A hymn is a type of song, usually religious, specifically written for the purpose of praise, adoration or prayer, and typically addressed to a deity or deities, or to a prominent figure or personification. The word hymn derives from Greek (hymnos), which means "a song of praise." Collections of hymns are known as hymnals or hymnbooks.
Patristic writers began applying the term , or hymnus in Latin, to Christian songs of praise, and frequently used the word as a synonym for "psalm".
Since the earliest times, Christians have sung "psalms and hymns and spiritual songs", both in private devotions and in corporate worship (; ; ; ; ; cf. ; ).
One definition of a hymn is "...a lyric poem, reverently and devotionally conceived, which is designed to be sung and which expresses the worshipper's attitude toward God or God's purposes in human life. It should be simple and metrical in form, genuinely emotional, poetic and literary in style, spiritual in quality, and in its ideas so direct and so immediately apparent as to unify a congregation while singing it".
Christian hymns are often written with special or seasonal themes and these are used on holy days such as Christmas, Easter and the Feast of All Saints, or during particular seasons such as Advent and Lent. Others are used to instill reverence to the Holy Bible or to celebrate Christian practices such as the eucharist or baptism. Some hymns praise or address individual saints, particularly the Blessed Virgin Mary; such hymns are particularly prevalent in Catholicism, Eastern Orthodoxy and to some extent "High Church" Anglicanism.
A writer of hymns is known as a hymnist or hymnodist, and the practice of singing hymns is called hymnody; the same word is used for the collectivity of hymns belonging to a particular denomination or period (e.g. "nineteenth century Methodist hymnody" would mean the body of hymns written and/or used by Methodists in the nineteenth century). A collection of hymns is called a hymnal or hymnary. These may or may not include music. A student of hymnody is called a hymnologist, and the scholarly study of hymns, hymnists and hymnody is hymnology. The music to which a hymn may be sung is a hymn tune.
In many Evangelical churches, traditional songs are classified as hymns while more contemporary worship songs are not considered hymns. The reason for this distinction is unclear, but according to some it is due to the radical shift of style and devotional thinking that began with the Jesus movement and Jesus music.
Since there is a lack of musical notation in early writings, the actual musical forms in the early church can only be surmised. During the Middle Ages a rich hymnody developed in the form of Gregorian chant or plainsong. This type was sung in unison, in one of eight church modes, and most often by monastic choirs. While they were written originally in Latin, many have been translated; a familiar example is the 4th century Of the Father's Heart Begotten sung to the 11th century plainsong Divinum Mysterium.
Today, except for choirs, more musically inclined congregations and a cappella congregations, hymns are typically sung in unison. In some cases complementary full settings for organ are also published, in others organists and other accompanists are expected to transcribe the four-part vocal score for their instrument of choice.
To illustrate Protestant usage, in the traditional services and liturgies of the Methodist churches, which are based upon Anglican practice, hymns are sung (often accompanied by an organ) during the processional to the altar, during the receiving of the Eucharist, during the recessional, and sometimes at other points during the service. These hymns can be found in the United Methodist Hymnal. The Doxology is also sung after the tithes and offerings are brought up to the altar.
Contemporary Christian worship, as often found in Evangelicalism and Pentecostalism, may include the use of contemporary worship music played with electric guitars and the drum kit, sharing many elements with rock music.
Other groups of Christians have historically excluded instrumental accompaniment, citing the absence of instruments in worship by the church in the first several centuries of its existence, and adhere to an unaccompanied a cappella congregational singing of hymns. These groups include the 'Brethren' (often both 'Open' and 'Exclusive'), the Churches of Christ, Mennonites, Primitive Baptists, and certain Reformed churches, although during the last century or so, several of these, such as the Free Church of Scotland (Presbyterian) have reviewed and revised this stance.
Eastern chant is almost always a cappella, and instrumental accompaniment is rare. The central form of chant in the Eastern Orthodoxy is Byzantine Chant, which is used to chant all forms of liturgical worship. Exceptions include the Coptic Orthodox tradition which makes use of the sistrum, and the Ethiopian Orthodox Tewahedo Church, which also uses drums, cymbals and other instruments on certain occasions.
