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HELP US GROW 2 for 1 Match Challenge JUNE 2018 See Page 31 for Details
HELP US GROW 2 for 1 Match Challenge JUNE 2018 See page 31 for details History of Yellowstone The Discovery 7pm Tuesday, June 5 Dudes and Sagebrushers 8pm Tuesday, June 5 A Realm Untamed 8pm Tuesday, June 12 It took centuries for Euro-Americans to find, and almost 70 years to explore and establish as a national park. Producer Jack R. Hubbell explores the history of Yellowstone National Park. See story, p. 2 MONTANAPBS PROGRAM GUIDE MontanaPBS Guide On the Cover JUNE 2018 · VOL. 31 · NO. 12 COPYRIGHT © 2018 MONTANAPBS, ALL RIGHTS RESERVED MEMBERSHIP 1-866-832-0829 SHOP 1-800-406-6383 EMAIL [email protected] WEBSITE www.montanapbs.org ONLINE VIDEO PLAYER watch.montanapbs.org The Guide to MontanaPBS is printed monthly by the Bozeman Daily Chronicle for MontanaPBS and the Friends of MontanaPBS, Inc., a nonprofit corporation (501(c)3) P.O. Box 10715, Bozeman, MT 59719-0715. The publication is sent to contributors to MontanaPBS. Basic annual membership is $35. Nonprofit periodical postage paid at Bozeman, MT. PLEASE SEND CHANGE OF ADDRESS INFORMATION TO: MontanaPBS Membership, P.O. Box 173345, Bozeman, MT 59717 KUSM-TV Channel Guide P.O. Box 173340 · Montana State University Mont. Capitol Coverage PARK NATIONAL YELLOWSTONE OF COURTESY Bozeman, MT 59717–3340 MontanaPBS World OFFICE (406) 994-3437 FAX (406) 994-6545 MontanaPBS Create E-MAIL [email protected] MontanaPBS Kids BOZEMAN STAFF MontanaPBS HD INTERIM GENERAL MANAGER Aaron Pruitt INTERIM DIRECTOR OF CONTENT/ Billings 16.1 16.2 16.3 16.4 16.5 CHIEF OPERATOR Paul Heitt-Rennie Tourists wading in Great Fountain c. -
Brian Casserly, Who Also Goes by the Name "Big B" Plays Trumpet, Trombone and Is Also a Vocalist with the Band
Cornet Chop Suey – Biographies The Cornet Chop Suey Jazz Band has enjoyed a meteoric rise in popularity since its arrival on the jazz scene in 2001. The band's unique front line with Brian Casserly on trumpet, Tom Tucker on cornet, Jerry Epperson on reeds and Brett Stamps on trombone is driven by a powerful rhythm section consisting of Paul Reid on piano, Al Sherman on bass and John Gillick on drums. Best known for a wide variety of styles, Cornet Chop Suey applies its own exciting style to traditional jazz, swing, blues and "big production" numbers. Every performance by Cornet Chop Suey is a high-energy presentation and is always a memorable experience for the audience. Named after a somewhat obscure Louis Armstrong composition, Cornet Chop Suey now has six CD's available. The "St. Louis Armstrong" CD includes many of the tunes performed in the special Louis Armstrong show. The band is in great demand at jazz festivals, jazz cruises, conventions and concerts around the country. Brian Casserly, who also goes by the name "Big B" plays trumpet, trombone and is also a vocalist with the band. A professional musician since the age of 14, Brian has played for many greats in the music business, including Tony Bennett,Tex Beneke, Stan Kenton, Chuck Berry and even Tiny Tim. He has also played the prestigious Monterey Pops Festival for several years. An in-demand session musician, Brian has performed in many commercials, recordings and musicals in the U.S. and Canada and is the past musical director for the S.S. -
Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
Finding Aid to the Norma Zimmer National Fan Club Newsletter
Manuscript Collections Home Finding Aid to the Norma Zimmer National Fan Club Newsletter Norma Zimmer National Fan Club Norma Zimmer National Fan Club newsletter, 1978 — [ongoing] .4 linear ft. Collection number: Welk Collection 3 History/Biography Scope and Content Box and Folder List OVERVIEW Access: The collection is in off-site storage. A 24-hour turn-around is required to make the records available for use at the Institute Research Room. The collection is open under the rules and regulations of the Institute. Provenance: Donated by Frances Young, club director (Acc. 94-4). Property rights: The Institute for Regional Studies owns the property rights to this collection. Copyrights: Copyrights to this collection is not held by the Institute. Citation: [Identification of item]. Norma Zimmer National Fan Club Newsletters (Welk Coll. 3), Institute for Regional Studies, North Dakota State University, Fargo HISTORY The Norma Zimmer National Fan Club began about 1960. Frances L. Young of Allentown Pennsylvania has been the director since at least 1978 and likely longer. Its purpose is to maintain contact with the many fans of Norma Zimmer and keep them up-to-date with her life and activities. The main medium of communication is its quarterly newsletter. Welk Collection 3 Norma Zimmer National Fan Club Newsletters Page 2 of 3 BIOGRAPHY Norma Beatrice Larsen was born July 13, 1923 on a dairy farm at Larson, Idaho and grew up in Seattle after her father moved the family west. She was singing in a church choir when a guest artist suggested she travel to Los Angeles and audition for a musical group. -
