertainment for the aristocracy, who then cultivated an expression of their feelings, talents, and beliefs about freedom, identity, and art through music?
The embryonic music developed from the traditions of Western Africa with a rhythm based concept added to everyday life experiences. Then added European harmonic concepts.
* Music apart of everyday life (Ceremonial) Handed down from generation to generation by Griot (Historians) Strong significance to drums as the instrument for healing, expression, and communication Improvisation (Aleatory)
*Strict melody, harmony, and classic structure
*The impact of music in religion (Greek/Roman)
* Biblical uses to heal sickness in body and mind
Story of David curing Saul’s madness by playing the Harp (Samuel XVI:14-23)
A Trumpet blast toppling the wall of Jericho (Joshua VI:12-20)
“Sing unto the Lord with the Harp” “With Trumpets and sound of Cornets make a joyful noise before the Lord, The King” (Psalms 98:5-6)
*Greek Mythology and music as a source of magical powers
Apollo- The god of music and poetry
Amphion- learned to play the Lyre in the Lydian mode
Orpheus- The greatest musician and poet of Greek myth. When Orpheus' wife, Eurydice , was killed by the bite of a serpent, he went down to the underworld to bring her back. His songs were so beautiful that Hades finally agreed to allow Eurydice to return to the world of the living.
*Pythagoras (500 B.C)
Music and mathematics inseparable
Mathematics of musical sounds and rhythms thought to be the key to understanding the spiritual and physical universe.
“Music of Spheres” A literary publication pointing to the connection between Astronomy and Music. It establishes that the systems of musical intervals are proportional to the systems of heavenly bodies evident in the Universe.
*Ptolemy- Leading Astronomer and music writer of his time wrote on the subject of music during the middle ages.
“Music”, a force that could affect the Universe. When one listens to music, one listens to an imitation of a certain passion… In fact, prolonged listening to music which rouses ignoble passions will shape the host character into an ignoble form; the wrong kind of person.
Goal: To teach the historic musical development of jazz. To enable the students to appreciate and admire this artistic form of expression that is unique. Developing detailed aural skills as well as processing abstract musical principles, concepts and forms.
Learn the origin and embryonic development of jazz focusing on the chronological story from Africa to the 21st Century.
Learn basic elements of music and how to listen to Jazz. Learn the musical forms and styles of each individual era such as, Ragtime, Swing, Be-bop, Cool Jazz, Hard, Bop Modal, Avant-Garde, Jazz Fusion, Rock and beyond.
Learn the key figures in its tonal development such as Louis Armstrong, Bix Beiderbecke, Duke Ellington, Count Basie, Coleman Hawkins, Lester Young, Charlie Parker, Miles Davis, Clifford Brown, Sonny Rollins.
Learn how Western harmonies merged with African rhythms to create this new American musical form.
Learn how these growing harmonic and rhythmic innovations influenced the emergence of Experimental/Avant-garde/Free Jazz and its return to a more primitive foundation that re-instituted its fundamental religious roots and collective improvisation.
Discuss the opposing European concepts of the musician expressing the thoughts and sentiments of the composer and the opposition of the standard song form (AABA), 12 bar blues, and strict frameworks for a primary emphasis on improvisation. Removing pre-determined patterns and sequences for a freer, less inhibited approach.
Learn more about the founding performers: John Coltrane, Ornette Coleman,Cecil Taylor, Eric Dolphy, Albert Ayler, Archie Shepp, Sun-Ra, Anthony Braxton, David Maury, Ray Anderson etc. and the European innovators, Derek Bailey, Evan Parker, and The Globe Unity Orchestra.
Learn the key influences of contemporary Jazz Fusion on modern pop culture.
Outside of class will be attending live jazz performances whenever possible.
II. Jazz – Applied Course
Goal: To teach the basic/advanced rudiments of jazz. Develop instrumental proficiency in the styles and techniques for performance. Objective/Students will: 1. Work to master scales, arpeggios, notation/rhythmic uses in jazz. 2. Understand, read, and interpret the musical symbols and phrases used for improvisation and sight-reading arrangements. 3. Learn the blues and other jazz forms and fundamentals. 4. Study the Lydian Modal concepts of George Russell 5. Participate in one-on-one teaching/learning exchanges -- evaluating and assessing the work with classmates in an objective/critical manner.
I encourage students with disabilities, including invisible disabilities like chronic diseases, learning disabilities, and psychiatric disabilities, to discuss helpful way to be accommodated.
IIA. Jazz-Applied Course Musicianship Training:
Make statements as opposed to questions: “Questions lead to more Questions. Statements lead to Answers. ANSWER THE QUESTIONS…”
FINAL GOAL: To acquire and develop skills needed for public performances and public discussions. The inter-discipline and how concepts apply to this field
Festival performances will be recorded and CD made each year. Certificate of Excellence and adjudication analysis over each performer and/or group.
THE CREATIVE ART PROCESS
IN THE ENTERTAINMENT INDUSTRY
Serbian Childrens Jazz Festival