DOCSLIB.ORG

Of the Moon," by Cleaves Kinkead

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Of the Moon, COMING ATTRACTIONS. AMUSEMENTS. AMUSEMENTS. AMUSEMENTS. "Going Up." Week Nights, 8:30 to 12 "Going Up," the Cohan and Harris musical comedy production, is to be- Kin a return encasement at the New National Theater next week, opening AmiLrcment^ next Sunday evening, with virtually ARCADE the same cast seen before, although 14th and Park Road strengthened in a few places. New AVusic and Drama settings and new costumes will lend freshness to 3 show which for more Our Biggest and Best Show than two has the Katherlne and . After years made rounds Pel rachlo. of American PERFECT PLACE lonp neglect, David Garrick made a ver¬ theaters, returning in al¬ sion of the comedy under the titl" of most every instance. TO Vaudeville's Sensation! "Katharine and Petruchio." but did not First Appearance F.ast of appear in it himself. Henry Woodward Golden Girl." and Mrs. Pritchard acted the chief char¬ "My The Most Extraordinary Puzzling and Thrilling Act in Vaudeville acters in Garrick's production. Oth» r Monday. January 12, another noted Knjr'ith players who have been operetta by the prolific Victor Her¬ A Production Which Will Interest You seen as Kitherine and Petruchio are bert, "My Golden Girl," will have its DANCE LCVETT'S Mrs. Sidd. s and John Philip Kemble, local premiere at the Shubert-Belasc-o Strict Prleea Helena Kaucit and f'harles Ivemble, Kl- Theater. The book and lyrics are Onaor.Popular len Tree and Charles Kemble. Kllen by Frederic Arnold Kummer, who Terry and Henry Irving. Mrs. Bernard- wrote the story and words to the Beer^ and Forbes-Robertson. In Amer¬ "Magic Melody." or Shine "CONCENTRATION" Wfek Rain ica. T^ewis Hallam and Margaret Cheer In the cast are Robert Emmett Every Mght < the first time produced the omedy for (Continued on Seventh X'age.) Presenting the World Renowned MME. ZENDA .n Philadelphia. November 21. 176G. Macreadv Mr? Parlej. Fanny Kem¬ And the Marvelous Jazz Band.five kings of syncopation.which ble and Charles Kemble. Clara Morris will a.iy selection called for. A weird mixture of mirth, ai AMUSEMENTS. play and Ijonis Jam -s. Fanny Davenport d D-A-N-C-I-N-G melody and mystery, uneqnaled in the world. Edwin Booth and Ada Rehan and John ON MARBLE TO MUSIC DIVINE Drew and Otis Skinner have been seen S:30 to 12 in the pipy. K. H. Scthern and Julia Marlowe first Billy Bouncer's Circus SUBERS & KEEFE in Cleve¬ Evening 8:30 Auditorium GREATER PENN GARDENS Gales Comedians played the famous old comedy Peuna. Ave. 21at St. N.W. of laughter Fccentric land. Ohio. September 18. 1903. and :i OLGA at has been one of their most popular pro¬ Refined.Popular Prleea..\o Extras ductions. SAMAROFF HODGE & LOWELL : LOUISE CARTER & CO. Pianist Drass Dand.1Tvrlee Every Day "From Pumpkinville" "The Returned Soldier" William I«odaV» C areer..The stage EDWARD LANKOW career of William Hodge. who has Basso, Metropolitan Opera Company become renowned thro it*h "Th*1 M*mi Ticketa, $2.00. $1.50, $1.00. Office T. DEVOIE & MORALiS AL RAYMOND From Home." 'The Road to Happi¬ Arthur Smitli. 1306 G st. I ness." "Fixing Sister" and "A < ure A Revue of the Show Topics of the Day for Curahles." has covered a period Friday J.9A NATIONAL S-K-A-T-I-N-G of about a score of years. Afternoon. Theater In the Only Rink in City and GREAT ADDED FEATURE His early apprenticeship to dra¬ America's Finest matic art was spent in an obscure NEW YORK In His Latest little repertoire company. Many a Charlie 2«Reel Comedy Special Pennsylvania and New York village Philharmonic Orchestra THE COLISEUM Chaplin waited for r*»e coming: of younc JOSEF Conduotor Positively Shown at All Per¬ STEANSKY, Over Center