Download What`s in Cuesheet? - Wenatchee Jazz Workshop

WELCOME TO CUESHEET, one of a
series of performance guides published
by the Education Department of the
John F. Kennedy Center for the
Performing Arts, Washington, D.C. This
Cuesheet is designed to be used before
and after attending the performances
of The Billy Taylor Trio and the Turtle
Island String Quartet.
What’s in Cuesheet?
What is Jazz? page 2
Jazz—An Overview, page 3
Building Blocks of Music, page 4
Improvisation, page 5
Development of Jazz, page 6
Glossary, page 7
Billy Taylor Trio, page 8
Turtle Island String Quartet, page 10
Bibliography and Discography, page 12
Dr. Billy Taylor and the Billy Taylor
Trio demonstrate the characteristics of
jazz and perform works that show how
various styles of jazz developed over
the years.
The Turtle Island String Quartet play
jazz arrangements and original compositions and discuss the performance
techniques used for jazz and related
contemporary musical forms.
2
It has been said that there is
a style of jazz that sounds
like European classical
music, a style of jazz that
sounds like country and
western music, a style of
jazz that sounds like Latin
music, a style of jazz that
sounds like rock music, and
styles that sound like various
other kinds of music heard
in this country and
elsewhere in the world.
What is JAZZ?
“Comparing styles is the best
way to discover that
Dr. Billy Taylor, the renowned jazz artist/educator/composer/author answered this question by
stating that,
Jazz is America’s
“
classical music. It is an
American way of playing
music.”
Jazz has developed as a musical language from
a single expression of the consciousness of
black people to a national music which
expresses Americana to Americans as well as to
people from other countries.
there is no one way of
playing jazz, for there are
as many different ways of
playing the music as there are
musicians playing it.”
— Dr. Billy Taylor*
You will learn about three
important elements in music—
melody, harmony, and rhythm.
You will also learn about improvisation—an important part of a
jazz performance. You will learn
that every jazz musician is a
composer, and improvisation is
instant composition.
Jazz has been a major influence on the music
of the world for more than ninety years.
*quotes throughout are from
Taylor, Billy. Jazz Piano—A Jazz History. Dubuque,
Iowa: Wm. C. Brown Company Publishers, 1983.
Taylor, Billy; Stokolosa, MaryAnn; Bass,
Mickey. Music Activities Packet. New York:
Jazzmobile, Inc., 1979.
and
Turtle Island String Quartet
Take a look at the glossary of
terms on page 7 before attending the presentations.
3
Jazz History and Development
An Overview
Jazz is an art form that originated and
was used as a medium of expression
by African Americans. It emerged from
the need of African Americans to
express themselves in musical terms.
This need for self-expression stemmed
directly from the African musical
heritage.
The African Musical Tradition—In
African societies, music was most
important in maintaining and continuing a culture. As a result, Africans
brought with them to this country the
tradition of having music to accompany
and define the activities of their lives.
There was music for working, for playing, for festivals, for marriages, births,
deaths, and wars. For Africans, music
had many purposes.
As Dr. Billy Taylor explains in his book
Jazz Piano—A Jazz History,
because
transplanted Africans did not
have the same freedom to maintain their cultural identity,
their musical traditions had to
change. As Africans endured slavery,
they had to reshape work, songs,
leisure songs, religious music, and
other types of music found in their heritage. Africans created American music
as they adapted to this new land and
faced the conditions of slavery.
Most slaves were taken from the western countries of Africa. They were Vai,
Twi, Mandingo, Yoruba, or people of
dozens of other tribes. They brought
with them their memories and habits
based on the old ways
Music in the Early Days of Slavery
of life—religious beliefs
and practices, crafts, WORK SONGS—The slaves’ work song was a revision of the
music, dances, and the African work song. Work songs were sung to make one’s
tradition of oral trans- labors easier to perform. The words (lyrics) spoke about
mission of history.
work being done and were also comments of social criticism,
Music played a very
important part in the
daily lives of Africans.
Enslaved Africans
began to use music as
a relief from both the
physical and spiritual
burdens they endured
in America. It was also
used as a tool for communication, since
Africans came here
from different tribes
and backgrounds.
ridicule, gossip, and protest.
CRIES, CALLS, AND FIELD HOLLERS—The melodic calls were
used to communicate messages of all kinds. They were used
to bring people in from the fields, to call them to work, to
attract the attention of a person in the distance, to signal
hunting dogs, or to make a person’s presence known. Some
were happy, some were sad.