The Protestant Reformation resulted in two conflicting attitudes to hymns. One approach, the regulative principle of worship, favoured by many Zwinglians, Calvinists and other radical reformers, considered anything that was not directly authorised by the Bible to be a novel and Catholic introduction to worship, which was to be rejected. All hymns that were not direct quotations from the Bible fell into this category. Such hymns were banned, along with any form of instrumental musical accompaniment, and organs were ripped out of churches. Instead of hymns, biblical psalms were chanted, most often without accompaniment, to very basic melodies. This was known as exclusive psalmody. Examples of this may still be found in various places, including the "free churches" of western Scotland.
The other Reformation approach, the normative principle of worship, produced a burst of hymn writing and congregational singing. Martin Luther is notable not only as a reformer, but as the author of many hymns including Ein feste Burg ist unser Gott (A Mighty Fortress Is Our God), which is sung today even by Roman Catholics, and Gelobet seist du, Jesu Christ (Praise be to You, Jesus Christ) for Christmas. Luther and his followers often used their hymns, or chorales, to teach tenets of the faith to worshipers. The first Protestant hymnal was published in Bohemia in 1532 by the Unitas Fratrum. Count Zinzendorf, the Lutheran leader of the Moravian Church in the 18th Century wrote some 2,000 hymns. The earlier English writers tended to paraphrase biblical texts, particularly Psalms; Isaac Watts followed this tradition, but is also credited as having written the first English hymn which was not a direct paraphrase of Scripture. Isaac Watts (1674–1748), whose father was an Elder of a dissenter congregation, complained at age 16, that when allowed only psalms to sing, the faithful could not even sing about their Lord, Christ Jesus. His father invited him to see what he could do about it; the result was Watts' first hymn, "Behold the glories of the Lamb." No longer found in hymnals today,the hymn has eight stanzas in common meter, and is based on Revelation 5:6, 8, 9, 10, 12.
Relying heavily on Scripture, Watts wrote metered texts based on New Testament passages that brought the Christian faith into the songs of the church. Isaac Watts has been called "the father of English hymnody," but Erik Routley sees him more as "the liberator of English hymnody," because his hymns, and hymns like them, moved worshipers beyond singing only Old Testament psalms, inspiring congregations and revitalizing worship.
Later writers took even more freedom, some even including allegory and metaphor in their texts.
Charles Wesley's hymns spread Methodist theology, not only within Methodism, but in most Protestant churches. He developed a new focus: expressing one's personal feelings in the relationship with God as well as the simple worship seen in older hymns. Wesley wrote: :Where shall my wondering soul begin? :How shall I all to heaven aspire? :A slave redeemed from death and sin, :A brand plucked from eternal fire, :How shall I equal triumphs raise, :Or sing my great deliverer's praise.
Wesley's contribution, along with the Second Great Awakening in America led to a new style called gospel, and a new explosion of sacred music writing with Fanny Crosby, Lina Sandell, Philip Bliss, Ira D. Sankey, and others who produced testimonial music for revivals, camp meetings, and evangelistic crusades. The tune style or form is technically designated "gospel songs" as distinct from hymns. Gospel songs generally include a refrain (or chorus) and usually (though not always) a faster tempo than the hymns. As examples of the distinction, "Amazing Grace" is a hymn (no refrain), but "How Great Thou Art" is a gospel song. During the 19th century the gospel-song genre spread rapidly in Protestantism and, to a lesser but still definite extent, in Roman Catholicism; the gospel-song genre is unknown in the worship per se by Eastern Orthodox churches, which rely exclusively on traditional chants (a type of hymn).
The Methodist Revival of the eighteenth century created an explosion of hymn writing in Welsh, which continued into the first half of the nineteenth century. The most prominent names among Welsh hymn-writers are William Williams Pantycelyn and Ann Griffiths. The second half of the nineteenth century witnessed an explosion of hymn tune composition and choir singing in Wales.
Along with the more classical sacred music of composers ranging from Mozart to Monteverdi, the Roman Catholic Church continued to produce many popular hymns such as Lead, Kindly Light, Silent Night, O Sacrament Divine and Faith of our Fathers.
Many churches today use contemporary worship music which includes a range of styles often influenced by popular music. This often leads to some conflict between older and younger congregants (see contemporary worship). This is not new; the Christian pop music style began in the late 1960s and became very popular during the 1970s, as young hymnists sought ways in which to make the music of their religion relevant for their generation.