Pleasure" Hod etc in thos» days. He became such Fourth Concert Ten-Star Series Penna. Ave. at t>th Mkt, formances "A Day's a favorite in those small places that Ticket*. $2.00, $1.60. $1.00, Office T. Dally: 2:30 to 5.K to 11.Sunday. he Anally organixed a repertoire com¬ Arthur Smith, 1306 G *t. 3 to 5.8 to 10:30. pany which he very pretentiously Matinee Feature PATHE NEWS called "The niitc." "IN During: those days Hodge was an WRONG" AND JEFF all-around actor. He would play leads, Beginning With Jack Pickford MUTT villains or comedians. He was even Tomorrow an rxnert doc. dancer, and he tells Night with amusement how. between acts, At 8:30 he often had to go in front of the rr? ' VWSWNCilONS PWMtOUSl BtAUTIfW drop curtain and dance, even in a Tlll Desperate Desmond make-up. as once katrllqi DeVoiL Helen jV^Claln" Lew Alma A Pleasure Place Out of the Commonplace otwcnow of messrs shubert_ happened when he was playing: Sir Doci^taoepls cShubert - 6arri£k»» n**.':«%aiis stage otiy Mv foremost foreign andMatte Artists and Attractions._ Francis Levison in "Kast Lynne." Cosmos (Safety Keithlx Irish dialect characters became his specialty, and it was as McFadden in Lincoln T. Carter's old-time melo- drama. "The Heart of Chicago," that Harry Watson, Marguerite Karrell, cast, scenic investiture, musical score on Stewart Baird, Ted Lorraine, Gladys wardrobe and mechanical and elei EF.KEITHS he first made his footlight bow 25c of not in¬ effects all are contribute Broadway. A little later he was play¬ Walton and a host others, trical DAILY SS SUNIJAY £S PRICtS}op ing: a fire-eating: Brazilian in Roger cluding a hundred or more who make factors. An amusing vehicle is offer «..£<&. brothers farce. "A Reign of Errors." up the "bevy of bewitching beauties." ed In the form of a comedy in twi BeKinoinK Tomorrow Matinff and Ending; Next Sunday Evening In this he did a Spanish dance. Then acts and nine scenes, entitled. "Thi The World'H (irfntmt Humorist Broadway's Latent "Find" came his discovery by the late James BELASCO."The Guest of Honor.'' Doll HHospital." The funmaking is a! A. Hearne, who put him forward as lotted to Harry D. Ward, "the quair ' Freeman Whitmarsh. the eccentric William Hodge, with a new play, comedian." a recent graduate from th- village painter and gossip. in "Sag: will appear at the Shubert-Belasco Keith and Orpheum vaudeville, cir Lew "Vie" be said It own cuits. Others Helen McClain, Quinn Harbor." In this Hodge may tomorrow night. is from his a# to have really found himself and his pen and is entitled "The Guest of Thelnia Seaville, Somers and Berry J ___ The Last Word in Jazz Art and Tremal* peculiar art. Honor." Bert Morrissey, David Gordon. Tillie Liockstader ^ "Wliitmarsh was followed by his In "The Guest of Honor" Mr. Hodge Storke and the Bernard trio. Among FRANK FARNUM. GEORGE KREER and Stephen Tully. in "Sky Farm"; by his Is revealedtas a struggling young au¬ the scenes are a l)f-ach in California Girint Ereryljody "AN EAR FULL" About th« MEMPHIS FIVE riummer. in From the me¬ a courtroom in a tea garden the Burin! of Jchn Barleycorn and Capt "Peggy thor seekife recognition in Samoa, Seven Indescribable Numbers. Paris"; by his Mr Stubbins. in "Mrs. tropolis. It is a departure from the in Peking, n bull ring in Madrid am Other Laugh Topics. "Wiggs of the Cabbage Patch"; by plays in which he lias been appearing a cafe In France. Specialties*, fen The Dainty Daughter of the"Daintiest Farisienne of Her Day liis Daniel Voorhees Pike, in "The in recent years. John Weatherbee. tures and novelties are plentiful. Man From Home." and by Jim Whit¬ the novelist, in "The Guest of Honor" i Anna Held, Jr., antf Emmet Gilfoyle man. in "The Road to Happiness." To is more emotional