SPIRITUALS—Group expressions of many aspects of the
slaves’ life, most spirituals were used to express religious
convictions. There were also spirituals used to give
messages, to teach, to scold, to speak of escape, and to
express the desire for freedom.
SATIRICAL SONGS—These were songs used to make fun of
people and events.
BALLADS—These were songs used to tell stories of good and
bad men and women, heroes, heroines, justice, injustice,
great events, and problems blacks in America were having.
These forms of music formed the musical family that produced jazz.
Black Americans created something of beauty
from a very ugly situation—slavery. They created African American music.
“This new music was to be the trunk of
the tree from which a truly American
music would grow—jazz, America’s
classical music.”
4
When we listen carefully to music,
Melody,
we can hear the tune —
Harmony,
and we can feel the beat of the music — Rhythm.
the notes that provide counterpoint to the tune —
This helps us tell the difference between a march and a waltz. It
also helps us keep time and sing or play music together.
The melody, the harmony, and the rhythm are the “building
blocks” of music.
How do we hear these three
The
important “building blocks” when
we listen?
Building
Blocks
of Music
There are three important
elements in music we hear.
They are:
When we listen to a jazz group, the rhythm is usually played by
the drums. The string bass or bass guitar helps the drum “keep
time,” and also plays low notes that sound good with the melody
and harmony.
*Melody
*Harmony
*Rhythm
The piano and the guitar play the harmony or chord progressions. These are other notes that sound good with the melody.
When these “harmony” notes are played together they are called
chords, when they are played separately they are called arpeggios, or broken chords. The piano and the guitar are sometimes
used to play the rhythm when there is no bass or drums.
The melody may be played by any instrument. It may also be
sung. In large groups the melody is frequently played by instruments like the trumpet, the trombone, the saxophone, the clarinet, the flute, the violin, or the melodica.
Listen carefully to what the
Billy Taylor Trio will do with 3
instruments. Can you identify who is
playing the melody, the harmony, and the
rhythm? Does this ever change?
5
Improvisation
is an important part of a jazz performance. Every jazz musician
is a composer. Improvisation is a way of expressing yourself
through music.
“If you are a
jazz musician,
you think of
the most
effective
way to say
what you
Is the mode angry and
have to say
aggressive or tender and loving?
in the musical
Are you trying to say something
style of your
funny or sad? What does the
choice.”
musician want to say? To whom?
What do you think about when
you improvise?
When jazz musicians improvise, they make up
music as they go along. Because every jazz
musician is a composer, improvisation is instant
composition. A good improvisation has a
beginning, a middle, and an ending. It is like
telling someone something. You must put your
thoughts into phrases that are easily
understood. In musical composition you must
do the same—the only difference is that you are
using musical sounds instead of words.
“Since jazz improvisation is a
personal statement drawing upon
melody, rhythm, and harmony,
serious jazz musicians do not
want their statement to ramble
or be incoherent. The best
improvisers try to be as
succinct as possible,
stating an idea, developing it
to its logical conclusion, and
stopping—having said all that
was necessary to convey the
thought.”
In a jazz group, improvisation is like a conversation; the musician who is
improvising listens to the
other members of the group
and says something to them,
using musical phrases.
Sometimes it is like call and
response, with the group asking
a question musically and the
improvising musician answering
them.
Jazz does not exist in a vacuum. It reflects life as it is being
lived. In the jazz tradition, musicians are free to express their
ideas and feelings in a way that
is not possible in other styles of
music.
As you see and hear the Billy
Taylor Trio perform, try to
listen to what each
player is doing.
6
,
“As America s classical music, a melting pot of
music from various musical traditions,
jazz has provided a unique and
continuing view of who Americans
are and what we are about. The
blues provides an excellent example of how
music expresses us to ourselves and to others.”