This long tradition has resulted in a wide variety of hymns. Some modern churches include within hymnody the traditional hymn (usually describing God), contemporary worship music (often directed to God) and gospel music (expressions of one's personal experience of God). This distinction is not perfectly clear; and purists remove the second two types from the classification as hymns. It is a matter of debate, even sometimes within a single congregation, often between revivalist and traditionalist movements.
Thanks to Thomas Symmes a new idea of how to sing hymns spread throughout the churches in which anyone would sing a hymn any way they felt led to; this was opposed by the views of Symmes colleagues who felt it was "like Five Hundred different Tunes roared out at the same time." William Billings, a singing school teacher, created the first tune book with only American born compositions. Within his books, Billings did not put as much emphasis on "common measure" which was the typical way hymns were sung, but he attempted "to have a Sufficiency in each measure". The Boston Handel and Haydn Society aimed at raising the level of church music in America, publishing their "Collection of Church Music". In the late 19th century Ira D. Sankey and Dwight L. Moody developed the relatively new subcategory of gospel hymns.
Category:Religious music Category:Christian songs Category:Christian music genres Category:Song forms Category:Hymnology Category:Greek loanwords Category:Christian genres Category:Christian terms
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| Name | Tina Cousins |
|---|---|
| Background | solo_singer |
| Born | April 20, 1974 |
| Origin | Leigh-on-Sea, Essex, England |
| Genre | Electronica, dance-pop, Hi-NRG, dance, eurodance, Adult Contemporary, vocal trance |
| Occupation | Singer, songwriter, model |
| Years active | 1997–present |
| Label | All Around The World (UK) (1998 - 2006) Big Australia (1998 - present) Republic (U.S.) (1998 - 2002) Sony Music (International) (2010 - Present) |
| Url | www.tinacousins.com |
Following the success of "Mysterious Times", "Killin' Time" was re-issued and it made the Top 20 in the UK, as did the follow up "Pray", which also achieved success in the U.S. Follow up singles "Forever" and the reissued "Angel" only reached the Top 50. Cousins turned her attention to Australia where the song, "Forever" achieved gold sales. "Pray" was also a success in Australia, hitting the Top 10, becoming her second gold single sitting in the ARIA charts for more than four months, and becoming the eighth most played song on Australian radio for 2000.
Whilst in Australia on a promotional tour, she re-recorded her track Nothing To Fear and had it remixed by the Groove Peddlers. This became the third Australian single, and the video was also shot there.
She collaborated again with Sash! on the Top 10 hit Just Around The Hill (2000), and joined Billie, Cleopatra, B*Witched and Steps on the track Thank ABBA for the Music, a medley of ABBA hits that they performed as a tribute at the BRIT Awards. The single was released and reached the Top 10 in the UK, Ireland, Sweden, Australia and New Zealand.
In 2005 she came back with a new single Wonderful Life, which was originally released in Australia. In 2007 "Wonderful Life" was adopted by Hoyts, as their primary pre-feature theme music. Wonderful Life reached 15 in Australia and spent four months in the Top 50 becoming her biggest radio hit. The follow-up Come to Me barely cracked the Top 40, as did the album "Mastermind". The third single to be taken from the album was Pretty Young Thing was released in two CD formats, one of which was limited to 1000 pressings. The third single performed much better than the previous one, becoming Cousin's sixth Top 20 hit in Australia and ninth to chart overall.
Cousins divides her time between Australia and the UK, performing regularly. She made a guest appearance on Never Mind the Buzzcocks, a UK television comedy panel show, which was broadcast on 2 November 2006, in the game's Identity Parade.
During late 2006, dance format radio station WMPH became the first Stateside station to put any of Cousin's singles in regular rotation. She co-wrote and performed vocals on two songs on the album by Dutch group 4 Strings, entitled Main Line. The track "Curious" became a Top 30 Hot Dance Airplay hit.
Cousins announced on her website that her first solo album Killing Time is to be re-launched as a remix project with tracks from Mastermind. The lead single will be "Everlong".
On 7 March 2009, Tina announced on her website that a new track was recorded along with a film clip for a new single called Can't Hold Back. This song is with Bellatrax and was released in the USA and the UK on Michael Gray's Eye Industries label in late summer 2009. It is currently available on iTunes Australia also. Hymn has a new remix being released in Germany under the name Resource Featuring Tina Cousins.