and sentimental In Bits of Musical Comedy. Song. Fatter and Pirtraettes these he added the role of John Otis, than in former roles, but its por¬ FOLLY.Burlesque. The Most Wonderful Motion Picture of the "War in Sister." and the young "Sliding" Billy Watson's show wil "Fixing trayal is typical, the same manner¬ week wutherr*- physician, in "A Cure for isms, the half-closed eyes, the nasal appear at the Folly Theater this of the German Submarine U-35 Curables." in a two-act burlesque of unusual en¬ ExploitsFILMS OF ACTUAL SINKINGS BY THE SUPER-SEA PIRATE intonations, the perfect enunciation, tertainment. "Sliding" Billy Watson the dry, unexaggerated humor of pre¬ be BALL Baird of Harvard..It is a legend vious years will be found just as mcuh will the principle comedian. Gladys "ONCE UPON A TIME" RAE ELEANOR that the Harvard "stamp" once placed in evidence. Bijou is the prima donna, and Sadie With JACK PRINCETON and a Splendid and "Brother" JOSEPH BALL. Prcaentinf tipon a man. is hard to eradicate. The cast includes Jane Houston, Banks Iiead6 the feminine contingent Cast Inc'.ud-ng LEON LEONARD .MOMENTS MUSICAL" classic trade mark is Others are Forest Nelson, Joe West & Billle. of the D«y.» Kijwjrami. Perhaps this Jennie Lamont, Ethel Winthrop, Mir¬ Andrews and A1 Swift k Kelly. Jackie Prosper &_Maret. "Topin one of the elements in the personality iam McCauley, Jnne Loring. Jean Gus Kohrer, Myrtle TODAY.3 A 8:15.BOTHflEl.l, nnOttXE, AXATOLE FR1KDLAND, Etc. of Stewart Baird of the "Shubert Howard, .Scott Cooper, Charles W.. Dupont. with a chorus of twenty-four Gaieties of 1913." Butler, Brigham Ro.vce and others. girls. Baird has had an interesting career. J devel¬ Central Iankow He is a Bostonian. who first NATIONAL."Th7 Royal Vaga¬ Coliseum. Edward oped taste and ability for the stage Roller skating is featured in the Masonic Audutoriujn SH LIBERT'S -while a student at Harvard, where bond." large arena at the Central Coliseum ATTRACTIONS TONIGHT was also a soloist of the Tie principal Direct from a full year's run at the nightly.
Load more

Recommended publications
  • Courier Gazette : January 3, 1925
    Issued Tuesday Saturday Thursday Issue Saturday The Courier-Gazette By Rockland Publimini C.. 465 Main St, Established January, 1846. EatarM aa Saeantf Claaa Mall Mattar. Rockland, Maine, Saturday, January 3, 1925. THREE CENTS A COPY Volume 80............... Number 2. The Courier-Gazette RECALLS TRAGEDY ROUND’S NEW HICO SCHOOL BUILDING OLD TIMERS THERE THREE-TIMEt-A-WEEK Capt. Sidney G. Hupper Seventy-Five Members of STOP LOOK LISTEN ALL THE HOME NEWS Gives Full Details of the' the New Legislature Have Subacrlptlon 53 06 par year payable to Georges River Accident. Seen Previous Service idrance; single copies thru cents. Advertising rates baaed upon clrculatloa Editor of The Courier-Gazette:— There. snd very reaaonable. I have read with much interest the PREVENT BEING NEWSPAPER HISTORY » Frank Holley of North Anson, The Rockland Gazette was established in items in recent issues of The Cour- Blaine Morrison of Phillips. Percy 1846. In 1874 the Courier was established. w ,, and consolidated wlrth the Gazette in 1882. cier-GazeMe, concerning 'the Georges Sargent of Sedgwick. Judge Maher The Free Press was established in 1855, and River Accident. Although it small in 1891 changed its name to the Tribune of Augusta, Mark Barwlse of Ban­ These papers consolidated March 17. 1897. boy at the time I remember the in­ gor and a dozen or so other mem- KILLED cident because of a certain event in I^.*. IK, bers-elect of the 82d Maine Legisla­ ••• ••• my own family. The date I would ture which convenes Wednesday ••• A people who can understand and ••• — | place as the second, of July, 1858.