![[Cost?] of Lessons. His Father Told Him He Played French 2 EDMOND SOUCHON, M.D](https://docslib.b-cdn.net/cover/5183/cost-of-lessons-his-father-told-him-he-played-french-2-edmond-souchon-m-d-605183.webp)
[Cost?] of Lessons. His Father Told Him He Played French 2 EDMOND SOUCHON, M.D
EDMOND SOUCHON, M.D. 1 I E of 3]\--Digest--Retyped February^17, 1962 Also present:William Russell Dr. Edmond Soucl-ion II, grandson of Edmond Souchon I, son of Marion Sims Souchon, was born October 25, 1897^ in New Orleans, s, on St. Charles Street at First Street. He can remember as far back as wl-ien he was four years old, as he pointed out in an article he recently wrote about xToe Oliver [in the Jazz Review.RBA]. Discussion about memory. His first memory of music was of the singing of two cooks, who followed [succeeded?-] each other at fhe Souchon residence; they were Aumontine [spelling?] and Adele; both had fine contralto voices, and both sang hymns in the same style of Mahalia Jackson. ES remembers funeral parades [i.e., funeral £ processions]7 the cook would take him to see them; they started at the Bulls Club and always passed Terrell's Grocery (wbere ES and cook jtoined second line) on First Street, on their way to a cemetery on Washington Avenue. ES was impressed by the young Joe Oliver, who played in those parades; ES says Oliver worked in the neiglrborhood, on Magazine at First or Third? WR says it was at Second, that he took pictures of all four corners there, that Bunk Johnson showed him one that it was not, but that Louis Keppard, who worked with Oliver in those days [identified the correct house?]. ES admired Oliver's white teeth; Oliver always chewed a hunk of tar. ES's mother played piano a little; once s1'ie played a waltz and a mazurka for liim and told him that was tTne sum total of $5,000 [cost?] of lessons. -
Frank Scott Photo Coll
Photograph Collections Home Finding Aid to the Frank Scott Photograph Collection Scott, Frank Frank Scott Photograph Collection, 1930s-1990s 91 photographic prints Collection number: Photo 2058 Biography Scope and Content Folder List OVERVIEW Links: Finding Aid to the Frank and Audrey Scott Papers Finding aid to the Frank Scott Musical Arrangements View collection in Digital Horizons Access: The collection is open under the rules and regulations of the Institute. Provenance: Donated by Audrey Roseland Scott, 1997 (Acc. 2535). Property rights: The Institute for Regional Studies owns the property rights to this collection. Copyrights: Copyright to images in this collection remains with the creators. Citation: Institute for Regional Studies, NDSU, Fargo (item number) BIOGRAPHY The youngest of three sons of Frank Roy Scott, Sr. and Alice Wilson Scott, Frank Roy Scott, Jr. was born in Fargo on June 21, 1921. Educated in the Fargo school system, he graduated from Central High School in 1939. He entered the engineering program at North Dakota Agricultural College (NDAC) that fall, but left school in 1940. Music, not engineering, had been Frank’s calling from the time he was very young. He began taking piano lessons when he was eight years old, and he led a band and composed and arranged Photo 2058 Frank Scott Photograph Collection Page 2 of 4 his first songs at age 12. He also learned to play the guitar, banjo, ukulele, and harpsichord. When Frank left NDAC, he moved with his new wife, Jeanette Daniels Scott, to Cleveland, Ohio, and joined the orchestra of Paul Simms. While in Ohio Frank and Jeanette had their first child, Douglas. -
Bob Havens Musicians “Parade of Bands”
Newsletter of the Sacramento Traditional Jazz Society STJS is a non-profit organization dedicated to the preservation and promotion of traditional jazz music. 106 K Street, Suite #1 • Sacramento, CA 95814 • (916) 444-2004 • www.sacjazz.org VOLUME 44 • NO. 7 AUGUST 2012 Ad rates ............................................................2 Dante Club – info/directions ........................2 Dante Club Notes The Cricket ....................8-10 Dave Robinson’s CFJB Letter to Editor .............4 Future Festivals ............................................12 In Loving Memory ..........................................6 In the Months Ahead .....................................2 Jazz Ed. Graduates Felicia Weatherly ..............4 Jazz Notes ......................................................12 Sept. 9: “Hot Tram Tooter & Membership application .............................16 Music Here & There .......................................13 Bubble Blower” Bob Havens Musicians “Parade of Bands” ......................11 Notes from the Office Vivian Abraham .........2 ob Havens, the great jazz trombon- It began in 1938 at the age of eight. Patron Members ............................................3 Bist, is known to his many loyal fans Trombone lessons started that year. I President’s Message Tom Duff .......................3 from his appearances at jazz festivals, listened intently at home to recorded Raffle Cents Kathy Becker .............................12 STJS Fundraiser on Sept. 28 .........................5 and from his 22 years on the Lawrence music: Swing bands, Dixieland, sym- Sponsorships needed Ken McMurray .............7 Welk Show. Now, he has taken time phonic, you name it. My heros then Thankful for Volunteers ...............................6 to write a personal message to STJS were Tommy Dorsey and Jack Tea- members for whom he will perform at garden—all the while feeding an urge “Jazz Sunday” info ➤ pg. 2 the Sept. 9 Jazz Sunday. This will be a to become a master trombonist such rare appearance for Bob these days, so as they were. -
Members of the 1940S
Sahalie Historical Note #10: Members of the 1940s Second in my decadal series, this article continues my attempt to document all references to Sahalie Ski Club members ‐‐ in this case, the 1940s. It is thus long and tedious, with lots of footnotes. If you make it through, and notice any names that bring up stories to tell or more details that we’d like to know about, please get in touch! I should note that it is quite likely that many members joined the club earlier than their first mention in the newspaper or other official source. As we fill in more details from family records and other references, I’m sure we will lower the date of first membership for some people. On that note, I should also mention that all of these articles are intended to be drafts or works‐in‐progress. As we learn more, we will keep updating these records to reflect our best understanding of Sahalie Ski Club and the history of skiing in the Northwest. So definitely speak up if you trip over something or have something to add to the story. A brief summary of Sahalie in the 1940s: The early 1940s showed Sahalie Ski Club booming, with the world’s situation looming. Two of Sahalie’s prodigies, Bill Redlin and Carl Neu, led the U.W. ski team to national honors. Bill went on to teach skiing to Army troops in early 1942; Carl enlisted in 1943 after graduating. Other notable ski racers for the club in the early 1940s Bill Redlin and Carl Neu, both former Sahalie members, racing for the U.W. -
Texas Polka News - May 2020 Volume 32 | Isssue 15 INSIDE THIS ISSUE
Texas Polka News - May 2020 Volume 32 | Isssue 15 INSIDE THIS ISSUE Texas Covering Polka Dance Hall Music Since 1987News 2 Bohemian Princess Diary eresa Cernoch Parker e New Polka Normal ALL QUIET ON THE SOCIAL 3 Editor’s Log Gary E. McKee DANCING FRONT Lawrence Welk Was Cool! By Gary E. McKee Story on Page 4 3 From our readers 4-6 Featured Story Social Dancing Hostyn Picnic 2019 6 PoLK of A Report 8 Music Review & DJ Profi le Darrel Appelt 9 Wunnerful Welk Cont'd. 10-13 Dances, Festivals, Live Music 13 Boerne Village Band 14 Village Band & Welk Cont'd. 15 Band ads 16 Polka Smiles Sponsored by Slovacek's 2 Texas Polka News - May 2020 Bohemian Princess canceled and rescheduled. When Texas Polka News Staff in doubt please call the venue or eresa Cernoch Parker, Publisher Diary organization to make sure events Gary E. McKee, Editor/Photo Journalist are still taking place. Je Brosch, Artist/Graphic Designer As for TPN, which relies heavily Contributors: Louise Barcak Mark Hiebert John Roberts on ad revenue from