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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. -
Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937
An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937 Peter Stanfield Cinema Journal, 41, Number 2, Winter 2002, pp. 84-108 (Article) Published by University of Texas Press DOI: 10.1353/cj.2002.0004 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v041/41.2stanfield.html Access Provided by Amherst College at 09/03/11 7:59PM GMT An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929–1937 by Peter Stanfield This essay considers how Hollywood presented the song St. Louis Blues in a num- ber of movies during the early to mid-1930s. It argues that the tune’s history and accumulated use in films enabled Hollywood to employ it in an increasingly com- plex manner to evoke essential questions about female sexuality, class, and race. Recent critical writing on American cinema has focused attention on the struc- tures of racial coding of gender and on the ways in which moral transgressions are routinely characterized as “black.” As Eric Lott points out in his analysis of race and film noir: “Raced metaphors in popular life are as indispensable and invisible as the colored bodies who give rise to and move in the shadows of those usages.” Lott aims to “enlarge the frame” of work conducted by Toni Morrison and Ken- neth Warren on how “racial tropes and the presence of African Americans have shaped the sense and structure of American cultural products that seem to have nothing to do with race.”1 Specifically, Lott builds on Manthia D iawara’s argument that “film is noir if it puts into play light and dark in order to exhibit a people who become ‘black’ because of their ‘shady’ moral behaviour.2 E. -
The Sandman Comes Sheet Music
The Sandman Comes Sheet Music Download the sandman comes sheet music pdf now available in our library. We give you 1 pages partial preview of the sandman comes sheet music that you can try for free. This music notes has been read 3235 times and last read at 2021-09-24 18:17:22. In order to continue read the entire sheet music of the sandman comes you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Piano Vocal Guitar, Voice Ensemble: Mixed Level: Early Intermediate [ READ SHEET MUSIC ] Other Sheet Music Japanese Sandman The Japanese Sandman The sheet music has been read 3433 times. Japanese sandman the arrangement is for Intermediate level. The music notes has 2 preview and last read at 2021-09-23 02:33:33. [ Read More ] Enter Sandman Cello Enter Sandman Cello sheet music has been read 12464 times. Enter sandman cello arrangement is for Intermediate level. The music notes has 2 preview and last read at 2021-09-24 15:04:03. [ Read More ] Mr Sandman Mr Sandman sheet music has been read 19515 times. Mr sandman arrangement is for Advanced level. The music notes has 1 preview and last read at 2021-09-24 02:28:32. [ Read More ] The Sandman The Sandman sheet music has been read 2773 times. The sandman arrangement is for Intermediate level. The music notes has 3 preview and last read at 2021-09-22 10:15:35. [ Read More ] Mister Sandman Mister Sandman sheet music has been read 21660 times. -
Stand by 360912.Pdf
SOME TIMEL Y CRITICISM Timely Comments but we have had the pleasure of like We'll Try It wise enjoying your good messages Do you suppose you could get that Dear Mr. Page: I was indeed very while on our way or returning from much interested in the comments you Florida. To say that your whole serv Stand By camera busy and get some made on August 24 over the radio ice is first-class in every respect is pictures of those newly-married cou concerning the housing of the Junior expressing it very mildly indeed. More ples such as the Racherbaumers, But Department at the Illinois State Fair. power to you !-D. A. Stoker, Chicago. trams and Blacks, and others who The Junior Department has grown may have marched to the altar before tremendously during the past five this card reaches you? You have no years and the general manager has idea how much we'd like to see them, recognized the problem of a suitable so please hurry on and print some if place to house the livestock for this Roy an Actor you can.-Ruth Raether, Lake Forest, Ill. department. This year, of course, Dear Marjorie Gibson: Only a few conditions were unusually bad due to lines from a Fanfare friend to let you ( Attention, you newlyweds: Let the two storms which visited the fair know that the interview you had last this letter be your notice that Stand grounds on Sa turday evening and Saturday with Roy Anderson was one By readers demand some bride and again on Wednesday evening. -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia. -
A General History of the Burr Family, 1902
historyAoftheBurrfamily general Todd BurrCharles A GENERAL HISTORY OF THE BURR FAMILY WITH A GENEALOGICAL RECORD FROM 1193 TO 1902 BY CHARLES BURR TODD AUTHOB OF "LIFE AND LETTERS OF JOBL BARLOW," " STORY OF THB CITY OF NEW YORK," "STORY OF WASHINGTON,'' ETC. "tyc mis deserves to be remembered by posterity, vebo treasures up and preserves tbe bistort of bis ancestors."— Edmund Burkb. FOURTH EDITION PRINTED FOR THE AUTHOR BY <f(jt Jtnuhtrboclur $«88 NEW YORK 1902 COPYRIGHT, 1878 BY CHARLES BURR TODD COPYRIGHT, 190a »Y CHARLES BURR TODD JUN 19 1941 89. / - CONTENTS Preface . ...... Preface to the Fourth Edition The Name . ...... Introduction ...... The Burres of England ..... The Author's Researches in England . PART I HISTORICAL AND BIOGRAPHICAL Jehue Burr ....... Jehue Burr, Jr. ...... Major John Burr ...... Judge Peter Burr ...... Col. John Burr ...... Col. Andrew Burr ...... Rev. Aaron Burr ...... Thaddeus Burr ...... Col. Aaron Burr ...... Theodosia Burr Alston ..... PART II GENEALOGY Fairfield Branch . ..... The Gould Family ...... Hartford Branch ...... Dorchester Branch ..... New Jersey Branch ..... Appendices ....... Index ........ iii PART I. HISTORICAL AND BIOGRAPHICAL PREFACE. HERE are people in our time who treat the inquiries of the genealogist with indifference, and even with contempt. His researches seem to them a waste of time and energy. Interest in ancestors, love of family and kindred, those subtle questions of race, origin, even of life itself, which they involve, are quite beyond their com prehension. They live only in the present, care nothing for the past and little for the future; for " he who cares not whence he cometh, cares not whither he goeth." When such persons are approached with questions of ancestry, they retire to their stronghold of apathy; and the querist learns, without diffi culty, that whether their ancestors were vile or illustrious, virtuous or vicious, or whether, indeed, they ever had any, is to them a matter of supreme indifference. -