In April 2009, Tina announced that she recorded a cover of Sex on Fire by the Kings Of Leon. The track was produced by Topham & Twigg and was released on ITunes UK on 2 September.
Tina signed a worldwide deal with Sony Music International in September 2010, and her acclaimed cover of the Kings of Leon's ""Sex on Fire"" will be released worldwide in Autumn 2010.
The video for Sex on Fire was leaked to YouTube on October 29th, 2010 to very positive reviews from her fans. The video is most notable for its explicit scenes. Pop music blog Popjustice described it as "another exercise in awful and amazing."
Category:1974 births Category:Living people Category:English female singers Category:English singer-songwriters Category:English dance musicians Category:English pop singers Category:People from Leigh-on-Sea Category:Music from Southend-on-Sea
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| Name | Oscar Peterson |
|---|---|
| Landscape | yes |
| Background | non_vocal_instrumentalist |
| Birth name | Oscar Emmanuel Peterson |
| Born | August 15, 1925 |
| Origin | Montreal, Quebec, Canada |
| Died | December 23, 2007 Mississauga, Ontario, Canada |
| Instrument | Piano |
| Genre | Jazz |
| Occupation | Pianist, composer |
| Years active | 1945–2007 |
| Label | Mercury, MPS, Pablo, Telarc, Verve |
| Url | www.oscarpeterson.com |
Oscar Emmanuel Peterson (August 15, 1925 – December 23, 2007) was a Canadian jazz pianist and composer. He was called the "Maharaja of the keyboard" by Duke Ellington, "O.P." by his friends, and was a member of jazz royalty. He released over 200 recordings, won seven Grammy Awards, and received other numerous awards and honours over the course of his career. He is considered to have been one of the greatest jazz pianists of all time, who played thousands of live concerts to audiences worldwide in a career lasting more than 65 years.
As a child, Peterson also studied with Hungarian-born pianist Paul de Marky, a student of Istvan Thomán who was himself a pupil of Franz Liszt, so his training was predominantly based on classical piano. Meanwhile he was captivated by traditional jazz and learned several ragtime pieces and especially the boogie-woogie. At that time Peterson was called "the Brown Bomber of the Boogie-Woogie."
At age nine Peterson played piano with control that impressed professional musicians. For many years his piano studies included four to six hours of practice daily. Only in his later years did he decrease his daily practice to just one or two hours. In 1940, at age fourteen, Peterson won the national music competition organized by the Canadian Broadcasting Corporation. After that victory, he dropped out of school and became a professional pianist working for a weekly radio show, and playing at hotels and music halls.
Peterson resided in a two-storey house on Hammond Road in Mississauga, Ontario, Canada, until his death in 2007 of kidney failure.
Peterson has also credited his sister Daisy Sweeney — a noted piano teacher in Montreal who also taught several other noted Canadian jazz musicians — with being an important teacher and influence on his career. Under his sister's tutelage, Peterson expanded into classical piano training and broadened his range while mastering the core classical pianism from rigorous scales to such staples of every pianist's repertoire as preludes and fugues by Johann Sebastian Bach.
Building on Art Tatum's pianism and aesthetics, Peterson also absorbed Tatum's musical influences, notably from piano concertos by Sergei Rachmaninoff. Rachmaninoff's harmonizations, as well as direct quotations from his 2nd Piano Concerto, are thrown in here and there in many recordings by Peterson, including his work with the most familiar formulation of the Oscar Peterson Trio, with bassist Ray Brown and guitarist Herb Ellis. During the 1960s and 1970s Peterson made numerous trio recordings highlighting his piano performances that reveal more of his eclectic style that absorbed influences from various genres of jazz, popular and classical music.
So was born a lasting relationship and Granz remained Peterson's manager for most of his career. One poignant illustration: in the last two years of his life, Peterson doted on a boxer dog that he named "Smedley," Peterson's nickname for Granz. On the day of Peterson's death, Smedley lay on the bed with him and would not leave.
This was more than a managerial relationship; Peterson praised Granz for standing up for him and other black jazz musicians in the segregationist south of the 1950s and 1960s. For example, in the Canadian Broadcasting Company's two-part documentary video Music in the Key of Oscar, Peterson tells how Granz stood up to a gun-toting southern policeman who wanted to stop the trio from using "white-only" taxis. The entire documentary is a fascinating account of Peterson's life from his Montreal childhood, to his career, to his family relations and includes interviews with Peterson, Herbie Hancock, Quincy Jones and Ella Fitzgerald. Its narrative ends in 1993, just before Peterson's debilitating stroke.
