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About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (Jan. 17, 1997)
University hosts celebration of jazz [ ■ FESTIVAL: The four-day event begins with a free concert at Beall Hall By Laura Cadiz Higher Education Editor Today kicks off four days of musical events at Beall Concert Hall. Jazz musicians will visit the Oregon Jazz Celebration; President Dave Frohnmayer and music faulty will host “Musical Chairs”; and a vocal ist will give a lieder recital. The Oregon Jazz Celebration opens today with vo calist Nancy King. King will team up with her quartet and the University’s Oregon Jazz Ensemble. On Sat urday, the Alan Jones Sextet and the Oregon Jazz En semble will be the final act at the Oregon Jazz Cele bration. Both concerts begin at 7:30 p.m. in Beall Concert Hall, 961 E. 18th Ave. Tickets are available at the door. Prices are $8 general admission and $5 for se nior citizens. Sunday marks the beginning of a three-month campaign to replace the aging seats in Beall Concert Hall. The campaign, entitled “Musical Chairs,” will be launched by a free concert. Scheduled to perform at the event are pianists Dean Kramer, Victor Steinhardt, Claire Wachter and Greg Mason; jazz pianist Gary Versace; vocalists Mark Beudert, Anne Tedards and Milagro Vargas; and instrumentalists Kathryn Lucktenberg, baroque violin; Leslie Straka, viola; Wayne Bennett, clarinet; Ellen Campbell, horn; and Marc Vanscheeuwijck, baroque cello. President Dave Frohnmayer and a dozen music faculty members will be the featured guests at the event. Sue Keene will be the Mistress of Ceremonies. The event begins at 3 pm. in Beall Concert Hall. Admission is free. Wednesday Kym Amps will give a lieder recital. Amps, a soprano, will perform songs by Franz Schu bert, Alban Berg and Richard Strauss. She will be ac companied by pianist Anita King of Willamette Uni versity. The concert will begin at 8 p.m. in Beall Concert Hall. Tickets are available at the door and are $7 for general admission and $4 for students and senior cit izens. Panel discusses musical exploitation ■ MUSIC: As part of the MLK Celebration, panelists explored traditional forms By Bryan Murray Freelance Reporter As part of the Martin Luther King Jr. Celebration, the School of Music Student Forum hosted a five-person panel Thursday to discuss the sharing and exploita tion of jazz, gospel and pop mu sic. “The exploitation is obvious,” said Steve Owen, a professor of music and one of the panelists. Owen discussed the musical forms, emphasizing the difference between exploiting and sharing music. Although students listen to many diverse music forms, they may not be in tune with the ex ploitation of music, Owen said. "You have to feel the music to be in the music.” Dr. Ed Coleman, a professor of English and a panelist, opened the discussion by singing “Swing Low Sweet Chariot.” This song, Cfi It’s not where black and white are, it's where the green happens. — Steve Valdez professor of music -55 referred to as a spiritual, was one of the first songs African-Ameri cans shared after arriving in America as slaves. The spiritual was one of the truest forms of shared music, Coleman said. It was from the heart and involved no monetary gain. In the early history of these musical forms, they remained shared. They were sung in African-Americans clubs and were not signed by recording companies. African-Americans didn’t have power to do any exploiting, Dr. Coleman said. After African-Americans were freed, their music began to be heard by more people, and new forms of music, such as the blues, jazz, pop and gospel, were invent ed and shared. But as these musical forms gained popularity in American culture, the artists were exploited * and their talent was used to make money for record producers, Owen said. This trend continued ' until artists started to play for money rather than a means of ex pression. “Old artists approached music with their heart while others flick er around the flame trying to copy it,” Owen said. There are artists who perform music as a form of expression. However, they run into producers who have no other motive than profit. This type of exploitation has been a trend in music ever since, Owen said. “It’s not where black and white ■ are, it’s where the green hap- « pens,” said Steve Valdez, a pro- $ fessor of music and a panelist. * 1997 JETTAGL A/C, AM/FM Cass, 10 Yr/100,000 Mile Power Train \Afenanty; 2 Yr. or 24XD0 Mile Free Scheduled Maintenance fSlfHlrauio. r -M. WF 4H NO. 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