Blues is of equal importance as a parent of
Develop
ment of
Jazz
Ragtime was the earliest
Ray Charles
FAMOUS JAZZ
PIANISTS
Ragtime
Scott Joplin
Jelly Roll Morton
James P. Johnson
Blues
Meade Lux Lewis
Cow Cow Davenport
Blind Lemon
Jefferson
Swing
Teddy Wilson
Mary Lou Williams
Pre—Bebop
Art Tatum
Nat King Cole
Bebop
Billy Taylor
Bud Powell
Cool Jazz
Tadd Dameron
George Shearing
Hard Bop
Horace Silver
Hampton Hawes
Progressive Jazz
Dave Brubeck
Lennie Pristano
Funky Jazz
Bobby Timmons
Carl Perkins
Abstract Jazz
Cecil Taylor
Paul Bley
Modal Jazz
McCoy Tyner
Jazz Rock
Jan Hammer
Herbie Hancock
Mainstream
Mulgreu Miller
form of jazz, characterized by
syncopation, improvisation, and
cross-rhythms. 1896 is considered to be the beginning of ragtime, because that was the
date of the first publication of a
ragtime piece for the piano;
however, most jazz historians
agree that piano ragtime existed before it was published.
Ragtime became the leisuretime music of slaves on
Southern plantations. It also
was the music of performers in
taverns and places of entertainment and social events.
Ragtime was sung, and was
played on banjos, fiddles, harmonicas, drums, trumpets, and
whatever other instruments
were available. At this time the
human voice was the most
important musical instrument.
Photo courtesy of the Institute of Jazz Studies, Rutgers University
jazz. Its roots are as old as the presence of
Africans in the United States. The blues evolved
from the spirituals and the work songs, and like
them began as vocal music.
Performers used “the voice” according to
their needs and concepts. The blues developed
its style and repertory almost entirely from
African musical concepts and materials. It was
folk-oriented jazz in the beginning. The blues, as
in the African tradition, expressed how an individual related to the culture. The blues were created after the Civil War period. As the music
became popular, groups with instrumentalists
were formed.
In the late 1920s and early 1930s, because
of phonograph records and radio shows, the
blues became very popular in urban areas.
This music created by African Americans in
the South became even more popular when they
migrated north to Chicago and Kansas City.
During that period, jazz, which had combined
the elements of ragtime and blues, became so
popular that the 1920s became known as the
Jazz Age.
Swing was the dominant jazz form of the
1930s and 1940s. One of its distinctive features
was the accent of four beats to a measure. It
expanded the rhythmic patterns of ragtime. It
was played by big bands and small bands and
was used mostly for dancing.
Pre—bebop was an outgrowth of swing
music, which was melodically, harmonically, and
rhythmically more complex than its predecessors. It led directly to bebop and beyond.
7
Bebop was the jazz style of the 1940 s. It
featured long melodic lines and impressionistic
harmonic patterns, many of which ended on an
accented upbeat.
At the end of this period, jazz was rushwas an attempt
made by jazz musicians of the ing toward its next phases—hard bop,
progressive, funky, abstract, modal, jazz
late 1940s and early ‘50s to
rock, third stream, and mainstream.
reorder the basic elements of
jazz. They used subtle rhythms,
Hard bop—an aggressive return to
impressionistic harmonies,
melodies which were not rugged bebop concepts with a more direct
or aggressive, and combinations approach to “hot” phrases and
rhythms. Progressive jazz—an
of musical instruments which
were not typical in ensembles. extension of bebop and cool techniques
They tone it down in volume and and devices, which incorporated tonal
the rhythmic aspects were more mass and density as sonorities as well
subtle.
as uneven combinations and meter
arrangements such as 5/4, 7/4, and
so forth. Funkyjazz —a return to a
blues- and gospel-oriented feeling which
was updated to include melodies and
harmonies which were in common use
at that time. Abstract jazz—in
the late ‘60s, a period of spontaneous
exploration. Modal jazz—the rediscovery and use of traditional church
modes in jazz. Jazz rock—an
attempt to fuse the elements of rock
Cool jazz
with the elements of jazz, often using
electronic instruments. The third
stream—an attempt to organize jazz
materials using classical and contemporary European musical techniques and
devices. The first stream—European
classical; the second stream—jazz; the
third stream—fusion of the two.
Mainstream jazz—since the late
1980s and currently part of the
renewed interest in the jazz tradition.
From the 1970s, into the
1990s we are seeing a renewed
interest in jazz, especially among young
people. In contrast to jazz styles which
were becoming more complex, interest
has been revived in the concepts and
devices of the jazz masters of the past.
The music of many of these masters
(i.e. Duke Ellington, Thelonious Monk,
Charles Mingus) is being redefined by a
generation of young musicians.