In the course of his career, Peterson developed a reputation as a technically brilliant and melodically inventive jazz pianist and became a regular on Canadian radio from the 1940s. His name was already recognized in the United States. However, his 1949 debut at Carnegie Hall, New York City, arranged by Norman Granz, was uncredited; owing to union restrictions, his appearance could not be billed.
Through Granz's Jazz at the Philharmonic he was able to play with the major jazz artists of the time. Some of his musical associates included Ray Brown, Coleman Hawkins, Roy Eldridge, Ben Webster, Milt Jackson, Herb Ellis, Barney Kessel, Ed Thigpen, Niels-Henning Ørsted Pedersen, Louis Armstrong, Stéphane Grappelli, Ella Fitzgerald, Billie Holiday, Clark Terry, Joe Pass, Anita O'Day, Fred Astaire, Count Basie, Dizzy Gillespie, and Stan Getz.
According to pianist/educator Mark Eisenman, some of Peterson's best playing was as an understated accompanist to singer Ella Fitzgerald and trumpeter Roy Eldridge.
Oscar Peterson Trio at the Stratford Shakespearean Festival is widely regarded as the landmark album in Peterson's career, and one of the most influential trios in jazz. Their last recording, On the Town with the Oscar Peterson Trio, recorded live at the Town Tavern in Toronto, captured a remarkable degree of emotional as well as musical understanding between three players. All three musicians were equal contributors involved in a highly sophisticated improvisational interplay. When Herb Ellis left the group in 1958, Peterson and Brown believed they could not adequately replace Ellis. Ellis was replaced by drummer Ed Thigpen in 1959. Brown and Thigpen worked with Peterson on his famous albums Night Train and the successful Canadiana Suite. Brown and Thigpen left in 1965 and were replaced by bassist Sam Jones and drummer Louis Hayes (and later, drummer Bobby Durham). The trio performed together until 1970. Their albums included pop songs such as The Beatles' Yesterday and Eleanor Rigby. In the fall of 1970, Peterson's trio were successful in their album Tristeza on Piano which was a eulogy of the recently deceased Jimi Hendrix and Janis Joplin, the Monterey Pop Festival stars. This record was released on CD in 1985, went out of print, and then came back remastered in 2005 as an anniversary edition. Selections from this trio's work have been incidentally used for Japanese anime and other live action films. Jones and Durham left in 1970.
In the 1970s Peterson formed another landmark trio with virtuoso guitarist Joe Pass and Niels-Henning Ørsted Pedersen on bass. This trio emulated the success of the 1950s trio with Brown and Ellis, gave acclaimed performances at numerous festivals, and made best-selling recordings, most notably the 1978 double album recorded live in Paris. In 1974 Oscar added British drummer, Martin Drew, and this quartet toured and recorded extensively worldwide.
After the stroke, Peterson recuperated for about two years. He gradually regained mobility and some control of his left hand. However, his virtuosity was never restored to the original level, and his playing after his stroke relied principally on his right hand.
In 2003, Peterson recorded the DVD A Night in Vienna for Verve, with Niels-Henning Ørsted Pedersen (NHØP), Ulf Wakenius and Martin Drew. He continued to tour the U.S. and Europe, though maximally one month a year, with a couple of days' rest between concerts to recover his strength. His accompanists consisted of Ulf Wakenius (guitar), NHØP or David Young (bass), and Alvin Queen (drums), all leaders of their own groups.
Peterson's health declined rapidly in 2007. He had to cancel his performance at the 2007 Toronto Jazz Festival and his attendance at a June 8, 2007 Carnegie Hall all-star performance in his honour, owing to illness. On December 23, 2007, Peterson died of kidney failure at his home in Mississauga, Ontario. He left seven children, his fourth wife Kelly, and their daughter, Celine (born 1991).
His work earned him eight Grammy awards over the years and he was elected to the Canadian Music Hall of Fame in 1978. He also belongs to the Juno Awards Hall of Fame and the Canadian Jazz and Blues Hall of Fame.