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • Toscanini IV – La Scala and the Metropolitan Opera
    Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write.
    [Show full text]
  • There Is No Death,He/She Lives On
    MEMORIAL SERVICE Wcffcrsou ~oss November 3, 1907 -July 29, 1992 2:00 PM August 29, 1992 First Baptist Church San Angelo, Texas ORDER OF WORSHIP THE LORD IS MY LIGHT ". The Lord is my light, and my salvation, whom then shall I fear . " Psalm 2 7 Prelude ... .. .. ... ..... ... .. .... .... Janet Vaught Hymn 8 . "A Mighty Fortress Is Our God" Scripture and Prayer . Pastor Psalm 27: 1-6 Psalm 84: 1-4, 9-12 'Jesus Paid It All" ........... Arranged Joseph Martin Sanctuary Choir Hymn 330 ''Amazing Grace'' Remembrances of Dallas Goss . Pastor Deuteronomy 31 :8 Hymn 334 .... .... "Blessed Assurance, Jesus Is Mine" Responsive Reading 67 4 . Praise and Adoration "Hallelujah" from Messiah . George Frederic Handel Sanctuary Choir and Orchestra Sermon Pastor Benediction . Pastor "The Lord Is My Light" . Frances Allitsen Dallas Goss, tenor; Rowena Goss, piano Radio Broadcast, First Baptist Church, San Angelo Recorded by Phillip Earhart, 1972 Immediately following the service, the family will receive guests in the church parlor. Jerold R. McBride, Th.D., Pastor Lyndel Vaught, Minister of Music Janet Vaught, Organist Linda Bratcher, Pianist The Sanctuary Choir and Orchestra of The First Baptist Church A Biography of a Life Dallas Jefferson Goss was born on November 3, 1906 in Lillie, Union Parish, Louisiana. He was the first-born son of Charles Evans and Nancy Nelson Goss, a pioneer farming family who determined early in their married life to give their children the best education they could afford and to instill in them a strong religious faith and a love for music. They never wavered from this conviction despite years of hardship and economic struggle.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 33,1913
    AUDITORIUM SPRINGFIELD lymphon; Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor Pr©gir< WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, FEBRUARY 24 AT 8.00 COPYRIGHT, 1914, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER since 1823 No Piano of American make has been so favored by the musical pub- lic as this famous old Boston make. The world's greatest musicians have demanded it and discriminating people have purchased it. THE CHICKERING PIANO enjoys the distinction of being the recipient of 129 First Medals and Awards for Superiority Its wonderful tone and action call it to the studio to stimulate and encourage the pupil, and it is sought by teachers and musical people when the best is desired. ^r AUDITORIUM . SPRINGFIELD Twenty-first Concert in Springfield Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor TUESDAY EVENING, FEBRUARY 24 AT 8.00 PROGRAMME Glazounofl .... Symphony in B-flat major, No. 5, Op. 55 I. Mod ra to maestoso; Allegro. II. Scherzo: Moderato; Pochissimo meno mosso. III. Andante. IV. Allegro maestoso. " Weber . Recitative, Wie nahte mir der Schlummer," and Aria, "Leise, leise," from "Der Freischutz" " Strauss . Tone Poem, Tod und Verklarung" ("Death and Transfiguration"), Op. 24 Songs with orchestra: Humperdinck . "Es schaukeln die Winde" ("The Winds Rock") d'Albert Mediaeval Hymn to Venus Liszt . Symphonic Poem, No. 3, "The Preludes" (after Lamartine) SOLOIST ELISABETH van ENDERT There will be an intermission of ten minutes after the symphony 3 MEASURED BY THE SEVEREST STANDARDS OF THE GREATEST MUSICIANS, THE WMMMjk Wffil&M c 5 171 IS THE ACKNOWLEDGED .
