Kingston Trio at Greek Theater
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THE MUSIC of HENRY MANCINI the Boston Pops Orchestra During Arthur Fiedler’S Tenure, Providing Special Arrangements for Dozens of Their Hit Albums and Famous Singles
557825 bk ManciniUS 2/11/05 09:48 Page 4 Richard Hayman LIGHT CLASSICS DDD One of America’s favourite “Pops” conductors, Richard Hayman was Principal “Pops” conductor of the Saint 8.557825 Louis, Hartford and Grand Rapids symphony orchestras, of Orchestra London Canada and the Calgary Philharmonic Orchestra, and also held the post with the Detroit Symphony Orchestra for many years. His original compositions are standards in the repertoire of these ensembles as well as frequently performed selections by many orchestras and bands throughout the world. For over thirty years, Richard Hayman served as the chief arranger for THE MUSIC OF HENRY MANCINI the Boston Pops Orchestra during Arthur Fiedler’s tenure, providing special arrangements for dozens of their hit albums and famous singles. Under John Williams’ direction, the orchestra continues to programme his award- winning arrangements and orchestrations. Though more involved with the symphony orchestra circuit, Richard Moon River • The Pink Panther • Charade Hayman served as musical director and/or master of ceremonies for the tour shows of many popular entertainers: Kenny Rogers, Johnny Cash, Olivia Newton-John, Tom Jones, Englebert Humperdinck, The Carpenters, The The Days of Wine and Roses • Beaver Valley ’37 Osmonds, Al Hirt, Andy Williams and many others. Richard Hayman and His Orchestra recorded 23 albums and 27 hit singles for Mercury Records, for which he and many others served as musical director for twelve years. Dozens of his original compositions have been recorded by various artists all over the world. He has also arranged and conducted recordings for more than 50 stars of the motion Richard Hayman and His Orchestra picture, stage, radio and television worlds, and has also scored Broadway shows and numerous motion pictures. -
Music from Peter Gunn
“The Music from ‘Peter Gunn’”--Henry Mancini (1958) Added to the National Registry: 2010 Essay by Mark A. Robinson (guest post)* Henry Mancini Henry Mancini (1924-1994) was the celebrated composer of a parade of song standards, particularly remembered for his work in television and film composition. Among his sparkling array of memorable melodies are the music for “The Pink Panther” films, the “Love Theme from ‘Romeo and Juliet’,” and his two Academy Award-winning collaborations with lyricist Johnny Mercer, “Moon River” for the 1961 film “Breakfast at Tiffany’s,” and the title song for the 1962 feature “Days of Wine and Roses.” Born Enrico Nicola Mancini in the Little Italy neighborhood of Cleveland, Ohio, Henry Mancini was raised in West Aliquippa, Pennsylvania, near Pittsburgh. Though his father wished his son to become a teacher, Mancini was inspired by the music of Hollywood, particularly that of the 1935 Cecil B. DeMille film “The Crusades.” This fascination saw him embark on a lifelong journey into composition. His first instrument of choice was the piccolo, but soon he drifted toward the piano, studying under Pittsburgh concert pianist and Stanley Theatre conductor Max Adkins. Upon graduating high school, Mancini matriculated at the Carnegie Institute of Technology, but quickly transferred to the Julliard School of Music, concentrating his studies in piano, orchestration, and composition. When America entered World War II, Mancini enlisted in the United States Army in 1943. Assigned to the 28th Air Force Band, he made many connections in the music industry that would serve him well in the post-war years. -
Billy Preston
Billy Preston Billy Preston was a soul singer and pianist who, in addition to having a successful solo career, collaborated with some of the greatest names in the music industry, including the Beatles, the Rolling Stones, Little Richard, Ray Charles, George Harrison, Eric Clapton, Bob Dylan, Sam Cooke, Sammy Davis Jr., Sly Stone, Aretha Franklin, the Jackson 5, Quincy Jones, and the Red Hot Chili Peppers. Often called “the Fifth Beatle,” this former child prodigy left one of the most profound and prolific legacies in music. William Everett Preston was born in Houston, Texas in 1946. He began playing piano at age three, and by ten he had joined the band of gospel great Mahalia Jackson. At age twelve he appeared in the 1958 film St. Louis Blues, portraying blues composer W.C. Handy as a young man. In the 1960s Preston performed with Little Richard and Ray Charles, and became a regular singer and pianist on the ABC