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Alshire Records Discography
Alshire Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Alshire International Records Discography Alshire was located at P.O. Box 7107, Burbank, CA 91505 (Street address: 2818 West Pico Boulevard, Los Angeles, CA 90006). Founded by Al Sherman in 1964, who bought the Somerset catalog from Dick L. Miller. Arlen, Grit and Oscar were subsidiaries. Alshire was a grocery store rack budget label whose main staple was the “101 Strings Orchestra,” which was several different orchestras over the years, more of a franchise than a single organization. Alshire M/S 3000 Series: M/S 3001 –“Oh Yeah!” A Polka Party – Coal Diggers with Happy Tony [1967] Reissue of Somerset SF 30100. Oh Yeah!/Don't Throw Beer Bottles At The Band/Yak To Na Wojence (Fortunes Of War)/Piwo Polka (Beer Polka)/Wanda And Stash/Moja Marish (My Mary)/Zosia (Sophie)/Ragman Polka/From Ungvara/Disc Jocky Polka/Nie Puki Jashiu (Don't Knock Johnny) Alshire M/ST 5000 Series M/ST 5000 - Stephen Foster - 101 Strings [1964] Beautiful Dreamer/Camptown Races/Jeannie With The Light Brown Hair/Oh Susanna/Old Folks At Home/Steamboat 'Round The Bend/My Old Kentucky Home/Ring Ring De Bango/Come, Where My Love Lies Dreaming/Tribute To Foster Medley/Old Black Joe M/ST 5001 - Victor Herbert - 101 Strings [1964] Ah! Sweet Mystery Of Life/Kiss Me Again/March Of The Toys, Toyland/Indian Summer/Gypsy Love Song/Red Mill Overture/Because You're You/Moonbeams/Every Day Is Ladies' Day To Me/In Old New York/Isle Of Our Dreams M/S 5002 - John Philip Sousa, George M. -
Volume 40, Number 3
ALEMBIC May 1961 THE ALEMBIC Published Q uarterly by THE STUDENTS OF PROVIDENCE COLLEGE Providence. R. I. The ALEMBIC is published bi-monthly by the students of Providence College, Providence, Rhode Island. Entered as second-class matter at the Post Office. Providence, Rhode Island, December 18, 1920, under Act of March 3, 1879. Subscription S2.00 the year. "Acceptance for mailing at special rate of postage provided for in Section 1103. Act of October 3, 1917; authorized April 9, 1932.” Primed at the Oxford Press, Providence, Rhode Island. THE STAFF EDITOR-IN-CHIEF G. Brian Sullivan................................................. Letters ’61 EDITORIAL STAFF Essay Editor C harles Caley . ............................................... Letters ’61 Fiction Editor Brian M ullaney Letters ’61 Poetry Editor Richard L eidig . ............................................... Letters ’62 ART EDITOR David Ca l e y ........... Letters ’61 BUSINESS MANAGER Stephen O ehmsen ............................................... Letters ’62 Assistant M ichael Sullivan . ............................................... Letters '64 FACULTY MODERATOR R everend R obert L inus W alker, O.P. ALEMBIC CONTENTS V o l. XL May, 1961 No. 3 Page Obituary: Robert Joseph Slavin, O.P........Richard Leidig, ’63 5 Pan-Americanism: Out of the Pan and into the Fire Charles J. Goetz, ’61 9 Marv-Joe ........................................ ..............Philip Dohertv, 61 15 Man and the Bomb......................... .... Raymond Lajeunesse, ’64 17 merger ........................................... -
An American in Paris Capitol H-301 Paul Whiteman Released February, 1952