Peterson received the first Dr. Martin Luther King Jr. Achievement Award from Black Theatre Workshop (1986), Roy Thomson Award (1987), a Toronto Arts Award for lifetime achievement (1991), the Governor General's Performing Arts Award (1992), the Glenn Gould Prize (1993), the award of the International Society for Performing Artists (1995), the Loyola Medal of Concordia University (1997), the Grammy Lifetime Achievement Award (1997), the Praemium Imperiale World Art Award (1999), the UNESCO Music Prize (2000), the Toronto Musicians' Association Musician of the Year award (2001), and an honorary LLD from the University of the West Indies (2006).
In 1999, Concordia University in Montreal renamed their Loyola-campus concert hall Oscar Peterson Concert Hall in his honour.
In 2005, Peterson celebrated his 80th birthday at the HMV flagship store in Toronto, where a crowd of about 200 gathered to celebrate with him. Long time admirer, and fellow Canadian Diana Krall, sang "Happy Birthday" to him and also performed a vocal version of one of Peterson's songs "When Summer Comes". The lyrics for this version were written by Elvis Costello, Krall's husband. Canada Post unveiled a commemorative postage stamp in his honour. The event was covered by a live radio broadcast by Toronto jazz station, JAZZ.FM.
Peterson received the BBC-Radio Lifetime Achievement Award, London, England.
"Technique is something you use to make your ideas listenable," he once told jazz writer Len Lyons. "You learn to play the instrument so you have a musical vocabulary, and you practice to get your technique to the point you need to express yourself, depending on how heavy your ideas are."
"Some may criticize Peterson for not advancing, for finding his niche and staying with it for an entire career, but while he may not be the most revolutionary artist in jazz, the documentary Music in the Key of Oscar demonstrates that breaking down barriers can be accomplished in more ways than one." "He was a crystallizer, rather than an innovator."
""His hands could do things few piano players can do," said pianist Bill King who studied with Peterson at his music school. Because Peterson was a big man — six feet three inches — he could stretch his hands over a keyboard in a way few musicians can match.]] While Peterson was recognized as a great jazz pianist both at home in Canada and internationally, he was also regarded in Canada as a distinguished public figure. His notable personage is evident in the acclaim and awards he received, particularly in the latter two decades of his life.
He was made an Officer of the Order of Canada (the country's highest civilian state order for talent and service) in 1972, and promoted to Companion of the order (the highest degree of merit and humanity), in 1984. He was also a member of the Order of Ontario, a Chevalier of the National Order of Quebec, and an officer of the Ordre des Arts et des Lettres of France.
From 1991 to 1994, Peterson was chancellor of York University in Toronto. The chancellor is the titular head of the university. Weeks after his death, the Province of Ontario announced a C$4 million scholarship for the "Oscar Peterson Chair" for Jazz Performance at York University with an additional C$1 million to be awarded annually in music scholarships to underprivileged York students in tribute to Peterson.
Peterson's niece, television journalist Sylvia Sweeney, produced an award-winning documentary film, In the Key of Oscar, about Peterson in 1992.
Unlike most other jazz musicians, Oscar Peterson was networked with Canadian elites in the later years of his life. For example, former Ontario premier Bob Rae recalled that in 2007, himself, Ontario Chief Justice Roy McMurtry, and former Ontario premier Bill Davis celebrated McMurtry's retirement with Peterson, his wife, and their wives.
Peterson received honorary doctorates from many Canadian universities: Carleton University, Queen's University, Concordia University, McMaster University, Mount Allison University, the University of Victoria, the University of Western Ontario, York University, the University of Toronto, and the Université Laval, as well as from Northwestern University and Niagara University in the United States.
In 2004, the City of Toronto named the courtyard of the Toronto-Dominion Centre Oscar Peterson Square.
In 2005, the Peel District School Board in suburban Toronto opened the Oscar Peterson school in Mississauga, Ontario, two miles from his home. Peterson said, "This is a most unexpected and moving tribute." He visited the school several times and donated electronic musical equipment to it.
Former Canadian prime minister Jean Chrétien wanted in 1993 to put Peterson forward to the Governor General of Canada for appointment to the post of Lieutenant Governor of Ontario, but Peterson felt that his health could not stand up to the many ceremonial duties that this position would require. "He was the most famous Canadian in the world," said Chrétien. Chrétien also said that Nelson Mandela glowed when meeting Peterson. "It was very emotional. They were both moved to meet each other. These were two men with humble beginnings who rose to very illustrious levels."