television series Shindig. Preston went on to a successful career as a session musician, including lending his talents to the Beatle’s Let It Be album. That collaboration led to his signing to the Beatles’ Apple label, and in 1969 his solo effort, produced by George Harrison, was released. The album That's the Way God Planned It and the single of the same name met with limited success, but in 1972 he released an instrumental funk single, "Outa-Space," that reached #2 in the U.S. and won the Grammy award for Best Pop Instrumental Performance. Over the next two years, Preston enjoyed more number one hits including "Will It Go Round In Circles" and "Nothing From Nothing." He was the first guest musical artist on the premier episode of the popular TV show Saturday Night Live. -
Small Episodes, Big Detectives
Small Episodes, Big Detectives A genealogy of Detective Fiction and its Relation to Serialization MA Thesis Written by Bernardo Palau Cabrera Student Number: 11394145 Supervised by Toni Pape Ph.D. Second reader Mark Stewart Ph.D. MA in Media Studies - Television and Cross-Media Culture Graduate School of Humanities June 29th, 2018 Acknowledgments As I have learned from writing this research, every good detective has a sidekick that helps him throughout the investigation and plays an important role in the case solving process, sometimes without even knowing how important his or her contributions are for the final result. In my case, I had two sidekicks without whom this project would have never seen the light of day. Therefore, I would like to thank my thesis supervisor Toni Pape, whose feedback and kind advice was of great help. Thank you for helping me focus on the important and being challenging and supportive at the same time. I would also like to thank my wife, Daniela Salas, who has contributed with her useful insight, continuous encouragement and infinite patience, not only in the last months but in the whole master’s program. “Small Episodes, Big Detectives” 2 Contents Introduction ...................................................................................................................... 4 1. Literature Seriality in the Victorian era .................................................................... 8 1.1. The Pickwick revolution ................................................................................... 8 -
Cue the Music: Music in Movies Kelsey M
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2017 yS mposium Apr 12th, 3:00 PM - 3:30 PM Cue the Music: Music in Movies Kelsey M. DePree Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Composition Commons, Film and Media Studies Commons, and the Other Music Commons DePree, Kelsey M., "Cue the Music: Music in Movies" (2017). The Research and Scholarship Symposium. 5. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2017/podium_presentations/5 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. The Music We Watch Kelsey De Pree Music History II April 5, 2017 Music is universal. It is present from the beginning of history appearing in all cultures, nations, economic classes, and styles. Music in America is heard on radios, in cars, on phones, and in stores. Television commercials feature jingles so viewers can remember the products; radio ads sing phone numbers so that listeners can recall them. In schools, students sing songs to learn subjects like math, history, and English, and also to learn about general knowledge like the days of the week, months of the year, and presidents of the United States. With the amount of music that is available, it is not surprising that music has also made its way into movie theatres and has become one of the primary agents for conveying emotion and plot during a cinematic production. -
Thinking About
THINKING ABOUT Watching, Questioning, Enjoging FOURTH EDITION PETER LEHMAN and WILLIAM LUHR Wiley Biackweii CONTENTS List of Figures ix How to Use This Book xvi Acknowledgments xix About the Companion Blog xxi 1 Introduction 1 Fatal Attraction and Scarface 2 Narrative Structure 27 Jurassic Park and Rashomon 3 Formal Analysis 61 Rules of the Game and The Sixth Sense 4 Authorship 87 The Searchers and Jungle Fever 5 Genres 111 Sin City and Gunfight at the OK Corral 6 Series, Sequels, and Remakes 141 Goldfinger and King Kong (1933 and 2005) 7 Actors and Stars 171 Morocco and Dirty Harry 8 Audiences and Reception 197 A Woman ofParis and The Crying Game 9 Film and the Other Arts 222 Dr. Jekyll and Mr. Hyde (1933) and The Girl with the Dragon Tattoo (2011) 10 Film and its Relation to Radio and Television 257 Richard Diamond, Private Detective; Peter Gunn; Victor/Victoria; 24\ and