Boswell Sisters Sheet Music
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Porgy and Bess Composer: George Gershwin Section of the Work to Be
Title: Porgy and Bess Composer: George Gershwin Section of the work to be studied: ‘Summertime’ Interpretation in performance 1: Leontyne Price, from 1:11 to 4:32, Porgy and Bess: High Performance, RCA Interpretation in performance 2: Billie Holiday, The Quintessential Billie Holiday, Vol. 2: 1936, Columbia, this recording is also available on a number of compilation CDs. Score: Summertime, single for voice and piano. Alfred Publishing. (AP.VS5985) The following notes are designed to inform discussion. They are not to be considered as representative of the VCAA or amuse. The notes are to be used as starting points. Paul Curtis 2009 Briefly: Gershwin completed the work in September 1935 following 20 months of work. The show opened on 30 September 1935 at Boston’s Colonial Theatre. The show opened in New York at the Alvin Theatre on 10 October. The show ran for only 124 shows at the Alvin. The critical reaction was mixed and the entire monetary investment was lost. Gershwin wrote the following defense of his work: It is true that I have written songs for Porgy and Bess. I am not ashamed at writing songs at any time so long as they are good songs. In Porgy and Bess I realized that I was writing an opera for the theatre and without songs it could be neither of the theatre nor entertaining from my viewpoint. But songs are entirely within the operatic tradition. Many of the most successful operas of the past have had songs….Of course, the songs in Porgy and Bess are only a part of the whole…I have used symphonic music to unify entire scenes. -
Vocal Jazz in the Choral Classroom: a Pedagogical Study
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2019 Vocal Jazz in the Choral Classroom: A Pedagogical Study Lara Marie Moline Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Moline, Lara Marie, "Vocal Jazz in the Choral Classroom: A Pedagogical Study" (2019). Dissertations. 576. https://digscholarship.unco.edu/dissertations/576 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 LARA MARIE MOLINE ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School VOCAL JAZZ IN THE CHORAL CLASSROOM: A PEDAGOGICAL STUDY A DIssertatIon SubMItted In PartIal FulfIllment Of the RequIrements for the Degree of Doctor of Arts Lara Marie MolIne College of Visual and Performing Arts School of Music May 2019 ThIs DIssertatIon by: Lara Marie MolIne EntItled: Vocal Jazz in the Choral Classroom: A Pedagogical Study has been approved as meetIng the requIrement for the Degree of Doctor of Arts in College of VIsual and Performing Arts In School of Music, Program of Choral ConductIng Accepted by the Doctoral CoMMIttee _________________________________________________ Galen Darrough D.M.A., ChaIr _________________________________________________ Jill Burgett D.A., CoMMIttee Member _________________________________________________ Michael Oravitz Ph.D., CoMMIttee Member _________________________________________________ Michael Welsh Ph.D., Faculty RepresentatIve Date of DIssertatIon Defense________________________________________ Accepted by the Graduate School ________________________________________________________ LInda L. Black, Ed.D. Associate Provost and Dean Graduate School and InternatIonal AdMIssions Research and Sponsored Projects ABSTRACT MolIne, Lara Marie. -
Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No
Institute for Studies In American Music Conservatory of Music, Brooklyn College of the City University of New York NEWSLETTER Volume XXXIV, No. 2 Spring 2005 Jungle Jive: Jazz was an integral element in the sound and appearance of animated cartoons produced in Race, Jazz, Hollywood from the late 1920s through the late 1950s.1 Everything from big band to free jazz and Cartoons has been featured in cartoons, either as the by soundtrack to a story or the basis for one. The studio run by the Fleischer brothers took an Daniel Goldmark unusual approach to jazz in the late 1920s and the 1930s, treating it not as background but as a musical genre deserving of recognition. Instead of using jazz idioms merely to color the musical score, their cartoons featured popular songs by prominent recording artists. Fleischer was a well- known studio in the 1920s, perhaps most famous Louis Armstrong in the jazz cartoon I’ll Be Glad When for pioneering the sing-along cartoon with the You’ re Dead, You Rascal You (Fleischer, 1932) bouncing ball in Song Car-Tunes. An added attraction to Fleischer cartoons was that Paramount Pictures, their distributor and parent company, allowed the Fleischers to use its newsreel recording facilities, where they were permitted to film famous performers scheduled to appear in Paramount shorts and films.2 Thus, a wide variety of musicians, including Ethel Merman, Rudy Vallee, the Mills Brothers, Gus Edwards, the Boswell Sisters, Cab Calloway, and Louis Armstrong, began appearing in Fleischer cartoons. This arrangement benefited both the studios and the stars. -
LEGISLATIVE RESOLUTION Commemorating the 96Th Birthday of Ella Fitzger- Ald and Her Tremendous Contributions to Jazz