MELODY—A series of single tones, rhyth-
RAGTIME—rhythm with a syncopated
in music.
mically arranged, so as to produce a
melody and a regularly accented accom-
BOOGIE WOOGIE—A kind of blues that is
pleasing effect on the ear. When we lis-
paniment.
ten carefully to music, we can hear the
RHYTHM—the movement of music. A part
played on the piano with a strong, deep
bass added.
CHORD—A combination of notes that
blend and sound good when played
together.
tune (the melody).
IMPROVISATION—a way of expressing
cian improvises, he/she makes up music
HARMONY—a pleasing arrangement of
“jamming,” means getting together to
play jazz.
SYNCOPATION—this is a shifting of
accents and stress from what are normally strong beats to the weak beats. It
NOTES—symbols that represent tones in
music.
JAM SESSION—Holding a jam session,
SCORE—written or printed music.
yourself with music. When a jazz musi-
as he/she goes along.
simultaneous sounds.
of music with accent, tempo or time.
often means playing one rhythm against
another in such a way that listeners want
to move, nod heads, clap hands, or
dance. Syncopation is part of jazz.
Glossary
BEAT—rhythm and the tempo or timing
8
The Billy Taylor Trio
L–R: Chip Jackson, Billy Taylor, Steve Johns
Dr.BillyTaylor, generally considered to be America’s leading spokesman for jazz,
began his illustrious 50 year career as a professional musician on New York’s truly legendary
52nd Street. He can be heard on countless
recordings from the beginning of his career to the
present. He maintains a very busy touring schedule with the Billy Taylor Trio while serving as Artistic Advisor for Jazz at the Kennedy Center in
Washington, D.C.
Winner of two Peabody Awards, an Emmy
Award, and a Grammy nomination for Best Instrumental Composition (1995—Homage Part 1), Dr.
Taylor is also the recipient of the nation’s highest
Dr. Billy Taylor is a role model for the
award for distinguished accomplishments in the
arts, the National Medal of Arts (1992). Addition- young to emulate, musicians to watch
and learn from, and jazz fans to cherish.
ally, he was awarded the Jazz Masters Fellowship
by the National Endowment for the Arts in 1987. He has been a
guest artist at the White House on seven different occasions and
bassist,
has participated in three State Department tours to date. He is
praised for his “big melodious tone” and
Founder and Past President of New York City’s Jazzmobile, the
“exquisite intonation with a flowing time sense”
unique outreach organization which produces concerts, musical
that make his solos “models of inventiveness,”
clinics and educational programs responsible for bringing jazz to
has performed with many great jazz artists,
thousands of people in free public performances.
including Elvin Jones, Red Rodney, Stan Getz,
Dr. Taylor has been an arts commentator on the CBS television Horace Silver, Tony Bennett, Woody Herman,
and Joe Henderson. His multifaceted career
program Sunday Morning since 1980. Dr. Taylor’s composition, I
includes writing, leading, and arranging for his
Wish I Knew (How It Would Feel To Be Free) is featured as the
own groups, clinical and private teaching,
theme for the film, Ghosts of Mississippi.
recordings, and touring throughout the world.
Clearly arts education has been, and continues to be, a pasMr. Jackson can be heard on recordings with
sion which drives Billy Taylor. In addition to his four musical series Chuck Mangione, Jack Walrath, and Ronnie
held each year at the Kennedy Center (Art Tatum Pianorama,
Cuber. Mr. Jackson, who is based in New York
Mary Lou Williams Women in Jazz Festival, Louis Armstrong Lega- City, received his formal training in music from
cy and Billy Taylor’s Jazz from the Kennedy Center) Dr. Taylor has the Berklee School of Music in Boston.
developed cooperative programs between the Kennedy Center
and the Prince William County Public School System which share
artistic resources with students and teachers through interactive
TV. His Performances for Young People are yet another outreach
program — this one aimed at children grades five through eight.
Chip Jackson,
9
Steve Johns, drummer, left
Barnett Williamsis a
nationally recognized performing artist and educator. He has performed with artists that
include Gil Scott-Heron, Donald Byrd, Donny
Hathaway and Oscar Brown, Jr. He has written
percussion books and conducted workshops
and lectures in over 50 colleges and
universities in the U.S. and Europe.