Homeland 11 Realism and Theories of Film 296 Tlje Battleship Potemkin and Umberto D 12 Gender and Sexuality 317 The Silence of the Lambs and American Gigolo 13 Race 341 Out of the Past, LA Confidential, and Boyz N the Hood 14 Class 371 Pretty Woman and The People Under the Stairs 15 Citizen Kane: An Analysis 396 Citizen Kane 16 Current Trends: Globalization and China, 3D, IMAX, Internet TV 419 Glossary 441 Index 446 LIST Of FIGURES Chapter 1 1.1 Zero Dark Thirty, © 2012 Zero Dark Thirty LLC 1 1.2 American Sniper, © 2014 Warner Bros. Entertainment Inc, Village Roadshow Films North America Inc. and Ratpac-Dune Entertainment LLC 1 1.3 Spotlight, © 2015 SPOTLIGHT FILM, LLC 2 1.4 Jack Ryan: Shadow Recruit, © 2013 Paramount Pictures Corporation 2 1.5 Dragon: The Brace Lee Story, © 1992, Universal 3 1.6 Breakfast at Tiffany's, © 1961, Paramount 3 1.7 Psycho, © 1960, Universal 3 1.8 The Hills Have Eyes (2006), © 2006 BRC Rights Management, LTD 4 1.9 The Texas Chainsaw Massacre (2003), © 2003 Chainsaw Productions, LLC 4 1.10 Son of the Pink Panther (1993), © United Artists Productions, Inc. -
Recital Theme: So You Think You Can Dance
Recital Theme: So You Think You Can Dance GENRE LEVEL SONG ALBUM / ARTIST Ballet Baby Age 2-3 Hooray For Chasse Wake Up And Wiggle/Marie Barnett Ballet Baby Age 2-3 Wacky Wallaby Waltz Put On Your Dancing Shoes/Joanie Bartels Ballet I - II Age 8-12 9 Dancing Princesses Ballet I - II Teen/Adult Dance Of The Hours From the opera La Gioconda/Amilcare Ponchielli Ballet II Age 8-10 7 Dancing Princesses Ballet II - III Age 10-12 Copelia Waltz Coppelia/Delibes Ballet II - III Teen/Adult Danse Napolitiane Swan Lake/Tchaikovsky Ballet III - IV Teen/Adult Dance of The Reed Flutes Nutcracker Suite/Tchaikovsky Ballet IV Teen/Adult Paquita Allegro Paquita/La Bayadere Ballet IV - V Teen/Adult Paquita Coda Paquita/La Bayadere Pre-Ballet I - II Age 5-6 Sugar Plum Fairies Nutcracker Suite/Tchaikovsky Pre-Ballet I - II Age 6-8 Little Swans Swan Lake/Tchaikovsky Hip Hop I Age 6-8 Pon De Replay Music of the Sun/Rihanna Hip Hop I Age 9-12 Get Up Step Up Soundtrack/Ciara Hip Hop I - II Age 6-8 Move It Like This Move It Like This/Baja Men Hip Hop I - II Age 8-12 1,2 Step Goodies/Ciara and Missy Elliott Hip Hop I - II Age 10-12 Get Up "Step Up" Soundtrack/Ciara Hip Hop "The Longest Yard" Soundtrack/Jung Tru,King Jacob I - II Teen/Adult Errtime and Nelly Hip Hop I - II Teen/Adult Switch Lost and Found/Will Smith Hip Hop I - II Adult Yeah Confessions/Usher Hip Hop II Adult Let It Go Heaven Sent/Keyshia Cole feat. -
Department Historyrevised Copy
The Music Department of Wayne State University A History: 1994-2019 By Mary A. Wischusen, PhD To Wayne State University on its Sesquicentennial Year, To the Music Department on its Centennial Year, and To all WSU music faculty and students, past, present, and future. ii Contents Preface and Acknowledgements ……………………………………………………………………...........v Abbreviations ……………………………………………………………………………............................ix Dennis Tini, Chair: 1993-2005 …………………………………………………………………………….1 Faculty .…………………………………………………………………………..............................2 Staff ………………………………………………………………………………………………...7 Fundraising and Scholarships …………………………………………………................................7 Societies and Organizations ……………………………………………..........................................8 New Music Department Programs and Initiatives …………………………………………………9 Outreach and Recruitment Programs …………………………………………….……………….15 Collaborative Programs …………………………………………………………………………...18 Awards and Honors ……………………………………………………………………………….21 Other Noteworthy Concerts and Events …………………………………………………………..24 John Vander Weg, Chair: 2005-2013 ………………………………………………................................37 Faculty………………………………………………………………..............................................37 Staff …………………………………………………………………………………………….....39 Fundraising and Scholarships …………………………………………………..............................40 New Music Department Programs and Initiatives ……………………………………………..…41 Outreach and Recruitment Programs ……………………………………………………………..45 Collaborative Programs …………………………………………………………………………...47 Awards -
Swr2-Musikstunde-20110608.Pdf
________________________________________________________________________________ 2 MUSIKSTUNDE mit Trüb Mittwoch, 8. 6. 2011 „Die im Dunkeln hört man nicht? (3) Henry Mancini“ MUSIK: INDIKATIV, NACH CA. ... AUSBLENDEN Dieses Image hat er zeitlebens sorgsam gepflegt: das des Pianisten in einer noblen Hotelbar, der zur Cocktail-Hour routiniert und diskret Musik macht, entweder im weißen Smokingjackett an einem schwarzen Flügel, oder in einem schwarzen am weißen Flügel; wahlweise auch als Pianist in einem dreiköpfigen Easy-Listening-Ensemble, dessen kommerzielle Jazzklänge sein sollen, wie man's der Filmmusik fälschlich immer vorwirft – bewusst nicht hörbar. Wenn sich die Begleitmusik in den Vordergrund drängen würde, so die Philosophie dahinter, könnten ja Leute zuhören und darüber vergessen, den nächsten schweineteuren Single Malt Whisky zu bestellen oder die nächste Havanna-Zigarre. Die einzige Funktion nämlich von Barmusik ist, auch von Live-Barmusik, keine gähnende Stille entstehen zu lassen, sondern präsent zu sein wie die Auslegware, die auch nie jemand bemerkt, die aber fehlen würde, wenn sie nicht da wäre. Natürlich stellt Henry Mancini sein Licht damit selber unter den Scheffel. Zwar komponierte er so manche Easy-Listening-Nummer, ansonsten aber konnte der Zögling der New Yorker Juilliard School of Music und spätere Schüler von Ernst Krenek und Mario Castelnuovo-Tedesco jede Art von Musik komponieren, auch dramatische und komplexe. „Gebrauchsmusik“ war das immer, ob für Film oder Fernsehen oder den Konzertsaal. Aber den „unbekannten“ Henry Mancini will ich Ihnen heute auch vorstellen, den großen Könner, den Schwergewichte seines Fachs verehrten. Bekannt allerdings wurde er natürlich damit ... MUSIK: MANCINI, MOON RIVER, TRACK 1 (2:40) Henry Mancinis Greatest Hit, wenn auch nicht seine genialste Eingebung: das etwas seifige „Moon River“ aus dem Blake-Edwards-Audrey-Hepburn-Film „Breakfast at Tiffany's“. -
Dear Brigitte | Mr. Hobbs Takes a Vacation
Dear Brigitte | Mr. Hobbs Takes a Vacation y 1965, the family comedy film was about from there he worked mostly at Columbia Stu - success of his score for the classic TV detective to hit rough times because the world was dios, turning out wonderful scores for a diverse show, Peter Gunn and its follow-up, Mr. Lucky , Bchanging and we were entering a more number of films, including Salome, From Here both for Blake Edwards – which were followed challenging time and the movies, of course, re - to Eternity, Tight Spot, 5 Against the House, The by two more great scores for Edwards, High flected that change. This was especially true of Man From Laramie, Picnic (perhaps his great - Time and the classic Breakfast at Tiffany’s . the quirky family comedy about quirky families est achievement), The Eddy Duchin Story, Full Mancini had been all over the pop charts, es - doing quirky things. In the 1960s, James Stew - of Life, Nightfall, 3:10 to Yuma, Jeanne Eagles, pecially with “Moon River,” which was a gigantic art, then in his mid-fifties, made three such Cowboy, Houseboat, Bell, Book, and Candle, hit for him. In 1962, Mancini would write four comedies at Twentieth Century-Fox – Mr. Hobbs Strangers When We Meet, The World of Suzie great scores in a row for four different studios – Takes a Vacation, Take Her, She’s Mine, and Wong, The Devil at 4 O’Clock , and tons of oth - Experiment in Terror, Hatari, Days of Wine and Dear Brigitte . All were directed by Henry Koster ers. He also was prolific in television starting in Roses , and Mr. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
HENRY MANCINI BIOGRAPHY Mancini Born 1924 in Cleveland
HENRY MANCINI BIOGRAPHY Mancini born 1924 in Cleveland ,Ohio, learnt flute and piano at a young age. After High School he attended Julliard School of Music in Manhattan NY.{we can assume he was a very competent player with ambitions} . In 1943 after 1 year there he was drafted into the Army. After the war he became the pianist and arranger for the Glenn Miller Band, led by Tex Beneke.He also studied serious composing with Ernst Krenek and Mario Castelnuovo‐Tedesco. It was this, as well as his passion for jazz and swing music , that saw him join Universal Studios music dept as a house composer writing for such hits as Creature from the Black Lagoon , It came from Outer Space , Tarantula, followed by The Glenn Miller Story, The Benny Goodman Story , and Orson Welles Touch of Evil. He left Universal Studios in 1958 , working as an independent writer. He soon established a working relationship with Producer Blake Edwards { see Peter Sellers movie with Goeffrey Rush for character insights} . This produced nearly 30 films, the first being a tv series titled Peter Gunn. Other movies include Breakfast at Tiffanys, Days of wine and Roses, Pink Panther et al, The Party. Also Hatari, Victor/Victoria. Interestingly, Alfred Hitchcock rejected and replaced his work on the 1972 film Frenzy. He wrote many scores to TV shows, themes and ads, he recorded over 90 albums in styles ranging from Big Band to Classical to Pop. He at the time revolutionised the use of jazz in romantic and orchestral film and TV scores.