    [Show full text]
  • Enrico Caruso
    NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’.
    [Show full text]
  • 10-06-2018 Aida Mat.Indd
    Synopsis Act I Egypt, during the reign of the pharaohs. At the royal palace in Memphis, the high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command the Egyptian army. He is in love with Aida, the Ethiopian slave of Princess Amneris, the king’s daughter, and he believes that victory in the war would enable him to free and marry her. But Amneris also loves Radamès and is jealous of Aida, whom she suspects of being her rival for Radamès’s affection. A messenger brings news that the Ethiopians are advancing. The king names Radamès to lead the army, and all prepare for war. Left alone, Aida is torn between her love for Radamès and loyalty to her native country, where her father, Amonasro, is king. In the temple of Vulcan, the priests consecrate Radamès to the service of the god Ptah. Ramfis orders Radamès to protect the homeland. Act II Ethiopia has been defeated, and in her chambers, Amneris waits for the triumphant return of Radamès. Alone with Aida, she pretends that Radamès has fallen in battle, then says that he is still alive. Aida’s reactions leave no doubt that she loves Radamès. Amneris is certain that she will defeat her rival. At the city gates, the king and Amneris observe the victory celebrations and praise Radamès’s triumph. Soldiers lead in the captured Ethiopians, among them Amonasro, who signals his daughter not to reveal his identity as king. Amonasro’s eloquent plea for mercy impresses Radamès, and the warrior asks that the order for the prisoners to be executed be overruled and that they be freed instead.
    [Show full text]
  • 03 Francesca Da Rimini
    Press Contacts: Harry Forbes, WNET 212-560-8027 or [email protected] Eva Chien 212-870-4589; [email protected] Press materials; http://pressroom.pbs.org/ or http://www.thirteen.org/13pressroom/ Website: http://www.pbs.org/wnet/gperf/ Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS Zandonai’s Masterpiece Francesca da Rimini In Its First Met Revival in 27 Years on THIRTEEN’s Great Performances at the Met Sunday, August 18 at 12 noon on PBS Eva-Maria Westbroek and Marcello Giordani star in the classic tale of doomed love, based on an episode from Dante’s Inferno Riccardo Zandonai's masterpiece Francesca da Rimini , staged by the Met for the first time in more than a quarter of a century, airs on Great Performances at the Met Sunday, August 18 at 12 noon on PBS (check local listings). (In New York, THIRTEEN will air the opera at 12:30 p.m.) Piero Faggioni's production, which sets the action in Renaissance Italy, stars Dutch soprano Eva-Maria Westbroek and Italian tenor Marcello Giordani as Francesca and Paolo, the star-crossed lovers whose doomed romance was immortalized in an episode in Dante's Inferno . Marco Armiliato conducts a cast that also includes the American baritone Mark Delavan as Gianciotto, Francesca's brutal husband, and American tenor Robert Brubaker as the wicked Malatestino. Francesca da Rimini had its Met premiere in 1916 with Frances Alda in the title role, Giovanni Martinelli as Paolo, and Pasquale Amato as Gianciotto. The opera quickly gained a reputation among connoisseurs for its unusual blend of musical styles, joining the melodies of Italian verismo with the colorful harmonic influences of Debussy and the orchestral effects of Richard Strauss.
