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Ratner Baritone Revised
CARL J. RATNER • Baritone Representation: Leota Arts Management Leota Bauman 404 Sturdy Rd., Suite B3 • Valparaiso, IN 46383 • 630-235-8676 BIOGRAPHY In 2013-2014, Carl Ratner staged La Bohème for Harbor Country Opera in New Buffalo Michigan, and sang the roles of Benoit and Alcindoro. He returned to the Twin Cities for Russian Seasons of Minnesota’s collaboration with Voices of Vienna, an evening of “Russian Inspiration in Viennese Operetta,” perforMing music of Lehár, Kálmán, and Johann Strauss II. In 2014 he is scheduled to sing recitals of Russian song in Washington DC and at Bethune-CookMan University in Daytona, Florida, where he will also give a master class. In 2012-2013, Ratner was the featured soloist in a concert honoring the Russian AMbassador to the United States as part of a “Russia Day” celebration in Chicago. He returned to Naples, Florida, to perforM the role of Pilate in Bach’s Saint John Passion, as well as the Bass solos in Cantatas 78 and 106 with The Bach EnseMble of Naples. He perforMed the cycle American Pierrot: A Langston Hughes Songbook, written for hiM by eminent composer Robert Patterson, at the Belvedere Chamber Music Festival in MeMphis, Tennessee, having given the world premiere of the cycle at Western Michigan University the previous year. He directed Pagliacci for Opera at the Acorn in Three Oaks, Michigan and sang the bass solo in Beethoven’s Ninth SyMphony with BeethovenFest in KalaMazoo and Messiah with the Kalamazoo Oratorio Society. In 2011-2012, Baritone Carl Ratner perforMed the role of the Marquis in La Traviata with the KalaMazoo Symphony Orchestra, Marullo in Rigoletto for Opera at the Acorn, and the Captain in Eugene Onegin with Opera Naples and the Naples PhilharMonic. -
2001 Future of the Arts Report
2001 Future of the Arts Report 1 The Future of the Arts at the University of Chicago August 2001 Table of Contents Introduction Page 2 Study Recommendations Page 4 Role of the Arts Page 5 The Arts Curriculum Page 7 Student Arts Page 9 Professional Arts Organizations Page 11 Arts in the City Page 13 Organization and Process Recommendations Page 15 Facilities Needs and Objectives Page 17 Facilities Recommendations Page 23 Conclusion Page 29 Appendices Page 30 Introduction Introduction Experiencing the creative arts is a fundamental part of knowing ourselves as humans and of understanding those different from ourselves. Whether painting or poetry, film or theater, music or dance, artistic creation addresses the deepest questions of the human condition. A great research university should nurture the unique and powerful role of the arts in the education of the whole person. University President Ernest DeWitt Burton recognized this when he wrote in 1925: “We need to supplement science and the scientific study of all branches of knowledge with the finer arts of music and painting, of sculpture and architecture. We owe it to our students, to whom it is our ambition to give the best possible education. We owe it to our professors, that they not become dry-as- dust investigators and lecturers but symmetrically developed and cultivated personalities. We owe it to our community.” Today, more students, faculty, staff, and general audiences engage with the arts on our campus than ever before. This increased participation has been paralleled by growth in the quality and diversity of our arts programs and activities. -
BRUCKEN the Members of the Other
Senate Passes Athletic. Home Guard Bills SOUTHERN INDIANA'S FROM Only THE Colored PEN \ Weekly It might be interesting to note that the general predic Cents tion making its round is that a total of $5,000,000 will be Per Copy §S7| NDI ANA'S (^ MOST ..RfcOQ^stMVSMi^W.E B^Ll cut in the State budget for the next two years. This would 5 mean that about $96,000,000 would be the budget, exclusive (I think) of some revenue from the State Hi-Way Dep't. ******* Evansville's heaviest snow of the winter fell Tuesdav. It measured only three-fourths of an inch by 9 o'clock that VOL. 3 — No. 35 — EVANSVILLE, INDIANA, FRIDAY, MARCH 7, 1941 night. ******* Picked up this little interesting data:—It is estimated that federal expenditures during the 1941-42 fiscal year will reach a total of 17 billion dollars, or $17,000,000,000. (the Vi lie's Lone Sepia Draft Board Member same thing.) To give you an idea of just how much that Festival Council really is, listen to this, "if a printing press had begun turn ing out dollar bills at the rate of one a second when Colum bus first landed in the new world and had continued to pro duce at the same rate ever since, the amount still would be three billion dollars short of the sum required to pay the. Plans '41 Event estimated expenses of the government for the next fiscal year." According to proposed plans sponsoring of a section night at the same place, the Argus of "If 17 billion dollar bills were laid end to end, they drawn up in a meeting, of the during the festival for their re fice, 609 S. -