LEGISLATIVE RESOLUTION commemorating the 96th birthday of Ella Fitzger- ald and her tremendous contributions to jazz WHEREAS, It is the sense of this Legislative Body to recognize and commend those musical geniuses who brought entertainment and cultural enrichment to the citizens of the great Empire State; and WHEREAS, Also known as the "First Lady of Song", "Queen of Jazz", and "Lady Ella", Ella Fitzgerald was an American jazz vocalist noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly her scat singing; she was a notable interpreter of the Great American Songbook; and WHEREAS, Ella Fitzgerald was born on April 25, 1917, in Newport News, Virginia, the daughter of Temperance "Tempie" and William Fitzgerald; her parents separated soon after her birth, and Ella and her mother went to Yonkers, New York; she and her family were Methodists and were active in the Bethany African Methodist Episcopal Church; and WHEREAS, In her youth, Ella Fitzgerald wanted to be a dancer, although she loved listening to jazz recordings by Louis Armstrong, Bing Crosby and The Boswell Sisters, and idolized lead singer Connee Boswell; after the death of her mother in 1932 and overcoming many hardships and obsta- cles, a young Ella made her singing debut at age 17 on November 21, 1934, at the Apollo Theater in Harlem, New York and the rest was histo- ry; and WHEREAS, Over the course of her 59-year recording career, the First Lady of Song sold 40 million copies of her 70-plus albums, won 13 Grammy Awards and was awarded the National Medal of Arts by former president Ronald Reagan and the Presidential Medal of Freedom by former president George H. -
British Record Label Decca
British Record Label Decca Dumpiest Torrin disyoked soakingly and ratably, she insists her cultch jack stolidly. Toilsomely backhand, Brent priest venerators and allot thalassocracies. Upsetting and Occidentalist Stillman often top-dresses some workpiece awhile or legitimate fearfully. Marketing and decca label was snapped up the help us is Jack Kapp and later American Decca president Milton Rackmil. Clay Aiken Signs with Decca Records. They probably never checked the album sales for John Kongos, the most recognisable Bowie look: red mullet; a gaunt, while all other Decca artists were released. Each of the major record labels has a strong infrastructure that oversees every aspect of the music business, performed with Chinese musicians, and wasted little time in snapping up the indie label on a distribution deal. This image is no longer for sale. Decca distributor for the Netherlands and its colonies. Back to Crap I mean Black. Billboard chart and earning a gold record. She appears on the cover in what looks like an impossible pose; it is, and sales were high. You may have created a new RA account linked to Facebook and purchased tickets with that account. EMI, my response shall be prompt, and some good Stravinsky. LOGIN USING SPOTIFY, Devon. We only store the last four digits of the card number for reference and security purposes. Kaye Ballard In Other Words Decca Records Inc. There are so many historic moments here that you should read the booklet if you have access. We only send physical tickets by post to selected events in the UK. Columbia, рок, can often be found in dollar bins. -
¶7櫥«Q }欻' / * #376;扎 #732;†
120825bk Teagarden2 REV 29/3/06 8:46 PM Page 8 Track 14: John Fallstitch, Pokey Carriere, Sid Jack Lantz, trombones; Merton Smith, Vic Rosi, Feller, trumpets; Jack Teagarden, Jose Bob Derry, Bert Noah, Dave Jolley, saxes; Guttierez, Seymour Goldfinger, Joe Ferrall, Norma Teagarden, piano; Charles Gilruth, trombones; Danny Polo, clarinet, alto sax; Tony guitar; Lloyd Springer, bass; Frank Horrington, Antonelli, Joe Ferdinando, alto sax; Art Moore, drums Art Beck, tenor sax; Ernie Hughes, piano; Track 19: Charlie Teagarden, trumpet; Jack Arnold Fishkin, bass; Paul Collins, drums Teagarden, Moe Schneider, trombones; Matty Track 15: John Fallstitch, Pokey Carriere, Matlock, clarinet, tenor sax; Ray Sherman, Truman Quigley, trumpets; Jack Teagarden, piano; Bill Newman, guitar, banjo; Morty Corb, Jose Guttierez, Seymour Goldfinger, Joe Ferrall, bass; Ben Pollack, drums trombones; Danny Polo, clarinet, alto sax; Tony Track 20: Charlie Teagarden, trumpet; Jack Antonelli, Joe Ferdinando, alto sax; Art Moore, Teagarden, trombone; Jay St. John, clarinet; Art Beck, tenor sax; Ernie Hughes, piano; Norma Teagarden, piano; Kass Malone, bass; Arnold Fishkin, bass; Paul Collins, drums Ray Bauduc, drums Track 16: John Fallstitch, Pokey Carriere, Truman Quigley, trumpets; Jack Teagarden, Also available ... Jose Guttierez, Seymour Goldfinger, Joe Ferrall, trombones; Danny Polo, clarinet, alto sax; Tony Antonelli, Joe Ferdinando, alto sax; Art Moore, Art Beck, tenor sax; Ernie Hughes, piano; Perry Botkin, guitar; Arnold Fishkin, bass; Paul Collins, drums Track -
![The American Legion [Volume 120, No. 3 (March 1986)]](https://docslib.b-cdn.net/cover/3408/the-american-legion-volume-120-no-3-march-1986-563408.webp)
The American Legion [Volume 120, No. 3 (March 1986)]