Constantly in demand as an educator
he presents his Hands On Percussion
Workshop throughout metropolitan
Washington. He has been a residency
artist for the Arts Enterprise Zone project (a collaborative arts education project of the Kennedy Center, Washington
Performing Arts Society, the Levine
School of Music and the Washington
Parent Group Fund) for the past four
years and presents workshops for children who participate in the Wolf Trap
Institute‘s Early Learning Program.
Candido
Candido is one of the world’s most exciting conga and
bongo show artists. His artistry on the conga drums has been
immortalized with an entry into the World Book Encyclopedia.
Candido was born in the El Cerro District of Havana in 1921. He
began his musical career on bass and guitar at the age of 14. In
1946, he changed to the bongos and then added conga drums
to his repertoire. Candido worked for six years at C.M.Q. Radio in
Havana, as well as at the Tropicana Club. He first came to the
United States in 1952 to work in Miami’s Clover Club. Candido
then came to New York, where he became friends with Dizzy
Gillespie. Together they went to Le Downbeat, where Candido sat
in for a few sets with Billy Taylor. His talent amazed everyone
there, and Candido stayed on and worked the club for a year.
New York jazz critics all praised Candido as one of the greatest
drummers to ever come out of
Barnett Williams
Cuba. Candido went on to work
with Stan Kenton in the fall of
1954, and is heard on Stan’s
record of Bacante, as well as the
recordings of Coleman Hawkin’s
Ruby, Woody Herman’s Run Joe,
George Shearing’s Caravan,
Dizzy Gillespie’s Manteca, Duke
Ellington’s recording and television special The Drum is a
Woman. He has also appeared
in concert at Carnegie Hall, and
on the television shows of Ed
Sullivan and Steve Allen.
The Billy Taylor Trio
Boston for New York in 1982. Since then he
has performed with a diverse array of jazz
musicians including John Hicks, Larry Coryell,
Bobby Watson, Gary Bartz, Diane Schuur, and
Roy Hargrove. He has toured the United States
with the Count Basie Orchestra under the direction of Frank Foster, and Europe with the Gil
Evans Orchestra, the George Russell Living
Time Orchestra, and the Mingus Epitaph
Orchestra. Mr. Johns can be found at the Time
Cafe in New York City every Thursday night with
the Mingus Big Band. He has recorded with
Garyt Bartz, George Russell, and Thomas
Chapin. He can be seen on WGBH-TV’s “An
Evening with Stanley Turrentine’ and was part
of National Public Radio’s “Jazzset” hosted by
Branford Marsalis. Mr. Jones studied privately
with the renowned drummer Alan Dawson and
later at the New England Conservatory of Music
in Boston.
10
Turtle Island String
Since beginning in 1985,
have been no mere innovators, but rather inventors
of their own glorious musical world. Combining influences of
jazz, classical, bluegrass, rock, R&B, and blues, they are much
more than a “jazz string quartet.” Whether they’re performing
Gillespie, Jimi Hendrix, Gershwin, Ellington, Billy Taylor, or their
own original compositions, the feeling of being present at the
birth of something musically new is inescapable.
As a founding member of the David Grisman
Band. He helped form TISQ in 1985, acting as
(violin,
Quintet (DGQ),
producer and composing for five albums to
baritone violin) helped pioneer the “new
date. He can be heard on many current recordacoustic” movement from 1975 to 1984, workings with musicians such as Suzanne Vega,
ing with noted improvising string musicians
Holly Near, Bela Fleck, and John Gorka. Motion
including Stephane Grappelli, Tony Rice, Mark
picture soundtrack credits include Country and
O’Connor, Bela Fleck, and Mike Marshall. Darol Sweet Dreams. He has been active in developAnger produced and recorded a solo album,
ing synthesizer violin technology, working as a
Fiddlistics, and various duo albums, culminatconsultant with the groundbreaking Zeta
ing in a live recording at the Montreux Jazz
Company. Darol also performs and records with
Festival and the formation of the Montreux
his new acoustic/bluegrass outfit, Psychograss.
Quartet
Darol Anger
Turtle Island String
Quartet
11
Tracy Silverman (violin) made his
debut at age 13 as soloist with the Chicago
Symphony Orchestra, and has garnered many
awards including the national Stillman-Kelly
Award. He studied at the Chicago Musical
College and graduated from the Juilliard school,
studying violin with Ivan Galamian and chamber
music with Sam Rhodes of the Juilliard Quartet.