The Many Faces of “Dinah”: a Prewar American Popular Song and the Lineage of Its Recordings in the U.S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE The Many Faces of “Dinah” The Many Faces of “Dinah”: A Prewar American Popular Song and the Lineage of its Recordings in the U.S. and Japan Edgar W. Pope 「ダイナ」の多面性 ──戦前アメリカと日本における一つの流行歌とそのレコード── エドガー・W・ポープ 要 約 1925年にニューヨークで作曲された「ダイナ」は、1920・30年代のアメリ カと日本両国におけるもっとも人気のあるポピュラーソングの一つになり、 数多くのアメリカ人と日本人の演奏家によって録音された。本稿では、1935 年までに両国で録音されたこの曲のレコードのなかで、最も人気があり流 行したもののいくつかを選択して分析し比較する。さらにアメリカの演奏家 たちによって生み出された「ダイナ」の演奏習慣を表示する。そして日本人 の演奏家たちが、自分たちの想像力を通してこの曲の新しい理解を重ねる中 で、レコードを通して日本に伝わった演奏習慣をどのように応用していった かを考察する。 1. Introduction “Dinah,” published in 1925, was one of the leading hit songs to emerge from New York City’s “Tin Pan Alley” music industry during the interwar period, and was recorded in the U.S. by numerous singers and dance bands during the late 1920s and 1930s. It was also one of the most popular songs of the 1930s in Japan, where Japanese composers, arrangers, lyricists and performers, inspired in part by U.S. records, developed and recorded their own versions. In this paper I examine and compare a selection of the American and Japanese recordings of this song with the aim of tracing lines ─ 155 ─ 愛知県立大学外国語学部紀要第43号(言語・文学編) of influence, focusing on the aural evidence of the recordings themselves in relation to their recording and release dates. The analysis will show how American recordings of the song, which resulted from complex interactions of African American and European American artists and musical styles, established certain loose conventions of performance practices that were conveyed to Japan and to Japanese artists. It will then show how these Japanese artists made flexible use of American precedents, while also drawing influences from other Japanese recordings and adding their own individual creative ideas. -
The Music of Rhythm Willie Can Be at Once a Blues Harmonica Fan's Most Exciting and Most Frustrating Discovery
Copyright Scott Dirks, for Blues & Rhythm magazine The music of Rhythm Willie can be at once a blues harmonica fan's most exciting and most frustrating discovery. His recordings reveal a technically accomplished and musically innovative player, with few peers on the standard 10-hole Marine Band harmonica in his day. A strong case can be made for his position as the first truly urban blues harp player; at a time when the harmonica was still used in black music essentially for 'country' adornment, Rhythm Willie was utilizing it with the urbanity of a jazz trumpeter or clarinetist. Yet until recently almost nothing was known of him other than the sound of his harmonica in the grooves of a handful of rare 78s recorded in Chicago between 1939 and 1950. Overlooked by blues researchers and historians for over 40 years, mention of his name draws only blank expressions or resigned shrugs from most blues authorities. Listening for biographical clues in his music reveals virtually nothing about the artist--his only recordings as a leader were all instrumentals. Further compounding the mystery, most of Willie's appearances as an accompanist on the recordings of other blues artists are attributed to "unknown harmonica" or "possibly Lee McCoy" in published discographies (a situation which this article will examine and attempt to rectify.) In fact, given his extraordinary range and talent, referring to Rhythm Willie as simply a "blues" harmonica player might be slightly unfair, and in retrospect it's easy to imagine that Willie himself may have gone to some lengths to avoid being classified with the blues harp players he probably considered to be his musically less sophisticated country cousins. -
THE CULTURE and MUSIC of AMERICAN CABARET Katherine Yachinich
Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 5-2014 The ulturC e and Music of American Cabaret Katherine Anne Yachinich Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Part of the Music Commons Recommended Citation Yachinich, Katherine Anne, "The ulturC e and Music of American Cabaret" (2014). Music Honors Theses. 5. http://digitalcommons.trinity.edu/music_honors/5 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. 2 THE CULTURE AND MUSIC OF AMERICAN CABARET Katherine Yachinich A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF MUSIC AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS DATE 04/16/2014 Dr. Kimberlyn Montford Dr. David Heller THESIS ADVISOR DEPARTMENT CHAIR Dr. Sheryl Tynes ASSOCIATE VICE PRESIDENT FOR ACADEMIC AFFAIRS, CURRICULUM AND STUDENT ISSUES Student Copyright Declaration: the author has selected the following copyright provision (select only one): [X] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. [ ] This thesis is protected under the provisions of U.S. Code Title 17. Any copying of this work other than “fair use” (17 USC 107) is prohibited without the copyright holder’s permission. -
Dr. Carlin Inducted Into Senior Hall of Fame
January 2014 Vol. 34 No. 1 Visit Beverly Hills/Morgan Park at www.bapa.org Published by BEVERLY AREA PLANNING ASSOCIATION BAC Board Approves Six New Members The Board of Directors at the Beverly Arts Center, 2407 W. 111th St., recently approved the appointment of six new members to the Board of Directors. New board members are: Andrea L. Zopp, President and CEO, Chicago Urban League; Edward J. Laginess, former Board President, Chicago House; Edward J. McGunn, President, FireKing Security Group; Kimberly McCullough-Starks, Director, External & Legislative Affairs, AT&T; Katie Coderre, University of Chicago (contract employee/economic department); and Megan Boguszko, former financial services professional. Andrea L. Zopp is a distinguished corporate and civic leader. Prior to her appointment as President and CEO of the Chicago Urban League in 2010, Zopp was executive vice president and general counsel at Exelon Corporation. Before Music, Dancing & More at the Snowflake Ball joining the private sector, Zopp was the First Assistant State’s Attorney in the It’s a chance to come out of hibernation and see all your Cook County State’s Attorney’s office, friends. the first African American to serve in It’s a great excuse to take advantage of those January sales this role. Zopp earned her Juris Doctor and buy a new dress. degree from Harvard University. She is Your babysitter has already spent all his or her Christmas currently a member of the Chicago Board cash, and is looking for jobs to replenish the funds. of Education, and serves on the boards You just can’t wait until Valentine’s Day for a really great date of Navy Pier and the Black Ensemble night. -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
The Strutter VOLUME 22 NUMBER 7 Traditional Jazz in the Philadelphia Tri-State Area March 2012
“Best of South Jersey” 2008 - 2011! The Strutter VOLUME 22 NUMBER 7 Traditional Jazz in the Philadelphia Tri-State Area March 2012 OUR NEXT CONCERT TRI-STATE JAZZ SOCIETY On March 18, Emily Asher says, The Garden Party Presents will play a variety of hot jazz and early swing, their instrumentation and concept influenced by EMILY ASHER’S GARDEN PARTY Louis Armstrong's Hot Fives and Sevens, Armstrong's All-Stars, and Eddie Condon's classic recording groups. Their repertoire will also include material from the heart of the West Coast Dixieland revival, Lu Watters' Yerba Buena Jazz Band. Trombonist and vocalist Emily Asher is a rising musical personality in New York, leading the Garden Party and The Emily Asher Quartet and making regular appearances with the Brooklyn- based Baby Soda Jazz Band. She toured North America with the ground-breaking Mighty Aphrodite Jazz Band and Europe with New Orleans’ Tuba Skinny. See Asher on Page 2 CONCERT ADMISSION $20 ADMISSION $10 FIRST TIME ATTENDEES & MEMBERS HIGH SCHOOL/COLLEGE STUDENTS WITH Emily Asher, trombone, leader ID AND CHILDREN WITH PAYING ADULT ADMITTED FREE Bria Skonberg, trumpet Pay At the Door - No Advance Sales Dan Levinson, clarinet Gordon Webster, piano In This Issue… Sean Cronin, bass Kevin Dorn, drums Looking Ahead ............. Page 2 American Rag ............... Page 2 Sunday, March 18, 2012 Barnes Review ............. Page 2 2:00 p.m. – 5:00 p.m. Spirits Of Rhythm ......... Page 3 Community Arts Center Help Wanted ................. Page 4 Upcoming Events ......... Page 5 414 Plush Mill Road Wallingford, PA Directions on Page 7 The Strutter is published by Tri-State Jazz Society, Inc. -
R-20-2011 Purchase Order with Entertainment Management Group
Resolution No. R- 20-2011 Authorizing Execution of Purchase Order with Entertainment Management Group BE IT RESOLVED by the President and Board of Trustees of the Village of Bensenville, Counties of Du Page and Cook, Illinois, as follows: That the Village Manager is authorized to execute a purchase order and contract in the amount of $30,100.00 with Entertainment Management Group to provide the entertainment portion for the Music In The Park 201 1concert series. A deposit of $15,050.00.00 which is 50% of the total to be paid by March 15, 2011 and three equal payments of $5 ,016.66 will be due on 6/01/11 , 7/01/11 , and 8/01/11to Entertainment Management Group. The Village Manager is authorized to execute such internal administrative documents, if any as necessary. PASSED AND APPROVED by the President and Board of Trustees of the Village of Bensenville, Illinois this 22nd day of Febr u ary , 2011. APPROVED: Village Pres ident ATIEST Jq,E II en Ridder VMi age Clerk I AYES: Adammvski, Bartlett, Johnson , O'Conn ell, Peconio, Wesseler NAYES : None ------------------------------------------------ ABSENT: None ----------------------------------------------- Management Group Contract made this date 02/16/ ll, between The Village of Bensenville, illinois (hereinafter referred to as PURCHASER ) and Entertainment Management Group, a sole proprietorship, (hereinafter referred to as AGENT) The PURCHASER hereby engages the AGENT to perform the duties and services hereinafter provided, upon all of the terms and conditions herein set fonh. The budget and payment for such services and duties shall be no more than $30,100.00. -
CONTACT: (312) 371 -5179 EMAIL: [email protected]
ROB STONE &THE C•NOTES CONTACT: (312) 371 -5179 EMAIL: [email protected] www.robstone.com MANAGEMENT: Michael Frank AT Earwig Music Company TEL: (773)262-0278 EMAIL: [email protected] www.earwigmusic.com A LIVE PERFORMANCE BY ROB STONE CAN TRANSPORT THE LISTENER BACK TO THE HEYDAY OF CHICAGO BLUES. Fronted by Harp-playing vocalist ROB STONE and held together by a rock-solid rhythm section, the group is comprised of seasoned professionals with well over half a century of combined blues playing experience. They’ve paid their dues in the smoky Chicago blues joints and toured coast to coast across North America and Europe, as well as the Hawaiian islands and Japan, playing countless blues festivals, club dates and television appearances. Separately, the members of the group have recorded for the respected Alligator, Evidence, Hightone, Ice House, Marquis, Appaloosa and Magnum blues labels, and received national recognition in countless blues publications. These musicians have performed with and learned from many of the greats...and it shows from the first note. They are all authentic showmen with pure abil- ity to tear up a stage, as evidenced by their prominent role in the recent Martin Scorsese-produced “Godfathers and Sons” episode of The Blues series that aired recently on PBS stations natiowide. Together they now have a brand new release on Chicago’s Earwig label. As a vocalist Rob Stone is powerful, yet relaxed and natural; as a harmonica player he evokes the sounds of greats like Little Walter, Sonny Boy Williamson and Walter Horton. This band navigates their way effortlessly through one lean arrangement after another, from a soulful slow blues to a ferocious, driving slide guitar workout recalling past greats like Elmore James, Earl Hooker, and Muddy Waters, as well as all the blues harp legends from the hey- day of Chicago blues. -
SCHEDULE of EVENTS 2:30-3:30 P.M
SCHEDULE OF EVENTS 2:30-3:30 p.m. Registration at the Peck Welcome Center 3:30 p.m. Team photo expedition throughout the Zoo grounds 5:00 p.m. Silent Auction/Cocktails at the Peck Welcome Center 5:50 and 6:00 p.m. Silent Auction Sections Close (Please take your seats) 6:00 p.m. Live Auction with Gilbert Brown 6:30 p.m. Raffle Drawing Dinner Saz’s Signature BBQ Baby Back Ribs, Traditional Rotisserie Chicken, Balsamic-Marinated Vegetable Kabobs (Vegetarian), Ranch Beans with Andouille Sausage, Bourbon-Roasted Sweet Potatoes, Traditional Macaroni and Cheese, Homemade Creamy Coleslaw, Fresh Fruit Salad , Assorted Dinner Rolls and Butter Kids Korner Station: Ants on a Log, Cheese Cactus with Pretzel Sticks, PB&J, Bologna, Turkey and Ham Cracker Sliders, Pigs in a Blanket, Assorted Gelatin and Pudding Cups 7:30 p.m. Survivor’s Recognition Survivor Speaker - Vanessa Hood Video Fund-A-Need - 1 - Thank You! Because of our committed, generous and compassionate friends like you, Tricia’s Troops Cancer Connection has the honor, privilege and opportunity to make a very real difference in the lives of cancer patients throughout southeast Wisconsin. Believe us when we say we truly couldn’t do it without you. Please accept our heartfelt thanks for helping us carry on the vision and beautiful legacy of Tricia Wright...forever in our hearts. www.triciastroops.org Executive Director: Candice Strong E-Mail: [email protected] 120 E. Wisconsin Ave., Suite B Oconomowoc, WI 53066 (262) 569-7800 Where Faith is Planted, Miracles can Bloom! Proud to Support Tricia’s Troops MARKETING SOLUTIONS FOR THE HOSPITALITY & RESTAURANT INDUSTRIES MENUMASTERS.NET - 30 - - 3 - #130 PHOTO GREETINGS A set of 15 beautiful photo greeting cards.