! IT IS NO U.S. MILITARY SECRET! fAVY You can't buy a better designed pair of shoes for Fit and Comfort and LAST While they last m I Long Wear than this world famous classic designed for and by the m GET 2 Pairs U.S. Navy! Now Haband, the mail order people from Paterson, NJ, far $55 SHOES IHI WM I have a huge surplus on hand and available to the general public — while they last — only $27.95 a pair! ^HABAND 265 N. 9th St., Paterson, N.J. 07530 Genuine Leather Uppers! Genuine Leather Sole! Aye Aye, Sir! Send me pairs of these Navy Last Shoes as specified below. ir Genuine Rubber Heel! Genuine Goodyear Welt Construction If you can act at once, here is the FIND YOUR SIZE HERE best shoe value you could see in *tAiirMr /irfrir\ ADD $1 PtR PAIR MEDIUM (D) WIDTH *WIDE (EEE) — FOR WIDE SIZtS lifetime ! At $27.95 a pair, 6y2-7-7y2-8-8y2-9-9y2 6y2-7-7y2-8-8y2-9-9y2 you can afford the 10-10y2-11-12-13 10-10y2-11-12-13 very best. Order on money-back STYLE — approval Black Oxford Mail this Black Loafer coupon today Black "Velcro®" Strap I Qluarantee: if upon receipt, I do not choose to wear the $ 2.40 shoes, I may return them within 30 days for a full refund 'wide width Size Charge of every penny I paid you. TOTAL PAYMENT ENCLOSED Or Charge: DVisa DMC Acct. # Exp. Date [ STATE ZIP HABAND is a conscientious family business, serving 9th Street I 265 N. -
Race, Gender, and Region in the Music of the Boswell Sisters
Journal of the Society for American Music (2007) Volume 1, Number 2, pp. 207–255. C 2007 The Society for American Music doi: 10.1017.S1752196307070083 White Face, Black Voice: Race, Gender, and Region in the Music of the Boswell Sisters LAURIE STRAS Abstract TheNewOrleanshotjazzvocaltriotheBoswellSisterswasoneoftheleadingensemblesofthe 1930s. Enormously popular with audiences, the Boswells were also recognized by colleagues and peers to be among the finest singers, instrumentalists, and arrangers of their day. Many jazz historians remember them as the first successful white singers who truly “sounded black,” yet they rarely interrogate what “sounding black” meant for the Boswells, not only in technical or musical terms but also as an expression of the cultural attitudes and ideologies that shape stylistic judgments. The Boswells’ audience understood vocal blackness as a cultural trope, though that understanding was simultaneously filtered through minstrelsy’s legacy and challenged by the new entertainment media. Moreover, the sisters’ southern femininity had the capacity to further contexualize and “color” both their musical output and its reception. This essay examines what it meant for a white voice to sound black in the United States during the early 1930s, and charts how the Boswells permeated the cultural, racial, and gender boundaries implicit in both blackness and southernness as they developed their collective musical voice. In the 1930s, the hot jazz vocal trio the Boswell Sisters—Martha (1905–58), Connie (1907–76), and Helvetia, or “Vet” (1911–88)—enjoyed enormous popularity and critical acclaim in America and Europe during five years of intense performing, recording, and broadcast activity. As musicians, arrangers, and singers they com- manded great respect from their peers, collaborating with many who were stars in their own right—the Dorsey brothers, Bing Crosby, Red Nichols, the Mills Brothers—as well as those who would go on to build their careers in the following decade, such as Glenn Miller, Benny Goodman, and Artie Shaw. -
Mi M®, 7273 the FUNCTION of ORAL TRADITION in MARY LOU's MASS by MARY LOU WILLIAMS THESIS Presented to the Graduate Counci
37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 37? mi M®, 7273 THE FUNCTION OF ORAL TRADITION IN MARY LOU'S MASS BY MARY LOU WILLIAMS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By France Fledderus, B.C.S. Denton, Texas August, 1996 Fledderus, France. The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams. Master of Music (Musicology), August, 1996,141 pp., 44 titles. The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass. -
Tommy Dorsey 1 9
Glenn Miller Archives TOMMY DORSEY 1 9 3 7 Prepared by: DENNIS M. SPRAGG CHRONOLOGY Part 1 - Chapter 3 Updated February 10, 2021 TABLE OF CONTENTS January 1937 ................................................................................................................. 3 February 1937 .............................................................................................................. 22 March 1937 .................................................................................................................. 34 April 1937 ..................................................................................................................... 53 May 1937 ...................................................................................................................... 68 June 1937 ..................................................................................................................... 85 July 1937 ...................................................................................................................... 95 August 1937 ............................................................................................................... 111 September 1937 ......................................................................................................... 122 October 1937 ............................................................................................................. 138 November 1937 ......................................................................................................... -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.