He has performed in orchestras under the
direction of Leonard Bernstein and Gerard
Schwartz, as well as the Saint Paul Chamber
Orchestra, Minnesota Sinfonia, and other major
ballet companies. He has also performed with
various artists including Luciano Pavarotti, Jon
Bon Jovi, and Stanley Jordan, and has conducted his own orchestral work commissioned by
the Minnesota Sinfonia.
ing with the Chamber Symphony of San
Francisco and Oakland Symphony, he continued his study of jazz. As co-founder of TISQ, he
developed a unique and kaleidoscopic style
which incorporates virtuoso jazz soloing, distinctive bass lines, and extended percussive techniques adapted from the guitar gaining him
recognition as today’s premier jazz cellist. His
composition, Julie-o, a piece for solo cello
which appears on the TISQ album Metropolis,
is a favorite of cellists around the world. Mark
has recorded with Will Ackerman and performed with Toni Childs. He currently plays with
Trio con Brio, an ensemble based in San
Francisco.
Danny Seidenberg (viola, violin)
made his solo viola debut at age 16 with the
Pittsburgh Symphony as part of their Young
People’s Concert series, and has performed as
principal violist for the Joffrey Ballet, Brooklyn
Philharmonic, Philharmonia Virtuosi, Solisti
New York, Dance Theatre of Harlem, and the
Soviet Emigre Orchestra. Danny has toured,
performed, and recorded with Steve Reich and
Musicians, the Village People, Liza Minelli, Tony
Bennett, James Brown, and Richie Havens. He
has recorded for CBS Records and Arista
Records. Danny is an early-instrument specialist
and a graduate of the Juilliard School.
Mark Summer (cello) graduated from
the Cleveland Institute of Music and worked
with the Winnipeg Symphony for three seasons
before forming his own groups. He has combined his study of classical cello with improvising pop and jazz on piano, guitar, and drum,
and when he moved to San Francisco perform-
“At a time when many people in
the music field are looking for a
new direction and renewal, the
Turtle Island String Quartet is a
unified voice that truly
breaks new ground...
authentic and passionate...
a reflection of some of
the most creative musicmaking today.”–Yo Yo Ma
12
Chernoff, John Miller. African Rhythm and
African Sensibility. Chicago: Union Chicago
Press.
Haskin, Jim and Biondi, JoAnn. From Afar to
Zulu. New York: Walker & Co. Publishers (a
dictionary of African cultures).
Roberts, John Storm. Black Music of Two
Worlds. New York: Praeger Publishing Co.
(music of Cuba and Brazil).
selected
reading/
references
for teachers
Discography
Taylor, Billy. Jazz Piano—A Jazz History.
Dubuque, Iowa: Wm. C. Brown Co.
Publishers, 1983.
Questions
1. What is the most truly American music?
2. What are the roots of Jazz?
The Billy Taylor Trio
Solo
White Nights and Jazz in Leningrad (Taylor Made
Label, November 1988)
3. If we listen carefully to music, what
three (3) things will we hear?
You Tempt Me and We Meet Again (Arabesque)
4. What musical instruments usually play
the rhythm of a song?
My Fair Lady Loves Jazz (1956, Billy Taylor Trio
and all-star band arranged by Quincy Jones
re-issue)
5. What instruments usually play the
harmonies?
It’s a Matter of Pride (GRP label)
Step Into My Dream
6. What are some of the instruments
which may be used to play the melody?
Homage
7. What is improvisation?
Turtle Island String Quartet
8. What are the things one will find in a
good improvisation?
Who Do We Think We Are
Spider Dreams
9. What does a musician who is
improvising with a group do?
On the Town
10. What was the earliest form of jazz?
Skylife Metropolis
11. What form of jazz was of equal
importance as a parent of jazz?
Turtle Island String Quartet
12. What decade became known as the
Jazz Age?
Lawrence J. Wilker, President
Derek E. Gordon, Associate Managing Director, Education
What is Jazz?
Performances by The Billy Taylor Trio
and Turtle Island String Quartet
Cuesheet was written by Anita Batisti, Ph. D. arts educator,
fund-raiser and adjunct professor at Fordham University,
Graduate School of Education, N.Y.C., and PACE University,
Graduate School of Education, N.Y.C.
Cuesheet is funded in part through the support of the U.S. Department
of Education, The Kennedy Center Corporate Fund, and The Morris and
Gwendolyn Cafritz Foundation.
©1996 The John F. Kennedy Center for the Performing Arts.
By the Fireside