    [Show full text]
  • Conference Program Book
    2 CONFERENCE SPONSORS PLATINUM Travel Grants from the Savada Family in memory of Morton J. and Lila Savada GOLD The MediaPreserve Nauck’s Vintage Records Texas Tech University Libraries SILVER CPS1 iZotope Memnon, a Sony Company NOA Archive Packburn Electronics Prism Sound SUPPORTING Millennia Media EXHIBITORS Alexander Street, A ProQuest Company Archeophone ATR Magnetics Council on Library and Information Resources CPS1 The MediaPreserve Memnon, a Sony Company Nauck’s Vintage Records NOA Archive Northeast Document Conservation Center Packburn Electronics Prism Sound Texas Tech Libraries and Texas Tech Press Timestep 3 ASSOCIATION FOR RECORDED SOUND COLLECTIONS ARSC Board of Directors Matthew Barton, President Patrick Feaster, Immediate Past President Will Chase, 2nd Vice President/Program Chair Danielle Cordovez, Secretary Steven Ramm, Treasurer Jenny Doctor, Member-at-Large Martin Fisher, Member-At-Large Nathan Georgitis, Executive Director 50th Annual Conference Planning Brenda Nelson-Strauss, Conference Manager Curtis Peoples, Assistant Conference Manager Timothy R. Williams, Conference Registrar Anna-Maria Manuel, Bill Klinger, Outreach Kimberly Peach, Web Editor Patrick Feaster, Conference Audio Coordinator Danielle Cordovez, Mentor Program Coordinator Local Arrangements Rich Markow, Brenda Nelson-Strauss, Curtis Peoples Program Committee Will Chase, Chair Sarah Cunningham, Jenny Doctor, Richard Markow, Curtis Peoples Education & Training Committee Curtis Peoples, Interim Chair Awards For Excellence Committee Roberta Freund Schwartz,
    [Show full text]
  • VOICE, RACE, and NATION in US MUSIC, 1890-1924 by Scott A
    VOX AMERICANA: VOICE, RACE, AND NATION IN U.S. MUSIC, 1890-1924 by Scott A. Carter A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music) at the UNIVERSITY OF WISCONSIN-MADISON 2014 Date of final oral examination: 05/15/2014 This dissertation is approved by the following members of the Final Oral Committee Ronald M. Radano, Professor, School of Music Jerome Camal, Assistant Professor, Anthropology Susan C. Cook, Professor, School of Music R. Anderson Sutton, Professor, School of Pacific and Asian Studies, University of Hawaii at Manoa Amanda Weidman, Associate Professor, Anthropology, Bryn Mawr College i For Katie ii The more I hear, the less I know. — "Music is a Better Noise," Essential Logic iii Table of Contents Acknowledgements v List of Figures ix A Note on Transcriptions and Direct Quotations x Chapter One 1 Introduction Chapter Two 28 Anthropology, Vocal Science, and the Ordering of World Song Chapter Three 73 Forging a Sound Citizenry: Voice Culture and the Embodiment of the Nation Chapter Four 122 Bert Williams's Vocal Challenge Chapter Five 167 The Vocal Economy of Vernon Dalhart Epilogue 205 Bibliography 211 iv v Acknowledgements Like any major project, my dissertation has benefitted from the insights, critiques, and generous advice of friends and colleagues. I want to begin my acknowledgements by thanking the community of scholars in the School of Music at UW-Madison for creating programs that challenge students to produce scholarship of the highest caliber while allowing them the freedom to pursue avenues of innovative musical inquiry. I am particularly grateful for the interdisciplinary approach to scholarship afforded by the department, which allowed me to seek out and work with scholars in anthropology, history, communication arts, and Afro-American studies.