events and Justin Everett Karen Williams Kurtz Will Seegers dance venues, I have made the Lauren Haase Julie Matus Rose Vrazel dicult decision to change the Walt Harfmann Earline Berger Okruhlik George Weber Joe Cool Pavlicek Harvey Wise publishing schedule from monthly to every other month. I don't know Contact how long this will last, possibly By Theresa Cernoch Parker until the end of the year. eresa Parker, Texas Polka News [email protected] 118 Vintage Park Blvd, Suite 443 • Houston, TX 77070 281-836-5362 PRINT SCHEDULE & AD [email protected] | Gary: [email protected] With the onset of the COVID-19 DEADLINES pandemic in our country, I thought No June issue Ads/Media last month's column was hard to July issue, deadline for ads, June 1 Articles, ads, letters to the editor deadline: 1st of the month for the next month write, until I sat down to pen this No August issue Ad Rates 1/3 page: $185 1/8: $65 one. -
1 TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT by DANIEL K
TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT Daniel Twentey TMUS 8249 Pedagogy Practicum TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT by DANIEL K. TWENTEY B.A., Virginia Polytechnic Institute and State University, 2010 M.A., Pennsylvania State University, 2012 A dissertation project submitted to the University of Colorado Boulder in partial fulfillment of the requirements for the degree of Doctor of Musical Arts College of Music 2020 Committee Members: Dr. William Stanley Dr. David Rickels Dr. Ryan Gardner Prof. Michael Dunn Dr. Donald McKinney 1 TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT Daniel Twentey TMUS 8249 Pedagogy Practicum ABSTRACT Twentey, Daniel K. (DMA, Music) Trombone Embouchure Type Self-Assessment Thesis directed by Dr. William Stanley The focus of this study is to create a self-assessment tool with which the user may identify their own embouchure type. The assessment criteria and embouchure types are derived from the embouchure pedagogy of Donald Reinhardt as revised and clarified by Doug Elliott and David Wilken. Three possible embouchure types include Very High Placement, Medium High Placement, and Low Placement. This study utilizes audio/video recordings, user-recorded musical examples, pre-recorded musical examples, self-observation analysis questions, external observation questions, and comparative analysis questions for assessment. The resulting study complements my other dissertation study, Selected Published Literature Concerning Trombone Embouchure: An Evaluation and Reference (2020), which provides accessible information about embouchure-related content in trombone pedagogical literature. In conjunction, these two studies allow trombonists and teachers to filter the reviewed texts according to their compatibility with each of the specified embouchure types. 2 TROMBONE EMBOUCHURE TYPE SELF-ASSESSMENT Daniel Twentey TMUS 8249 Pedagogy Practicum Outline of Assessment Contents I. -
Great Instrumental
I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T. -
Big Band Jump
BIG BAND JUMP NEWSLETTER BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 BIG BAND JUMP NEWSLETTER VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996 our impression of Jo Stafford is that’s she’s a business JO STAFFORD INTERVIEW like person with no pretensions. Down-to-earth might be another way to describe our reaction to the conversation. The Background Her voice seems deeper than it was during her singing years; she admits to having Jo Stafford has been in the mu been a “dedicated smoker”until sic business since the ’30s, when just ten years ago. Our first she began her professional ca question concerned Jo’s life be reer with two older sisters. fore she became one of the Pied Pauline and Christine, as one of Pipers. a trio at a time when sister acts (the Andrews Sisters, the The Interview Boswell Sisters) were popular. How did you get into The Stafford Sisters worked in southern California on radio and music? in movie musicals until 1938 I had two older sis when Jo became the only girl ters, quite a bit older, singer with a group of seven 11 and 14 years older than I. men who called themselves the They were already in local ra Pied Pipers. dio in Long Beach, California and finally came up to Holly Jo is a native of California, where her Tennessee bom wood, doing radio in and around Los Angeles. When I parents moved just before she was bom in 1917.