Chris Reynolds: This Is an Interview with Charlie Harmony on Thursday
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Songs by Artist
Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S. -
“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
“UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. -
Billboard Magazine Top 100 Singles of 1957
Billboard Magazine Top 100 Singles of 1957 1 Elvis Presley All Shook Up 2 Pat Boone Love Letters in the Sand 3 Diamonds Little Darlin' 4 Tab Hunter Young Love 5 Jimmy Dorsey So Rare 6 Pat Boone Don't Forbid Me 7 Guy Mitchell Singing the Blues 8 Sonny James Young Love 9 Elvis Presley Too Much 10 Perry Como Round and Round 11 Everly Brothers Bye Bye Love 12 Debbie Reynolds Tammy 13 Buddy Knox Party Doll 14 Elvis Presley Teddy Bear 15 Harry Belafonte Banana Boat (Day-O) 16 Elvis Presley Jailhouse Rock 17 Marty Robbins A White Sport Coat (And a Pink Carnation) 18 Del-Vikings Come Go With Me 19 Everly Brothers Wake up Little Susie 20 Sam Cooke You Send Me 21 Coasters Searchin' 22 Chuck Berry School Day 23 Ferlin Husky Gone 24 Paul Anka Diana 25 Ricky Nelson A Teenager's Romance 26 Tarriers The Banana Boat Song 27 Jimmie Rodgers Honeycomb 28 Jerry Lee Lewis Whole Lotta Shakin' Goin' On 29 Gale Storm Dark Moon 30 Crickets That'll Be the Day 31 Charlie Gracie Butterfly 32 Frankie Laine Moonlight Gambler 33 Tommy Sands Teenage Crush 34 Johnny Mathis It's Not for Me to Say 35 Rays Silhouettes 36 Andy Williams Butterfly 37 Terry Gilkyson Marianne 38 Fats Domino I'm Walkin' 39 Johnny Mathis Chances Are 40 Nat King Cole Send for Me 41 Russ Hamilton Rainbow 42 Ricky Nelson Be-bop Baby 43 Larry Williams Short Fat Fanny 44 Jim Lowe The Green Door 45 Billy Williams I'm Gonna Sit Rlght Down & Write Myself a Letter 46 Patti Page Old Cape Cod 47 Bobbettes Mr. -
Elyssa Pennell: Okay
Elyssa Pennell: Okay. So, it is November 20 and we’re in Glickman Library in Portland, Maine and I am the student researcher. My name is Elyssa Pennell. E-L-Y-S-S-A P-E-N-N-E-L-L and would please say your name and spell it for me? Marvin Ellison: Be glad to, so I’m Marvin Ellison. E-L-L-I-S-O-N and Marvin with a V. And we're off and running. Elyssa: Yes. Okay, so you can refuse to answer any question at any time and you can end the interview at any point. Marvin: Great. You know the teacher’s trick though? You get asked a question and you answer not the question that is asked, but the question you would like to be asked. Elyssa: Yes, also the politician’s trick too. Marvin: Exactly. Elyssa: Yes. Marvin: So be forewarned. Elyssa: Okay. Marvin: Keep me on track. Elyssa: Alright so do you want to start with where you were born? How you grew up? At all? Marvin: Sure, I’d be glad to. Elyssa: Okay. Marvin: So I grew up in the South, I grew up in Knoxville, Tennessee and I grew up as a person of faith in the Presbyterian Church US, which is the Southern branch of the Presbyterian Church and went to Davidson College in North Carolina for my undergraduate work and then after graduating from college I moved to Chicago for graduate school and then to New York for another a graduate program and eventually came to Maine and finished my doctoral program and was given a job in Bangor theological seminary. -
Greenup County, You Have a of June in Pike County
J.D. Crowe Table of Contents US23CountryMusicHighway......................4 The Future Stars of Country Music.................5 “More Than Music” US 23 Driving Tour.............8 Billy Ray Cyrus........................................9 Greenbo Lake State Resort Park...................10 Jesse Stuart..........................................11 The Judds.............................................12 Boyd County Tourism.................................13 Ricky Skaggs.........................................15 Lawrence County Tourism............................16 Larry Cordle..........................................18 Loretta Lynn & Crystal Gayle.......................19 US 23: John Boy’s Country .....................20 Hylo Brown...........................................21 Johnson County Tourism..............................22 Dwight Yoakam.......................................23 Map....................................................24 The Jenny Wiley Story.............................27 Presonsburg Tourism..................................28 Elk in Eastern Kentucky..............................30 Patty Loveless.......................................33 Pikeville/Pike County Tourism........................37 The banjo on the cover of this year’s magazine is a Hatfields and McCoys...............................38 Gibson owned by JD Crowe.JDwasbornandraisedin Gary Stewart........................................39 Lexington, Kentucky, and was one of the most influential Marion Sumner.......................................39 bluegrass musicians. -
Bill Drafting Template
1 State of Arkansas 2 91st General Assembly 3 Regular Session, 2017 SR 13 4 5 By: Senator Irvin 6 7 SENATE RESOLUTION 8 HONORING JIMMY DRIFTWOOD FOR HIS CONTRIBUTIONS TO 9 FOLK MUSIC AND TO THE STATE OF ARKANSAS. 10 11 12 Subtitle 13 HONORING JIMMY DRIFTWOOD FOR HIS 14 CONTRIBUTIONS TO FOLK MUSIC AND TO THE 15 STATE OF ARKANSAS. 16 17 WHEREAS, Mr. Jimmy Driftwood was born James Corbitt Morris in Timbo, 18 Arkansas, on June 20, 1907, and died on July 12, 1998, in Fayetteville, 19 Arkansas; and was a prolific folk singer and songwriter, along with his 20 father, Neil Morris; and 21 22 WHEREAS, Jimmy Driftwood wrote over 6,000 folk songs, and is most 23 famous for “The Battle of New Orleans” and “Tennessee Stud“; and learned to 24 play guitar on his grandfather’s homemade instrument, which he used 25 throughout his career, noting that the neck was made from fence rail, the 26 sides from an old ox yoke, and the head and bottom from the headboard of his 27 grandmother’s bed; and 28 29 WHEREAS, Jimmy Driftwood received a degree in education from Arkansas 30 State Teacher’s College, now the University of Central Arkansas, married 31 Cleda Johnson in 1936, and began writing poetry and music; enjoyed his 32 teaching career in Arkansas and began a family; wrote songs during his 33 teaching career to help teach his students history in an entertaining manner; 34 and wrote his famous “The Battle of New Orleans” in 1936 to help his class 35 become interested in the event; and 36 *KLC253* 03-06-2017 14:08:28 KLC253 SR13 1 WHEREAS, it was not until the -
An Interview with Ben Grossman Conducted and Transcribed By
1 “Taste is the Great Enemy”: acoustic instrument with roots in the European An Interview with Ben Grossman Middle Ages. Through extended techniques, live-looping, and processing, I’ve seen you use Conducted and Transcribed by Paul Watkins it as a physical interface into improvised sound creation, spontaneous composition, and the PW: I’m here with Ben Grossman. He is a exploration of acoustics, form, and extended musician, composer, and improviser living in aesthetics. I’ve also heard you play a lot of Guelph, Ontario. Having been exposed to a traditional music. What drew you to the hurdy gamut of music from a young age, he spent his gurdy? Happenstance? It’s this really old and youth building homemade synthesizers, effects specialized instrument, and yet you do all sorts and tape loops and playing electric guitar in his of contemporary and innovative stuff with it— parents’ suburban basement and with various or perhaps it has always been an innovative groups in warehouses around Toronto. Through instrument. percussion and his interest in non-equal tuning systems, Ben became involved in the study, BG: Yep, I think it probably always has been. performance, and recording of traditional It’s an instrument that never really completely Turkish, Arabic, Irish, Balkan, and French disappeared, like other instruments have music. In 1997 he studied Turkish music in disappeared, and have been revived. It certainly Istanbul, and since taking up the vielle a roue, has had its ups and downs. In terms of it being aka, the hurdy gurdy, he has done workshops an old instrument, I think in some ways it’s and lessons with some of the most renowned actually a fairly new instrument in the history of artists working in contemporary and creative Western music. -
Senate Ratifies $63 Fee To--Fund
sma n SUSB Students VOLUME 13 NUMBER 55 STONY BROOK, N. Y. MONDAY, APRIL 27,1970 Otheto Ten Cents Senate Ratifies 70--71 Budget ; $63 Fee to--Fund Specular Soundings By MARSHA PRAVDER only senators to vote against this Polity stipends, the darkroom After a lengthy six-hour allocation were Larry Remer and budget, stress analysis, the debate, the Student nate M ar k Star r. Sta rr b ase d h is vo te People's Newspaper, and activity ae~aicme btuaentbenat on a rationale that "the amount fee waivers. this morning passed the of money Specula costs the A motion was defeated which 1970-71 Polity budget The student body does not make it a would have decreased Statesman amended budget includes worthwhile to a frequency of twice a week. enterprise." Most senators held the opinion the funding of Soundings although students will be that the effect of the cut would and Specula, and an charged a $.50 fee for the be to increase the average issue P o y increase in the activities fee ^ltrr magzin. li . size, so that the cost would not increase in the activities fee President Lonnie Wolfe pointed decrease considerably. In to $63. out that another Stony Brook addition, the coverage would not $18,000 was allocated for literary journal is being be as prompt. 4,000 copies of Specula which produced by George Quasha and Another motion'was proposed will be free to seniors, with the will be sold nationwide. which would have deleted remaining issues distributed on a Controversy arose in the special supplements to first come, first serve basis to the Senate over several allocations, Statesman from its budget. -
(Pdf) Download
Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air -
Multimillion-Selling Singer Crystal Gayle Has Performed Songs from a Wide Variety of Genres During Her Award-Studded Career, B
MultiMillion-selling singer Crystal Gayle has performed songs from a wide variety of genres during her award-studded career, but she has never devoted an album to classic country music. Until now. You Don’t Know Me is a collection that finds the acclaimed stylist exploring the songs of such country legends as George Jones, Patsy Cline, Buck Owens and Eddy Arnold. The album might come as a surprise to those who associate Crystal with an uptown sound that made her a star on both country and adult-contemporary pop charts. But she has known this repertoire of hardcore country standards all her life. “This wasn’t a stretch at all,” says Crystal. “These are songs I grew up singing. I’ve been wanting to do this for a long time. “The songs on this album aren’t songs I sing in my concerts until recently. But they are very much a part of my history.” Each of the selections was chosen because it played a role in her musical development. Two of them point to the importance that her family had in bringing her to fame. You Don’t Know Me contains the first recorded trio vocal performance by Crystal with her singing sisters Loretta Lynn and Peggy Sue. It is their version of Dolly Parton’s “Put It Off Until Tomorrow.” “You Never Were Mine” comes from the pen of her older brother, Jay Lee Webb (1937-1996). The two were always close. Jay Lee was the oldest brother still living with the family when their father passed away. -
The Philadelphia Sound This Is the Fourth Article in a Series Highlighting ASA’S 50S, and 60S
VOLUME 33 JULY/AUGUST 2005 NUMBER 6 2005 ASA Annual Meeting . Our 100th Meeting! The Philadelphia Sound This is the fourth article in a series highlighting ASA’s 50s, and 60s. The city was home to more African-American sound than they had upcoming 2005 centennial meeting in Philadelphia. jazz musicians than perhaps any city, previously heard in the California- save New York. Musicians found each centric “cool” jazz movement, East by Jerome Hodos, Franklin and Marshall protected, fertile enclave in which other gigs and played together—John Coast jazz musicians in the mid-1950s College, and David Grazian, cultural production can germinate. Coltrane, for example, played in both created a roots-oriented jazz—called University of Pennsylvania Musical innovation has relied on the Jimmy Heath’s and Jimmy Smith’s hard bop—that incorporated significant vitality of largely segregated community bands, and later hired local talents elements from blues and black church Since World War II, music has been institutions such as the black church. For Jimmy Garrison and McCoy Tyner for music. Philadelphia was a main center Philadelphia’s public face to the world. instance, rhythm-and-blues pioneer his own classic quartet. In search of a for hard bop, home to crucial performers While fulfilling their duties as unofficial Solomon Burke long led his own more urban, gritty, and what was like Clifford Brown, Benny Golson, John representatives of the “City of Brotherly congregation in the city. (Another thought of as a more authentically See Philadelphia, page 7 Love”, local musicians worked to codify example: the white, teen pop of the late and symbolize the state of the city’s 1950s was made popular via Dick black community through a succession Clark’s TV show American Bandstand, of distinct musical styles. -
Amb70054 Tennessee.Pdf
Welcome to Tennessee This collection contains 25 wonderful songs about the State of Tennessee. We’re going to bend the rules a little and begin by talking about a song that isn’t here because, the lyrics get us directly to two important points. Here are the opening words to Tennessee, a song written and recorded by Carl Perkins in 1955. Now there are folks who like to brag about where they came from But when they start that stuff I let ‘em be But it makes me feel like I want to brag some To know that I come from the state of Tennessee. Let’s give old Tennessee credit for music As they play it up in Nashville every day… Old Carl reminds us that most of the songs on each of these ‘State’ collections are really about bragging. The polite term is probably ‘regional pride.’ But you and I know it’s bragging, pure and simple. We know there’s lots of national pride among Americans, but never underestimate the feelings about one’s home state (or city, or neighborhood!) “Yeah, I’m an American and proud of it. But I’m also from Tennessee. And don’t you forget it!” Bragging is OK under some circumstances. Nobody likes to hear someone else go on about what he’s accomplished or how important he thinks he is. But if you want to raise the flag about where you were born or about your home town, most folks will cut you some slack. It’s not like you chose to be from Tennessee, and that little bit of arm’s length seems to give you permission to brag.