Public Song List 06.01.18.Xlsx
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Montana Kaimin, April 17, 1981 Associated Students of the University of Montana
University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 4-17-1981 Montana Kaimin, April 17, 1981 Associated Students of the University of Montana Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Associated Students of the University of Montana, "Montana Kaimin, April 17, 1981" (1981). Montana Kaimin, 1898-present. 7140. https://scholarworks.umt.edu/studentnewspaper/7140 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Editors debate news philosophies By Doug O’Harra of the Society of Professional Montana Kaimin Reporter Journalists about a controversy arising out of the Weekly News’ , Two nearly opposite views of reporting of the trial and senten journalism and newspaper cing, and a Missoulian colum coverage confronted one another nist’s subsequent reply several yesterday afternoon as a Mon days later. tana newspaper editor defended On Sept. 3, Daniel Schlosser, a his paper’s coverage of the trial 36-year-old Whitefish man, was and sentencing of a man con sentenced to three consecutive 15- victed of raping young boys. year terms in the Montana State Before about 70 people, packed Prison for three counts of sexual in the University of Montana assault. -
The Ghikas House on Hydra: from Artists’ Haven to Enchanted Ruins
The Ghikas House on Hydra: From Artists’ Haven to Enchanted Ruins HELLE VALBORG GOLDMAN Norwegian Polar Institute We sat on the terrace under the starry sky and talked about poetry, we drank wine, we swam, we rode donkeys, we played chess—it was like life in a novel. (Ghikas, quoted in Arapoglou 56) Introduction The Greek island of Hydra has become known for the colony of expatriate painters and writers that became established there in the 1950s and 60s (Genoni and Dalziell 2018; Goldman 2018). Two ‘literary houses,’ the homes of several of the island’s most well-known foreign residents during that era—the Australian couple, writers George Johnston and Charmian Clift, and Canadian singer-songwriter Leonard Cohen—have become places of pilgrimage for aficionados of Australian literature and popular music. Visitors wend through the maze of car- less, stone-paved lanes, asking for directions along the way, in order to stand outside the objects of their quests. Standing in the small public courtyard in front of the Johnstons’ house, or the tight laneway fronting the Cohen house, there is not much to see—the houses are quiet, the doors closed, the stone and white-washed walls surrounding the properties, which are typical of Hydra, are high. This doesn’t keep people from coming. They can picture in their minds’ eyes what is on the other side of the walls, having seen photographs of the writers at work and leisure inside the houses, and having read the books and listened to the songs that were written while the Johnstons and Cohen were in residence. -
Acoustic Guitar Songs by Title 11Th Street Waltz Sean Mcgowan Sean
Acoustic Guitar Songs by Title Title Creator(s) Arranger Performer Month Year 101 South Peter Finger Peter Finger Mar 2000 11th Street Waltz Sean McGowan Sean McGowan Aug 2012 1952 Vincent Black Lightning Richard Thompson Richard Thompson Nov/Dec 1993 39 Brian May Queen May 2015 50 Ways to Leave Your Lover Paul Simon Paul Simon Jan 2019 500 Miles Traditional Mar/Apr 1992 5927 California Street Teja Gerken Jan 2013 A Blacksmith Courted Me Traditional Martin Simpson Martin Simpson May 2004 A Daughter in Denver Tom Paxton Tom Paxton Aug 2017 A Day at the Races Preston Reed Preston Reed Jul/Aug 1992 A Grandmother's Wish Keola Beamer, Auntie Alice Namakelua Keola Beamer Sep 2001 A Hard Rain's A-Gonna Fall Bob Dylan Bob Dylan Dec 2000 A Little Love, A Little Kiss Adrian Ross, Lao Silesu Eddie Lang Apr 2018 A Natural Man Jack Williams Jack Williams Mar 2017 A Night in Frontenac Beppe Gambetta Beppe Gambetta Jun 2004 A Tribute to Peador O'Donnell Donal Lunny Jerry Douglas Sep 1998 A Whiter Shade