MIPS Program Manual
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GLENN MILLER ORCHESTRA Highlights
GLENN MILLER ORCHESTRA Highlights Glenn Miller was born on March 1, 1904, in Clarinda, Iowa. Glenn Miller originally wrote the music for Moonlight Serenade (later to become his theme song) as an exercise when he was studying with noted arranger, Joseph Schilinger. The first Glenn Miller Orchestra, formed in 1937, was a financial failure. In March 1938, Glenn Miller launched his second band, and unlike the first band, it became an enormous success with multiple hit records and huge box office sales. At the height of the orchestra’s popularity, Glenn Miller disbanded his musical organization in 1942 to volunteer for the army. He then organized the famous Glenn Miller Army Air Force Band. On December 15, 1944, Major Glenn Miller took off in a single engine plane from England – against his better judgment – to precede his band to France, never to be seen again. The army officially declared him dead one year later. Due to popular demand, the Miller Estate authorized the formation of the present Glenn Miller Orchestra in 1956. In 1941, Glenn Miller and His Orchestra had more hit records in one year, including A String of Pearls, than anybody in the history of the recording industry. Although other songs had sold over a million record copies, in 1941 Glenn Miller’s recording of Chattanooga Choo Choo received the first Gold Record ever to be awarded. The Glenn Miller Orchestra has been “on the road” longer and more continuously than any other Big Band ever. The Glenn Miller Orchestra travels over 100,000 miles each year, playing nearly 300 dates. -
The-Music-Of-Andrew-Lloyd-Webber Programme.Pdf
Photograph: Yash Rao We’re thrilled to welcome you safely back to Curve for production, in particular Team Curve and Associate this very special Made at Curve concert production of Director Lee Proud, who has been instrumental in The Music of Andrew Lloyd Webber. bringing this show to life. Over the course of his astonishing career, Andrew It’s a joy to welcome Curve Youth and Community has brought to life countless incredible characters Company (CYCC) members back to our stage. Young and stories with his thrilling music, bringing the joy of people are the beating heart of Curve and after such MUSIC BY theatre to millions of people across the world. In the a long time away from the building, it’s wonderful to ANDREW LLOYD WEBBER last 15 months, Andrew has been at the forefront of have them back and part of this production. Guiding conversations surrounding the importance of theatre, our young ensemble with movement direction is our fighting for the survival of our industry and we are Curve Associate Mel Knott and we’re also thrilled CYCC LYRICS BY indebted to him for his tireless advocacy and also for alumna Alyshia Dhakk joins us to perform Pie Jesu, in TIM RICE, DON BLACK, CHARLES HART, CHRISTOPHER HAMPTON, this gift of a show, celebrating musical theatre, artists memory of all those we have lost to the pandemic. GLENN SLATER, DAVID ZIPPEL, RICHARD STILGOE AND JIM STEINMAN and our brilliant, resilient city. Known for its longstanding Through reopening our theatre we are not only able to appreciation of musicals, Leicester plays a key role make live work once more and employ 100s of freelance in this production through Andrew’s pre-recorded DIRECTED BY theatre workers, but we are also able to play an active scenes, filmed on-location in and around Curve by our role in helping our city begin to recover from the impact NIKOLAI FOSTER colleagues at Crosscut Media. -
Finding Aid for the Sheldon Harris Collection (MUM00682)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr. -
Los Angeles Times: Martha Tilton, 91; '40S Vocalist Know For
http://www.latimes.com/news/obituaries/la-me-tilton12dec12,0,2930884.story?coll=la-news-obituaries OBITUARIES Martha Tilton, 91; '40s vocalist know for 'And the Angels Sing' By Dennis McLellan Times Staff Writer December 12, 2006 Martha Tilton, a popular big-band vocalist best known for her recording of "And the Angels Sing" with the Benny Goodman orchestra in 1939, has died. She was 91. Known as "Liltin' Martha Tilton" during her 1940s heyday, Tilton died of natural causes Friday at her home in Brentwood, said her granddaughter Maura Smith. In the words of George T. Simon, author of the 1967 book "The Big Bands," Tilton was "a young, pretty and effervescent lass" when she was singing with the Jimmy Dorsey orchestra in the mid-1930s. Tilton didn't start recording, however, until she joined Benny Goodman in 1937. "To me, she was so unique because she didn't reinterpret the song that the composers gave her; she sang it straight, without her own styling or imprint on it," Chuck Cecil, longtime host of the Los Angeles-area radio show "The Swingin' Years," told The Times on Monday. "So many of them become song stylists and they sort of reinterpret the song," Cecil said, "but she sang it with clarity and with charm — and very successfully. I'd say one of the definitive records of the swing era was the song 'And the Angels Sing.' " During Tilton's time as vocalist with Goodman, the band made history when it performed the first-ever jazz concert at Carnegie Hall in 1938. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase. -
Hannah Berry
WELCOME I am delighted to invite you Since starting the BA Performing all to our showcase by BA Musical Arts courses at New College Theatre. Lanarkshire the standard and talent of the emerging BA Musical Your support here today will Theatre students has grown every encourage and strengthen the year. This year we are delighted confidence in each one of our that our courses have been students to ensure that they leave validated by Queen Margaret College with a skillset for life. University and are looking forward to building our partnership with On behalf of the students and staff, them over the coming years. I wish to thank you all for your attendance and support. The dedication of the staff and the commitment of the students Martin McGuire is evident from the quality of work Principal & Chief Executive being shown here today. I hope you enjoy the showcase and on behalf of the performing arts students and staff I’d like to thank you for your continuing support. Gregor Duncan Curriculum Quality Leader, Performing Arts Queen Margaret University are proud to be collaborating with New College Lanarkshire in order to validate the BA Musical Theatre. We have a long and proud history of delivering degree level education in the performing arts and are committed to ensuring that Scotland’s cultural sector is as diverse and as vibrant as its population. In developing this partnership, I have been impressed with the talent, passion, and enthusiasm of both the staff and students of New College Lanarkshire. I am sure that the work you will enjoy at this showcase will be no exception. -
Preview at 8:30; "Pay-- Cinema 51: 7:30 P.M:, 116 Education 5 P
SECTION 2, PAGE 3 DIAL 6-3111 WISCONSIN STATE JO0RNAL TUESDAY, MM 22, 1951 ocrattc attitudes throughout Jap- an was considerably expanded m 1950, according to a Motion Pic- flndio ture Export association report from •• Tokyo. • . Highlights For the past three years, the as- TUESDAY sociation, which represents Amer- Drama ica's major film distributors -in WIBA wise WKOW WIBU WBBM WENR-WLS WGN WMAQ 6 >m. — Mystery Theater Japan, has conducted an rfuca- 1U* k« • itTtko 124* ke IK k» ... 890 ko I 720 ka. no in (WBBM): "rhe Deserted Husband tlonal program, designed to drive home to the Japanese a fuller 1:00 Sunrlw • TOD o" tl»* Uncl* Julius • Silent Newi Roundup Capt. Stttbb* Norman Murder Case." 1:15 Frolla MoralDi Farm Hour • Bllent Newi Bob Metier Show .BOW . 7 p. m.—Caval- understanding of America and atusical • Ton in Land CM • Rural Jim Happy Haok The Bill •:4S Clock JJportl; Newi Weather MkU. Boundnp Norman cade of'America the American way of life. Using I I Oonwajr . Mem • Evi'ant Show ROM: Newi CWIBA): Robert select American motion pictures 7:0* Al«i Dreler * TOD o' Unrnlnx Corfu* Club * N»w»: Pton New* Breakfast Nawa Tour Young as Gen. as texts, a group of professional 7:15 Musical Clock • Newj- Serrlo* Patrick emit* Club. • Cliff „ Neunpor .TIP 0' THE MORNING: Look for "Mr. and Missis- 7:30 Jouma) N«»» • Too o1 MornlM Weather; coffee • News: We»ttt»r Gold Oout Breakian John wn Norman Bam Mark W. Clark lecturers has been on continuous 7:45 | Eddy Arnold I • Paulina Fred'* Club: Newt I • Farm Prollo ShoDplnx I Club Family Newi in "Top- Secret," sippi" to rise fast in the music tabulations. -
Congratulations on Your New Match! We Are Thrilled That You Have Decided to Opt in for Connection During a Time of Social Distancing
Congratulations on your new match! We are thrilled that you have decided to opt in for connection during a time of social distancing. We understand that starting a new match off through a virtual platform can potentially feel awkward, so we’ve developed a template of conversation prompts to help you begin getting to know one another. How to Use: The first three months of suggested conversations and activities in your match are outlined below. You’ll notice that we’ve designed this template to follow a natural progression beginning with getting to know one another, discussing your different experiences, and goal setting for the future. We strongly recommend spending a minimum of 10-15 minutes each week, talking about the prompts below. Bigs and Littles should take turns leading the conversation each week and always make sure to check in with each other and make space to talk about and express feelings. Note: Keep in mind that this is intended to be a helpful guide and is not required in your match. If you and your Little prefer to come up with your own conversation topics and activities, go for it! Take what works for you and leave the rest. Goal | The goal for this month is to get to know your new Little/Big by learning about their family, friends, likes/dislikes, hobbies, and favorite things, etc. Instructions: Each week review the prompt and have a conversation. Try one of the suggested activities or come up with your own. Try to think out of the box! Week 1: Review Ice Breaker from Match Meeting. -
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 ......................................................................................................... -
Sweet & Lowdown Repertoire
SWEET & LOWDOWN REPERTOIRE COUNTRY 87 Southbound – Wayne Hancock Johnny Yuma – Johnny Cash Always Late with Your Kisses – Lefty Jolene – Dolly Parton Frizzell Keep on Truckin’ Big River – Johnny Cash Lonesome Town – Ricky Nelson Blistered – Johnny Cash Long Black Veil Blue Eyes Crying in the Rain – E Willie Lost Highway – Hank Williams Nelson Lover's Rock – Johnny Horton Bright Lights and Blonde... – Ray Price Lovesick Blues – Hank Williams Bring It on Down – Bob Wills Mama Tried – Merle Haggard Cannonball Blues – Carter Family Memphis Yodel – Jimmy Rodgers Cannonball Rag – Muleskinner Blues – Jimmie Rodgers Cocaine Blues – Johnny Cash My Bucket's Got a Hole in It – Hank Cowboys Sweetheart – Patsy Montana Williams Crazy – Patsy Cline Nine Pound Hammer – Merle Travis Dark as a Dungeon – Merle Travis One Woman Man – Johnny Horton Delhia – Johnny Cash Orange Blossom Special – Johnny Cash Doin’ My Time – Flatt And Scruggs Pistol Packin Mama – Al Dexter Don't Ever Leave Me Again – Patsy Cline Please Don't Leave Me Again – Patsy Cline Don't Take Your Guns to Town – Johnny Poncho Pony – Patsy Montana Cash Ramblin' Man – Hank Williams Folsom Prison Blues – Johnny Cash Ring of Fire – Johnny Cash Ghost Riders in the Sky – Johnny Cash Sadie Brown – Jimmie Rodgers Hello Darlin – Conway Twitty Setting the Woods on Fire – Hank Williams Hey Good Lookin’ – Hank Williams Sitting on Top of the World Home of the Blues – Johnny Cash Sixteen Tons – Merle Travis Honky Tonk Man – Johnny Horton Steel Guitar Rag Honky Tonkin' – Hank Williams Sunday Morning Coming -
Musical Explorers My City, My Song a Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2
Weill Music Institute Musical Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 Student Guide Weill Music Institute Musical Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 Student Guide WEILL MUSIC INSTITUTE Joanna Massey, Director, School Programs Jacqueline Stahlmann, Manager, Elementary School Programs Marie Ortinau, Administrative Assistant, Elementary School Programs PUBLISHING AND CREATIVE SERVICES Jay Goodwin, Managing Editor, WMI Carol Ann Cheung, Senior Editor Evelyn Ochoa, Graphics Manager CONTRIBUTORS Daniel Levy, Consultant Sophie Hogarth, Illustrator Scott Lehrer, Audio Production Weill Music Institute at Carnegie Hall 881 Seventh Avenue | New York, NY 10019 Phone: 212-903-9670 | Fax: 212-903-0758 [email protected] carnegiehall.org/MusicalExplorers Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern. Major funding for Musical Explorers has been provided by the Charles Haimoff Endowment, E.H.A. Foundation, and The Walt Disney Company. Additional support has been provided by the Ella Fitzgerald Charitable Foundation. Musical Explorers is also made possible, in part, by an endowment gift from The Irene Diamond Fund. © 2014 The Carnegie Hall Corporation. All rights reserved. 1 Welcome to Our Musical Trip! Welcome, Musical Explorers! I’m your conductor, and I’ll help you explore our musical city. Together, we’ll meet our singers and hear their songs and stories. Come along with me and make your discoveries! Subway map © 2014 and MTA New York City subway logo ™ Metropolitan Transportation Authority. Used with permission.