A major memorial concert, held on January 12, 2008, filled the 2500-seat Roy Thomson Hall in Toronto. People had queued for more than three hours to get in. Governor General Michaëlle Jean reported at the concert that "thousands" more could not get in. Among the performers were Grégory Charles, Herbie Hancock, Quincy Jones, Phil Nimmons and singers Audrey Morris and Nancy Wilson. The "Oscar Peterson" quartet played key pieces; they are Monty Alexander, Jeff Hamilton, Ulf Wakenius and Dave Young. All toured with Peterson during his late "one-handed" period" except Alexander. The Nathaniel Dett Chorale, University of Toronto Gospel Choir and Sharon Riley & the Faith Chorale, under the direction of Andrew Craid along with opera soprano Measha Brueggergosman closed the show, singing an excerpt from Peterson's "Hymn to Freedom". The show was made available for download.
A movement was begun on Facebook to rename the Lionel-Groulx Metro station, a transfer station between Montreal's Green Line and Orange Line, in honour of Oscar Peterson. The Montreal Transit Corporation, however, has refused to end its moratorium on renaming Metro stations. The city's policy on landmark tributes is to wait at least a year after a public figure's death.
An Ontario school named Oscar Peterson Public School was opened in Stouffville in the Regional Municipality of York on 30 April 2009, and commenced operation in the 2009-2010 school year.
Category:1925 births Category:2007 deaths Category:Bebop pianists Category:Black Canadian musicians Category:Canadian jazz composers Category:Canadian jazz pianists Category:Canadian Music Hall of Fame inductees Category:Chancellors of York University Category:Companions of the Order of Canada Category:Deaths from renal failure Category:Fellows of the Royal Conservatory of Music Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:Knights of the National Order of Quebec Category:Mainstream jazz pianists Category:Members of the Order of Ontario Category:Mercury Records artists Category:The Royal Conservatory of Music alumni Category:Verve Records artists Category:Telarc Records artists Category:MPS Records artists Category:Pablo Records artists Category:People from Montreal
Category:York University Category:Anglophone Quebec people Category:Musicians from Quebec
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| Name | Joe Pug |
|---|---|
| Background | solo_singer |
| Instrument | Acoustic Guitar, Vocals, Banjo, Harmonica |
| Occupation | Singer, songwriter |
| Years active | 2007–present |
| Label | Lightning Rod |
| Associated acts | Steve Earle, M. Ward, and Josh Ritter |
| Url | Joe Pug official website}} |
Originally from Maryland, Pug attended Eleanor Roosevelt High School before going on to the University of North Carolina, where the day before his senior year as a playwright student, he resigned himself to beginning his career as a musician.
Pug packed up his belongings and pointed his car towards Chicago. Working as a carpenter by day, the 23 year-old Pug spent nights playing the guitar he hadn’t picked up since his teenage years. Using ideas originally slated for a play he was writing called "Austin Fish," Pug began creating the sublime lyrical arrangements that would become the Nation of Heat EP.
The songs were recorded fast and fervently at a Chicago studio where a friend sneaked him in to late night slots other musicians had canceled. He was short on money, but his bare-boned sincerity didn’t require much more than a microphone and it dripped off of each note he sang.
The early rumblings of critical praise for the EP were confirmed when his first headlining gig sold out Chicago’s storied Schubas Tavern in 2008. As word spread, Pug struck upon an idea that would later prove to be one of the most significant in his young career. He offered his existing fans unlimited copies of a free 2-song sampler CD to pass along to their friends. He sent the CDs out at his own expense, even covering the postage. Inside each package was a personal note thanking the fan for helping to spread the word. The response was overwhelming, and to date he has sent out over 15,000 CDs to 50 states and 14 different countries. Without access to radio, Pug managed to turn his fans into his very own broadcast system. The offer still stands, and to this day it’s featured prominently on www.joepugmusic.com.
“Look, in the end, I just trust my fans, and the nature of people in general. I need to pay my bills like anyone else does. But I also don’t think it’s right to ask someone to pay $15 when they don’t know what they’re getting. So in a way by sending out these CDs, I’m wagering that they’ll like my music, and that if they do they’ll come to shows, buy CDs, and help me spread the word even further. And so far I’ve been proven right. Without question, the more sampler CDs I send out, the more music I sell.”