of Pale Keith Reed, Gary Brooker Martin Tallstrom Procul Harum Jun 2011 About a Girl Kurt Cobain Nirvana Nov 2009 Act Naturally Vonie Morrison, Johnny Russel The Beatles Nov 2011 Addison's Walk (excerpts) Phil Keaggy Phil Keaggy May/Jun 1992 Adelita Francisco Tarrega Sep 2018 Africa David Paich, Jeff Porcaro Andy McKee Andy McKee Nov 2009 After the Rain Chuck Prophet, Kurt Lipschutz Chuck Prophet Sep 2003 After You've Gone Henry Creamer, Turner Layton Sep 2005 Ain't It Enough Ketch Secor, Willie Watson Old Crow Medicine Show Jan 2013 Ain't Life a Brook -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
INFORMATION to USERS This Manuscript Has Been Reproduced
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. •>- I The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrougb, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. -
Singer Kendra Shank Pays Tribute to Spirited Music of Abbey Lincoln
Photo by John Abbott Photo by John Kendra Shank will bring the music of Abbey Lincoln to Lincoln June 5. Singer Kendra Shank pays tribute ○○○○○○○○○○○○○○○○○○○○○ to spirited music of Abbey Lincoln ○○○○○○○○○○○○ By Tom Ineck ○○○○○○○○○○○○○○○○○○○○○ April 2007 Vol. 12, Number 2 With her new release, “A Spirit File Photo Free: Abbey Lincoln Songbook,” singer Kendra Shank has taken on a daunting task—interpreting the music of one of the most idiosyn- cratic jazz singer-songwriters in his- ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ tory. In this issue of Jazz.... She and her longtime ensemble will bring the music of Lincoln to Prez Sez.........................................................2 Lincoln, Neb., June 5 in the open- Abbey Lincoln John Pizzarelli review........................6 ing concert of this year’s Jazz in Giacomo Gates/NJO review..................7 June series. this record were created there, on In a recent interview, Shank the gigs at that club. We would just Chick Corea/Gary Burton review...........8 talked about the recording and the try stuff and see what worked well Maria Schneider Orchestra review.....9 years it took to bring to fruition. and what didn’t work well,” she Mac McCune/NJO review......................10 Unlike many jazz musicians liv- said, pretty much describing the cre- Tomfoolery: Generous jazz calendar......11 ing in New York City, Shank has a ative process inherent in jazz mu- regular gig where she and the band sic. Harry “The Hipster” Gibson..................12 can work up new material and hone To Shank’s knowledge, no one Jazz on Disc reviews...........................14 their music to a fine edge. One Fri- else has ever attempted a full-length Discorama reviews..............................18 day a month, they appear at the 55 tribute to Lincoln’s very personal Letters to the Editor...............................19 Bar, Shank’s home away from music, although some of her tunes home for five years. -
Public Song List 06.01.18.Xlsx
Title Creator 1 Instrument Setup Department Cover Date Issue # ... River unto Sea Acoustic Classic Jun‐17 294 101 South Peter Finger D A E G A D Off the Record Mar‐00 87 1952 Vincent Black Lightning Richard Thompson C G D G B E, Capo III Feature Nov/Dec 1993 21 '39 Brian May Acoustic Classic May‐15 269 500 Miles Traditional For Beginners Mar/Apr 1992 11 9th Variaon from "20 Variaons and Fugue onManuel Ponce Lesson Feature Nov‐10 215 A Blacksmith Courted Me Traditional C G C F C D Private Lesson May‐04 137 A Day at the Races Preston Reed D A D G B E Feature Jul/Aug 1992 13 A Grandmother's Wish Keola Beamer F Bb C F A D Private Lesson Sep‐01 105 A Hard Rain's A‐Gonna Fall Bob Dylan D A D G B E, Capo II Feature Dec‐00 96 A Night in Frontenac Beppe Gambetta D A D G A D Off the Record Jun‐04 138 A Tribute to Peador O'Donnell Donal Lunny D A D F# A D Feature Sep‐98 69 About a Girl Kurt Cobain Contemporary Classic Nov‐09 203 AC Good Times Acoustic Classic Aug‐15 272 Addison's Walk (excerpts) Phil Keaggy Standard Feature May/Jun 1992 12 After the Rain Chuck Prophet D A D G B E Song Craft Sep‐03 129 After You've Gone Henry Creamer Standard The Basics Sep‐05 153 Ain't Life a Brook Ferron Standard, Capo VII Song Craft Jul/Aug 1993 19 Ain't No Sunshine Bill Withers Acoustic Classic Mar‐11 219 Aires Choqueros Paco de Lucia Standard, Capo II Feature Apr‐98 64 Al Di Meola's Equipment Picks Al Di Meola Feature Sep‐01 105 Alegrias Paco Peña Standard Feature Sep/Oct 1991 8 Alhyia Bilawal (Dawn) Traditional D A D G B E Solo Jul/Aug 1991 7 Alice's Restaurant -
Venturing in the Slipstream
VENTURING IN THE SLIPSTREAM THE PLACES OF VAN MORRISON’S SONGWRITING Geoff Munns BA, MLitt, MEd (hons), PhD (University of New England) A thesis submitted for the degree of Doctor of Philosophy of Western Sydney University, October 2019. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .............................................................. Geoff Munns ii Abstract This thesis explores the use of place in Van Morrison’s songwriting. The central argument is that he employs place in many of his songs at lyrical and musical levels, and that this use of place as a poetic and aural device both defines and distinguishes his work. This argument is widely supported by Van Morrison scholars and critics. The main research question is: What are the ways that Van Morrison employs the concept of place to explore the wider themes of his writing across his career from 1965 onwards? This question was reached from a critical analysis of Van Morrison’s songs and recordings. A position was taken up in the study that the songwriter’s lyrics might be closely read and appreciated as song texts, and this reading could offer important insights into the scope of his life and work as a songwriter. The analysis is best described as an analytical and interpretive approach, involving a simultaneous reading and listening to each song and examining them as speech acts. -
WDAM Radio's History of the Byrds
WDAM Radio's Hit Singles History Of The Byrds # Artist Title Chart Comments Position/Year 01 Jet Set “The Only One I Adore” –/1964 Jim McGuinn, Gene Clark & David Crosby with studio musicians 02 Beefeaters “Please Let Me Love You” –/1964 03 Byrds “Mr. Tambourine Man” #1/1965 Jim McGuinn, Gene Clark, David Crosby, Michael Clarke & Chris Hillman. Only Jim McGuinn played on this recording with the Wrecking Crew studio musicians. 03A Bob Dylan “Mr. Tambourine Man” #6-Albums/ From Bringing It All Back Home. 1965 03B Brothers Four “Mr. Tambourine Man” #118-Albums/ Recorded in1964, but not issued until 1965.The 1965 Brothers Four had some management connection with Bob Dylan and had even shared some gigs. In late 1963, following JFK's assassination, the Brothers Four began looking at more serious material and were presented with some Bob Dylan demos. Among his songs the group chose to record was Mr. Tambourine Man. Bob Dylan has say over who first releases one of his songs and, since he didn't care for the Brothers Four's arrangement, it wasn't immediately issued. It appeared on their The Honey Wind Blows album following the Byrds' hit and Bob Dylan's own version. 04 Byrds “All I Really Want To Do” #40/1965 A-side of I’ll Feel A Whole Lot Better. 04A Cher “All I Really Want To Do” #15/1965 Cher’s first solo hit single. 04B Bob Dylan “All I Really Want To Do” #43-Albums/ From Another Side Of Bob Dylan. 1964 05 Byrds “I’ll Feel A Whole Lot Better” #103/1965 B-side of All I Really Want To Do. -
Pete Seeger: a Singer of Folk Songs
LINGUACULTURE 2, 2020 PETE SEEGER: A SINGER OF FOLK SONGS DAVID LIVINGSTONE Palacký University Abstract Pete Seeger would have turned one hundred and one on May 3 of this year. To commemorate these ten decades plus one year, I would like to look at eleven of the most remarkable aspects of Pete Seeger’s life, work and legacy. This paper will examine the cultural impact and oral tradition of the music, songs and books of Pete Seeger. This legendary folk musician's career spanned eight decades and touched on many of the key historical developments of the day. He is responsible for some of the iconic songs which have not only helped define American culture, but even beyond. Seeger was also a pioneer in a number of fields, using his music to propagate political convictions, ecological themes, civil rights, world music, education, etc. The folk singer also had his finger on the pulse of a number of developments in American history and culture. He was friends with a number of prominent musicians and artists and influenced an entire range of younger musicians and activists. Keywords: Pete Seeger; Folk music; American history; Social activism; Civil Rights movement Family Pete Seeger’ family was a powerhouse of talent, musically and beyond. Charles Seeger (1886-1979), his father, was a renowned musicologist who held a number of prominent university positions. His political convictions, obviously on the left, were also instrumental in forming his son’s ideological worldview. His mother Constance de Clyver (1886-1975) was also a musician although not as accomplished by far as his stepmother Ruth Seeger (1901-1953) (mother to Mike and Peggy). -
First Nations Popular Music in Canada: Identity, Politics
FIRST NATIONS POPULAR MUSIC IN CANADA: IDENTITY, POLITICS AND MUSICAL MEANING by CHRISTOPHER ALTON SCALES B.A., University of Guelph, 1990 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES School of Music We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1996 * © Christopher Alton Scales In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of M0S \ C The University of British Columbia Vancouver, Canada Date flffoL 3.6 Rqfe DE-6 (2/88) ABSTRACT In this thesis, First Nations popular music is examined as a polysemic sign (or symbolic form) whose meaning is mediated both socially and politically. Native popular music is a locus for the action of different social forces which interact in negotiating the nature and the meaning of the music. Music is socially meaningful in that it provides a means by which people construct and recognize social and cultural identities. As such, First Nations popular music functions as an emblem of symbolic differentiation between Canadian natives and non-natives. Native pop music plays host to a number of political meanings embedded in this syncretic musical form. -
Biblioteca Pública De Alicante Biblioteca Pública De Alicante
BIBLIOTECA PÚBLICA DE ALICANTE BIBLIOTECA PÚBLICA DE ALICANTE EARTH, WIND & FIRE ■ BIOGRAFÍA Earth, Wind & Fire (esp. Tierra, Viento y Fuego), conocidos también como EWF; es un grupo musical estadounidense, formado en Chicago, Illinois, en 1969, fundado por Maurice White. Utiliza varios géneros de música, una fusión de Música disco, funk con el jazz, soul, gospel, pop, blues, psicodelia, folk, música africana y del rock and roll. Durante su carrera han sido 20 veces candidatos a los Grammy, ganando 6 premios Fuente: http://es.wikipedia.org/wiki/Earth,_Wind_%26_Fire ■ ENLACES DE INTERÉS • http://www.earthwindandfire.com/ • http://www.ewffanclub.com/ BIBLIOTECA PÚBLICA DE ALICANTE ■ DISCOGRAFÍA 1970 Earth, Wind and Fire 1971 The Need of Love 1972 Last Days and Time 1973 Head to the Sky 1974 Open Our Eyes 1974 Another Time 1975 That's the Way of the World 1976 Spirit 1977 All 'N All 1979 I Am 1980 Faces 1981 Raise! 1983 Powerlight 1983 Electric Universe 1987 Touch the World 1990 Heritage 1993 Millennium 1997 In the Name of Love 2003 The Promise 2005 Illumination ■ DISCOGRAFÍA EN LA BIBLIOTECA EARTH, Wind and Fire (Grupo musical) Earth Wind & Fire [Grabación sonora] [s.l.] : Columbia, p 2008. -- 5 discos compactos : Estéreo ; 12 cm Contiene: CD 1: That's the way of the world -- CD 2. Gratitude -- CD 3. Spirit -- CD 4. All in All -- CD 5. I Am 1. Música pop 2. Funk I. Título RD. 7344 Azul 2.EAR 80 Número de Título: 1317589 1317589 ALI R.C.D. 7344 Azul BIBLIOTECA PÚBLICA DE ALICANTE GEORGE BENSON ■ BIOGRAFÍA George Benson (Pittsburgh, 22 de marzo de 1943) es un guitarrista estadounidense de jazz; ha hecho también algunas exitosas aportaciones al jazz vocal (su voz es grave y su canto similar en su manierismo al de artistas como Stevie Wonder y Donny Hathaway).