CONSTRUCTING TIN PAN ALLEY 17 M01 GARO3788 05 SE C01.Qxd 5/26/10 4:35 PM Page 18
M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos. -
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans. -
Items Highlighted in Yellow Need to Be Updated Or Edited. DRAFT RAY
Items highlighted in yellow need to be updated or edited. DRAFT RAY AVERY COLLECTION 86-009 1860-1888. ca. 1920-1986. [Bulk: ca. 1920-1975] 10.5 linear feet including 3 volumes and 17 audio discs The Center for Popular Music, Middle Tennessee State University, Murfreesboro, TN May 1989 Ellen Garrison Updated 2007 and 2011 Lucinda Cockrell Ray Avery Collection 86-009 2 Table of Contents Ray Avery Collection 86-009 [Check page numbers after editing – these are incorrect.] Creator, Type of Material, Physical Description, Dates, Abstract (Descriptive Summary)……………………………………………………............................................. 3 Provenance and Acquisition Information, Subject/Index Terms, Agency History/Biographical Sketch………………………………................................... 3 Scope and Content……………………………………………………................................. 4 Series Description I. Black History Subject Files .................................................................................... 5 II. "Jazz Scrapbook" ................................................................................................... 5 III. New Orleans ......................................................................................................... 5 IV. Subject Files ......................................................................................................... 6 V. Record Covers ....................................................................................................... 6 VI. Record Company Announcements ...................................................................... -
26/20/107 Alumni Association Alumni Richard E. Kent Papers Box #1
The materials listed in this document are available for research at the University of Record Series Number Illinois Archives. For more information, email [email protected] or search http://www.library.illinois.edu/archives/archon for the record series number. 26/20/107 Alumni Association Alumni Richard E. Kent Papers Box #1 Urbana High School 1917 Concert program; "Echo" (student newspaper); Rosemary (yearbook); news clipping Family Photographs ca. 1912, 1918, 1921 University of Illinois 1917, 1919-21, 1933, 1971, 1984 Concert programs, engagement book, dance programs (2), Concert Band medal, commencement program, grade report, Alumni Association membership cards, correspondence, and newsclippings Bachelor of Music Thesis, "The Development of American Popular Music;"related correspondence 1921 Sousa Band Related Materials 1911-12, 1921-23, 1954, 1973, 1976-77, 1994 Journal Articles, 1911, 1912; Sousa Band Tour Itineraries, 1921, 1922; A.F. of M. Contracts for Sousa Band, 1922, 1923 (oversize, filed in Box #3); photographs: REK in Sousa Band Uniform, 25th Anniversary of "The Stars and Stripes Forever," 1921 (5); UI Concert Band 32nd Anniversary Concert Program, 1922 (display constructed by RK, Jr.); Correspondence: A.A. Harding, Jay Sims, John Heney; Pamphlet, "Sousa and His Band"; invitation to Sousa's induction into the Hall of Fame for Great Americans Sousa Band Fraternal Society (SBFS) SBFS Correspondence and Membership Cards 1944-45, 1949, 1951, 1954, 1965-66, 1968, 1972-73, 1981 SBFS Newsletters 1947, 1949-53, 1958, 1965, 1967, -
History of Barbershop
HISTORY OF BARBERSHOP By David Krause and David Wright Definition of barbershop harmony. Read: Definition of Barbershop Harmony, from the Forward of the Contest and Judging Handbook. The Purpose Of This Course. We will attempt to trace the roots and the evolution of barbershop harmony from well before its actual beginnings up to the present. We will try to answer these questions: What were the tides of history which spawned the birth of the barbershop quartet, and what environment allowed this style of music to flourish? What were its musical forerunners? What are its defining characteristics? What other types of music were fostered contemporaneously, and how did they influence the growth of quartet singing? Which styles are similar, and how are they similar? How did the term "barbershop" arise? How long did the historical era of the barbershop quartet last? What other kinds of music sprang forth from it? Why did the style eventually need preservation? How was SPEBSQSA formed, and how did it become a national movement? What other organizations have joined the cause? How have they coped with the task of preservation? Are current day efforts still on course in preserving the style? How has the style changed since the Society was formed? We will spend the next few hours contemplating and attempting to answer these questions. Overtones. As barbershoppers, we are very conscious of the "ringing" effect which complements our singing. We consider it our reward for singing well- defined pitches in tune. The fact that a tone produced by a voice or an instrument is accompanied by a whole series of pitches in addition to the fundamental one which our ear most easily detects has been known for centuries. -
The Top 7000+ Pop Songs of All-Time 1900-2017
The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox