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The Library Development Program Report 1980-81
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Other Library Materials (Newsletters, Reports, Library Development Review Etc.) 9-1-1981 The Library Development Program Report 1980-81 University of Tennessee Libraries Follow this and additional works at: https://trace.tennessee.edu/utk_libdevel Part of the Arts and Humanities Commons Recommended Citation Dobson, John (ed). The Library Development Program Report. Knoxville: University of Tennessee, 1980/ 1981. This Review is brought to you for free and open access by the Other Library Materials (Newsletters, Reports, Etc.) at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Library Development Review by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. TheLibraJy Deve~ment --Report 1980-81 EDITED BY JOHN DOBSON Twenty-first Report The University of Tennessee Record (ISSN 0162-3966) Volume 84, Issue No. 4, September 1981. Published monthly except February, April , May , June, August, October, and December by The University of Tennessee 37916 Second class postage paid at Knoxville , Tennessee On the north wall of the entrance to the John C. Hodges (Undergraduate) Library is a plaque with the inscription : "To provide for the undergraduate a sense of the first-rate in the ideas which men have been communicating to men for several hundred years". ' Across the plaza on the south wall of the building is another plaque which just as eloquently conveys its message. It reads, in part: "Named in honor of John Cunyus Hodges, 1892-1967, educator, author, administrator, scholar, philanthropist and benefactor without equal of the University of Tennessee Libraries . -
1937-11-26 [P C-4]
' ——RKOWflfmu/Q — “The at Palace It in “Met” Where and When ■ ■■ ® 8**0 Firefly” Say Song Depicts N Q | ^ Is Current Theater Attractions Stately Operetta Big Prison and Time of Showing. • Ton will mo HEPBtThr, Pace of National—“To Be Continued,“ a new Lavish Spectacle Is Slow, “Politics” comedy with Luella Gear: 8:30 p.m. an* ROGER8 togothor, But Its Music Is Sweet and Palace—“The Firefly,” Jeanette Mac- la tho Broadway atago Litel Performance Donald in the Friml operetta: 11 a.m., •aoeoas that haa bo* Settings Imposing. 1:35, 4:15, 6:55 and B:35 p.m. eomo tho highlight of _• Is “Alcatraz” Keith's—“Stage Door,” Hepburn, all tho ocTOOB’a bow big By JAY CARMODY. Rogers, a story of Broadway called bet- picture*, I don’t expect a story as tightly written as if Clifford Odets were its Feature. ter than that of the play: 11:15 a.m., author when you go to see Rudolph Friml’s “The Firefly," which 1:21, 3:27, 5:37, 7:39 and 9:45 p.m. opened yesterday at Loew’s Palace. Nor do you get it. What you do U'T'HE ROCK” is the subject of Capitol—"Double Honeymoon,” ro- YOUget is a big colorful musical of the turn-of-the-century type in which the current screen attrac- mance in two doses: 11:05 a.m., 1:45, Alan Jones and Jeanette MacDonald | sing charmingly and fall charmingly in § tlon at the Metropolitan. 4:30, 7:15 and 9:55 p.m. -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
The Library Development Program Report 1982-83
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Other Library Materials (Newsletters, Reports, Library Development Review Etc.) 9-1-1983 The Library Development Program Report 1982-83 University of Tennessee Libraries Follow this and additional works at: https://trace.tennessee.edu/utk_libdevel Part of the Arts and Humanities Commons Recommended Citation Dobson, John (ed.) The Library Development Program Report. Knoxville: University of Tennessee, 1982/ 1983. This Review is brought to you for free and open access by the Other Library Materials (Newsletters, Reports, Etc.) at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Library Development Review by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. The Libnr, Development Program. Report 1982-83 EDITED BY JOHN DOBSON Twenty-third Report The University of Tennessee Record (ISSN 0162-3996) Volume 86, Issue No.4, September 1983. Published monthly except Februruy, April, May, June, August, October, and December by the University of Tennessee 37996 Second class postage paid at Knoxville, Tennessee The University of Tennessee, Knoxville POSlMASTER: Send address changes to Pubkations SeIVice Bureau, 293 Communications Building, The University of Tennessee, Knoxville, Knoxville, Tennessee 37996-0326 EOl·6010-00184 R 9, ot co W. co "al thE Wehave long been Interested In the printed wonl, a:d It was our Fo inclination to search for the historical documentation of sources which evolved is I into our collecting and dealing in antiquarian books. This avocation, in tum, We led us to a concern with the storehouses of knowledge, those libraries which Du seek, acquire, and preserve these evidences of history, and which are forever tho underfunded and in need of assistance. -
The Ithacan, 1938-11-11
Ithaca College Digital Commons @ IC The thI acan, 1938-39 The thI acan: Spring 1931 to 1939-40 11-11-1938 The thI acan, 1938-11-11 Ithaca College Follow this and additional works at: http://digitalcommons.ithaca.edu/ithacan_1938-39 Recommended Citation Ithaca College, "The thI acan, 1938-11-11" (1938). The Ithacan, 1938-39. 4. http://digitalcommons.ithaca.edu/ithacan_1938-39/4 This Newspaper is brought to you for free and open access by the The thI acan: Spring 1931 to 1939-40 at Digital Commons @ IC. It has been accepted for inclusion in The thI acan, 1938-39 by an authorized administrator of Digital Commons @ IC. - Football-Home Orche-tra Concert Brooklyn Little Theatre Today atan Sunday Z-472 Vol. X, No. 4 The Ithacan: Friday, November 11, 1938 Page 1 I I Student Recital Movement To Adopt The Concert Band Liliom In Rehearsal Ithaca College New Alma Mater Under Mr. Beeler For Production Held In -!- Early In December Soccer Team Students At Work Reaches New -High Composing Lyrics -!- -1- Little Theatre And Music Molnar Play Under Breaks Even -! -1- On Sunday, October 30, Profes- . Direction of -!- Music Students Present sor Walter Beeler. conducted the Games With Panzer First Recital of The movement to obtain a new Concert Band to a new high in Prof. Dean Current Series Alma Mater and other new school And West Chester presenting and establishing the -I- -I- songs is already in progress. Much State Teachers band as a musical organization. -!- Program and notes: dissatisfaction has been expressed Professor Beeler's objective is ideal, Liliom, written 29 years ago by Valcik .......................................... -
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage The Merry Widow (Lehár) 1925 Mae Murray & John Gilbert, dir. Erich von Stroheim. Metro- Goldwyn-Mayer. 137 mins. [Silent] 1934 Maurice Chevalier & Jeanette MacDonald, dir. Ernst Lubitsch. MGM. 99 mins. 1952 Lana Turner & Fernando Lamas, dir. Curtis Bernhardt. Turner dubbed by Trudy Erwin. New lyrics by Paul Francis Webster. MGM. 105 mins. The Chocolate Soldier (Straus) 1914 Alice Yorke & Tom Richards, dir. Walter Morton & Hugh Stanislaus Stange. Daisy Feature Film Company [USA]. 50 mins. [Silent] 1941 Nelson Eddy, Risë Stevens & Nigel Bruce, dir. Roy del Ruth. Music adapted by Bronislau Kaper and Herbert Stothart, add. music and lyrics: Gus Kahn and Bronislau Kaper. Screenplay Leonard Lee and Keith Winter based on Ferenc Mulinár’s The Guardsman. MGM. 102 mins. 1955 Risë Stevens & Eddie Albert, dir. Max Liebman. Music adapted by Clay Warnick & Mel Pahl, and arr. Irwin Kostal, add. lyrics: Carolyn Leigh. NBC. 77 mins. The Count of Luxembourg (Lehár) 1926 George Walsh & Helen Lee Worthing, dir. Arthur Gregor. Chadwick Pictures. [Silent] 341 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.14, on 01 Oct 2021 at 07:31:57, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 342 Appendix 5 Selected Films in English of Operettas Madame Pompadour (Fall) 1927 Dorothy Gish, Antonio Moreno & Nelson Keys, dir. Herbert Wilcox. British National Films. 70 mins. [Silent] Golden Dawn (Kálmán) 1930 Walter Woolf King & Vivienne Segal, dir. Ray Enright. -
Shaping the American Audience in Rodgers and Hammerstein's
Shaping the American Audience in Rodgers and Hammerstein’s Oklahoma! Kim, Hye won Contents Ⅰ. Introduction Ⅱ. Oklahoma!: An Artistic Approach with a Business Mind Ⅲ. Oklahoma!’s Tryouts in New Haven and Boston Ⅳ. Oklahoma! on Broadway Ⅴ. Shaping The American Audience Ⅵ. The Embodiment of Patriotic Strategy VII. Conclusion Ⅰ. Introduction American musical theatre is considered to be a major American contribution to world theatre. From Oscar G. Brockett to Stacy E. Wolf, most theatre historians agree that musical theatre has played a significant role in the history of American theatre. Nonetheless, it had been dismissed in the narrative of American theatre history, and only recently has it been mentioned in theatre history books. When historians and scholars write about the important moments in musical theatre, it is inevitable to mention the musicals of Richard Rodgers and Oscar Hammerstein II to talk about the elements and the new forms they offered; Oklahoma! has been taken 4 영미연구 제34집 up as a scholarly subject and used as a category in the periodization of American musical theatre―known as the golden age (1943-1968)1) and the beginning of the “integrated” musical.2) Recent historians have re-shifted conversations about musical theatre scholarship and representation by interrogating the musicals of Rodgers and Hammerstein from a different lens. However, not much is known about how the duo shaped the American audience. In what follows, this study demonstrates how Rodgers and Hammerstein shaped the American audience in Oklahoma! through calculated media management and consciously planned deployment of patriotic strategy embedded within the show in respond to the cultural and historical context of the 1930s and early 1940s, and ultimately, my research explores how the collaborators are constructed as an all-American brand. -
“Can't Help Singing”: the “Modern” Opera Diva In
“CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location. -
Sharon Searles – Opera Singer, College Professor, Golfer
Know Your Neighbor By Tim Palmer Sharon Searles – Opera Singer, College Professor, Golfer I will have to admit – I’m in over my head on this article. While I have been exposed to a variety of experiences in my short life, the arts didn’t get much time in my schedule and I am, therefore, woefully ignorant of the time and discipline required to succeed as an actor, painter or operatic performer. Fortunately for me, my conversation with Sharon Searles gave me a new appreciation for training and practice required to be a success in the dramatic arts. Sharon Searles’ life has been about singing. Born in Memphis, Tennessee as the middle of six children, Sharon has been in a musical environment her entire life. Both of her parents were active in musical activities at church – her father as the choir director and mother as organist. Her father owned his own plastics company, but was known for his interest in music and talent as a singer. As a result, his penchant for music permeated the family environment, where classical music was the only music allowed in the house. Sharon started piano at age six but didn’t become serious about singing until the eighth grade when she participated in stage performances. It wasn’t until high school that her voice changed dramatically and with that change came a very operatic sound. While singing was becoming an increasingly important part of her life, it was just one of many interests she had at that time. Sharon’s unique voice caught the ear of her teachers and they encouraged her to seek a music scholarship. -
The Inventory of the Dorothy Kirsten Collection #1753
The Inventory of the Dorothy Kirsten Collection #1753 Howard Gotlieb Archival Research Center KIRSTEN, DOROTHY 1913 - 1992 #427B Gift of the Estate of Dorothy Kirsten, 1993. Lyric soprano with Metropolitan Opera I. SCRAPBOOKS Containing newspaper and magazine items pasted in. Also reviews, publicity press releases, and programs, documenting her professional career and private life. Package 1 (First Scrapbook) 1938 - 1943. Package 2 October 1944 - August 1945. Package 3 December 1946 - September 1947. Package 4 June 1947 - April 1948. Package 5 December 1947 - December 1948. Package 6 December 1948 - July 1951. Package 7 1950 - June 1951. II. VIDEOCASSETTE Box 1 1. "Remembering Dorothy Kirsten" Kirsten, Dorothy #1753 10/8/93 - 2/6/09 Preliminary Listing I. Printed Materials [see also oversized materials]. A. Files, may include clippings, programs, correspondence, contracts, manuscripts, and magazines. Added to Box 1 1. "Early 1940s Originals." [F. 2] 2. "1942." 3. "1943 La Scala Opera Co." 4. "1947 Clippings San Francisco." 5. "1947 Grace Moore." [F. 3] 6. "1947 Originals," 4 files. [F. 3-4] 7. "January, 1948." [F. 5] 8. "April, 1948." 9. "May, 1948." 10. "Summer, 1948-June-California." 11. "September, 1948." 12. "November, 1948." 13. "November, 1948 Concerts with Martini, Lanza." [F. 6] 14. "1948 Originals." 15. "1948 Met Tour." 16. "1949 Originals." 17. "1949 Publicity." 18. "1950s Programs." [F. 7] 19. "1950s Miscellaneous." 20. "1950 Originals," 2 files. [F. 8-9] 21. "1951 Originals." [F. 10] 22. "1952 Originals." [F. 11] 23. "1953 Originals," 2 files. [F. 11-12] 24. "1954 Chapman Obituary." 25. "1954 Originals." 26. "1954 Originals, January and July." 27. -
Rose Marie: I Don't Love You Ron Smith, Thompson Rivers University, Canada
Rose Marie: I Don't Love You Ron Smith, Thompson Rivers University, Canada Pierre Berton, in his book Hollywood's Canada, challenges the Hollywood image of Canada, particularly the Canadian frontier. Berton states: And if Canadians continue to hold the belief that there is no such thing as a national identity – and who can deny that many hold it? – it is because the movies have frequently blurred, distorted, and hidden that identity under a celluloid mountain of misconceptions. (Berton, 1975: 12) Berton's queries about film images seem to suggest that without a clear understanding of history, we might be subject to the dreams and imaginations of others. In Berton's case, "the others" are Hollywood producers and directors. Geoff Pevere and Greig Dymond state that Americans have made many more Mountie movies than Canadians have, noting that "the inadvertent or intentional kitsch value of these is almost always rooted in the image of the Mountie's impossible purity or sense of duty." (Pevere and Dymond, 1996: 183) Michael Dawson, in That Nice Red Coat Goes To My Head Like Champagne: Gender, Antimodernism and the Mountie Image, points out that "Mounted Policemen appeared as central characters in over 250 feature films." (Dawson, 1997) Pierre Berton notes that by the early 1920s Hollywood had made 188 Mountie movies, forty-eight of them in the feature length mode that had become popular after 1914 (Berton, 1975: 112). Dawson adds that by the 1930s and 1940s "the film industry produced a body of work that consolidated the fictional Mountie position as both a mythic hero and commercial success." (Dawson, 1997) Rose Marie (1936) continued a theme that was associated with love and duty, but which had very little to do with "true story claims" about the Mounted Police. -
Two Hawaiian Careers in Grand Opera
DALE E. HALL Two Hawaiian Careers in Grand Opera WHEN WE THINK of Hawaiians and music, the sounds of steel gui- tars and 'ukulele are more apt to come to mind than opera or sym- phony. Native Hawaiian culture, of course, has its own musical tradition, mainly vocal, dating from ancient times; chant or mele continues to exist today side by side with other kinds of Hawaiian styles influenced by both classical and popular Western music. Hawaiians are also well-known as composers and performers of Western-influenced Hawaiian popular music, but their contribu- tions to Western classical music are less well-known. Among Native Hawaiians born in the 19th century, very few became prominent as composers or performers in the Western art tradition, a circumstance which is hardly surprising since the total Hawaiian population, then, as now, is quite small as compared with the total population on which Western music draws. Queen Lili'uokalani was among those who learned enough about West- ern music to write down her own songs. Her Aloha c0e, for example, was influenced by the style of 19th-century himeni or Protestant hymns with texts translated into Hawaiian.1 The part- Hawaiian Charles E. King (1874-1950) composed the operetta, Prince of Hawaii, called a "Hawaiian opera" when it was per- formed in Honolulu in 1925.2 Part-Hawaiians and ali'i (aristo- crats, nobility) closely affiliated with the royal court attended con- Dale E. Hall, Associate Professor of Musicology, University of Hawai'i, is a widely published author on music and is currently writing a history of the Honolulu Symphony.