    [Show full text]
  • Press Release
    LA FANCIULLA DEL WEST PUCCINI - OPERA DE PARIS 10 th FEBRUARY LIVE IN CINEMA FROM LA BASTILLE LA FANCIULLA DEL WEST from Giacomo Puccini was first performed at the New York Metropolitan in 1910. Never before shown in France, this genuine masterpiece finally enters into the repertoire of the Paris Opera and will be broadcast live this 10 th February at 19h30. This broadcast to cinemas is made possible by François Roussillon & Associés, a Paris based producer of major cultural events, and RISING ALTERNATIVE, a leading distributor of classical music programs to cinemas. The broadcast, containing background information about the opera and interviews with members of the production, is a great opportunity to learn more about this Puccini masterpiece. Starring Nina Stemme, Marco Berti and Claudio Sgura. Next from the Opera National de Paris: BALANCHINE y MILLEPIED (ballet), 3rd June LA TRAVIATA Verdi, 17 th June, with Diana Damrau See LA FANCIULLA DEL WEST trailer: http://youtu.be/tIK6H-NJf64 LA FANCIULLA DEL WEST, live 10 th February 2014 - 19h30 (Paris time) Opera in three acts by Giacomo Puccini Libretto by Guelfo Civinini and Carlo Zangarini, based on David Belasco’s play “The Girl of the Golden West” Sung in Italian Creative team Conductor Carlo Rizzi Lighting Duane Schuler Director Nikolaus Lehnhoff Video Jonas Gerberding Sets Raimund Bauer Choreography Denni Sayers Costumes Andrea Schmidt- Chorus master Patrick Marie Aubert Futterer Cast Nina Stemme, Minnie Andrea Mastroni, Ashby Claudio Sgura, Jack Rance André Heyboer, Sonora Marco Berti,
    [Show full text]
  • Deceptionthe Llotnnnra of Ann» Bolryn Pnaannn
    ! Theatres under Uiei dlreclion'mmm." U. S. Zionist Plan Mine. Culp Walter Film Do AMEtttCA'8 EOKEMQBT THBATEEB AND HIT8. PHREOTlQW OF LK>; '"" Rcappcars Hampden Says Imports of Hugo Rlesenfeld AMi .1. .1 siit'BFl With A/ctors Here an HBrf*. Ripeiied Soprano At Not Injure f>nt. 1'arV W Is 30 Like Nullificatioii, Broadhurst RIVOLHt^K THE WINTER GARDEN'S EV08. AND BAT. MAT.. 50« t» $2.50..POP BROADHURff: Contlmtoua .AJ.,1. In Noon lo Ilt30 P. M. PTAH_C»it... Ui«_Kw<r BjiectacleJMAT. IBauer. Gabrilowitsch and Kreis- Produccr Dcelarea Tariff Would Greatest TODAY Rosenblatt Savs ler on Laughing Hit l fteate Also Beethoven Con- .ause Retaliation Ahroad and IN THE NI6HT WATGHrtt.OO. oert Program IuJ^Macbeth-' Harm U. S. Industry MSSUfCSHOW HampdeN Magistralc Asserts Judge No more distinguishcd nrtisls could Couveiitioual Production of American actors and actressea are OF 1931. OPENING TO-N1GHT -IMACBETrl h«ve been choscn for tho season's finn] to not being deprived of a livelihood as a DeceptionThe llotnnnrA of Ann» Bolryn pnaannn. Mem- Mack's Proviso Woiild Play Serves Make restilt of the hcavy importations of A Param-ount Pict.urit Willie & Eugene Howard "L1LIOM" BOOTH concert. by the Beot.hoven Association of lilm was tho Ilv F7an* Moinar. GEORGEffiiZ"rfo&VaS Have Given Power Over than tUoHO who ory the Hopkins "Ven- foreign productionn opin- SPECIAL MUSIC PROGRAM mOB. »:15. MAT. TO-M'W. 2:15. A THEATRE OUILD Produrtlon. appoared at Acolian ion exprcHticd yesterday by L. Auerbach, FIRST MATINEE TO-MORROWl. World Fund 11*11 last cvoning, Hnrold Bauer, Onsip lure a Little More vico-prcsident of the Export and Im- Thealre.
    [Show full text]