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| Name | Basil Poledouris |
|---|---|
| Background | non_performing_personnel |
| Birth name | Basilis Konstantine Poledouris |
| Born | August 21, 1945 Kansas City, Missouri, USA |
| Died | November 08, 2006 Los Angeles, California, USA |
| Occupation | Composer, conductor |
| Instrument | Piano, orchestra |
| Genre | Film score |
| Years active | 1970–2003 |
| Url | http://www.basil-poledouris.com/ |
Basilis Konstantine "Basil" Poledouris (August 21, 1945 - November 8, 2006) was a Greek-American music composer who concentrated on the scores for films and television shows. Poledouris won the Emmy Award for Best Musical Score for work on part four of the TV miniseries Lonesome Dove in 1989.
Poledouris became renowned for his powerfully epic style of orchestral composition and his intricate thematic designs, and he garnered attention for his scores to The Blue Lagoon (1980; dir: Kleiser); Conan the Barbarian (1982; dir: Milius); Conan the Destroyer (1984); Red Dawn (1984; dir: Milius), RoboCop (1987; dir: Verhoeven); The Hunt for Red October (1990); Free Willy (1993) and its first sequel; Starship Troopers (1997; dir: Verhoeven); and For Love of the Game (1999).
Poledouris's studio, "Blowtorch Flats", is located in Venice, California, and is a professional mixing facility specializing in film and media production.
Poledouris married his wife, Bobbie, in 1969 and had two daughters, Zoë and Alexis. His elder daughter, Zoë Poledouris, is an actress and film composer, who occasionally collaborated with her father in composing film soundtracks.
Poledouris's score for Conan the Barbarian is considered by many to be one of the finest examples of motion picture scoring ever written.
In 1996, Poledouris composed the "The Tradition of the Games" for the Atlanta Olympics opening ceremony that accompanied the memorable dance tribute to the athletes and goddesses of victory of the ancient Greek Olympics using silhouette imagery.
Poledouris spent the last four years of his life residing on Vashon Island, in Washington State, and he died on November 8, 2006, in Los Angeles, California, aged 61, from cancer.
Category:1945 births Category:2006 deaths Category:20th-century classical composers Category:American composers Category:Eastern Orthodox Christians from the United States Category:American film score composers Category:California State University, Long Beach alumni Category:American people of Greek descent Category:Greek Orthodox Christians Category:People from the Kansas City metropolitan area Category:People from Los Angeles, California Category:University of Southern California alumni Category:Cancer deaths in California
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| Name | 4Him |
|---|---|
| Background | group_or_band |
| Origin | Mobile, AL, USA |
| Genre | CCM Rock Pop |
| Years active | 1990–2006 |
| Label | Benson Records , Word Records, INO Records |
| Associated acts | Truth |
| Url | 4him.net |
| Current members | Andy Chrisman, Mark Harris, Marty Magehee, Kirk Sullivan, Jason Barton |
4Him was a Contemporary Christian group founded in 1990 in Alabama, USA. The group has a Grammy nomination, seven Dove awards and an album certified gold to their credit. The group was inducted into Alabama's Music Hall of Fame, following the awarding of The Governor’s Achievement Award. The group has also been featured performers for popular Christian Evangelist crusaders, Billy Graham and Louis Palau.
4Him disbanded in 2006 to pursue individual careers of ministry and music. They have released 11 studio albums which have produced 24 number one singles.
The group has made sporadic reunion appearances since 2009.
In 1996, with the release of The Message, 4Him changed their overall sound in an effort to keep pushing the creative limits of the group. The guys replaced the over-the-top orchestrations and choral vocal arrangements with a stripped down, acoustic band approach where one of the guys would sing lead and the other three would sing backing vocals. On 1998’s Obvious, each member took more ownership of their music – becoming more involved in the production and songwriting aspects.
By 2004, all four of the 4Him guys reevaluated the future of the ministry. After close to fifteen years together, the members of 4Him decided to embark on solo careers. On September 23, 2006, 4Him performed their final concert at Cottage Hill Baptist Church in Mobile, AL, the city where 4Him’s 16 year journey first started. At that concert, various individuals (including family members, record producers, management, and Truth founder Roger Breland) were recognized for their contributions to 4Him’s ministry.
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