Capitol Albums, 301 to 400 and EP Identifier Gershwin: An American in Paris Capitol H-301 Paul Whiteman Released February, 1952. Gershwin: Rhapsody in Blue Capitol H-302 Leonard Pennario, Piano, with Paul Whiteman & His Orchestra Released February, 1952. An American in Paris/Rhapsody in Blue Capitol P-303 Paul Whiteman Released February, 1952. Combines H-301 and H-302. Later reissued as T-303. Moods for Candlelight Capitol DCN-304 = KCF-304 < L-304 Francis Scott & His Orchestra Released March, 1952. The LP contains two bonus tracks. Reissued later in 1952 as H-304. Keyboard Cocktails Capitol CDF-305 = H-305 Chuy Reyes Released April, 1952. Kitten on the Keys Capitol CCN-306 = CCF-306 < H-306 Ray Turner Released April, 1952. The LP contains two bonus tracks; the first back cover does not mention the bonus tracks. Accordion Powerhouse Capitol DCN-307 = KCF-307 < L-307 Ernie Felice Released April, 1952. The title on the cover is Accordion Power House. The LP contains two bonus tracks. Top Banana Capitol FDR-308 = EDM-308 = S-308 Original Cast featuring Phil Silvers Released January, 1952. With a Song in My Heart Capitol DDN-369 = KDF-309 = L-309 Jane Froman Released March, 1952. Pal Joey Capitol FDR-310 = EDM-310 = S-310 Original Cast Released March, 1952. Sugar Blues Capitol CCN-311 = CCF-311 < H-311 Clyde McCoy Released May/June, 1952. The LP contains two bonus tracks. Dixieland Detour Capitol CCN-312 = CCF-312 < H-312 Pee Wee Hunt Released June 1952. The LP contains two bonus tracks. Circus Parade Capitol DCN-313 = KCF-313 < L-313 Merle Evans Released April, 1952. -
The 1958 Summer of Musicals
I); Welcome to the 1958 Summer of Musicals . Welcome to Broadway in the country. Last season was the first time Guy S. Little, Jr., presented his SUMMER OF MUSI- CALS in Sullivan. That season was the culmination of many years of planning and dreaming. When very young he spent three seasons in summer stock at Keene, New Hampshire, and at Gateway Musical Playhouse at Ocean City, New Jersey. There he learned theatre business from the ground up . from making negligees for the leading lady to building scenery and stages. He was so enthralled with the theatre that he majored in drama at the University of Miami. While there he played numerous roles at the Ring Theatre and appeared in six operas with the Miami Opera Guild in support to Metropolitan opera stars. At Miami he met his wife, Jerili, who was a voice and drama major also. There he also had experience in directing, designing and publicity work. After receiving his B.A. he did graduate work at The American Theatre Wing and at Columbia University in New York City to further prepare himself to be a theatre producer. For the past ten years he familiarized himself with all Broadway productions of the past and present. He col- lected props and costumes for the day when he would operate a summer theatre. All during these years of preparation his dream was to bring the theatre to the Midwest, to the country. Why should New England be the only place where one could see the best of Broadway in summer stock? Would not the Mid- west, would not his home town support a SUMMER OF MU- SICALS? And so SUMMER OF MUSICALS opened July 3, 1957, with ERIGADOON featuring a New York cast. -
Joseph Mahowald
Joseph Mahowald HARDEN-CURTIS ASSOCIATES 850 Seventh Ave. Suite 903 New York, NY 10019 Joseph Mahowald (212) 977-8502 Joseph Mahowald HARDEN-CURTIS ASSOCIATES 850 Seventh Ave., Suite 903 J OSEPH M AHOWALD New York, NY 10019 AEA/AFTRA/SAG (212) 977-8502 (212) 977-8420 FAX BROADWAY & OFF-BROADWAY THE PIRATE QUEEN (Original Cast) Chiefton O’Flaherty Hilton Theatre JEKYLL & HYDE Jekyll & Hyde Plymouth Theater LES MISÉRABLES Javert Imperial Theater DIFFERENT FIELDS (World Premiere) Aaron James New Victory Theater LES MISÉRABLES Enjolras Imperial Theatre LONE STAR LOVE (Original Cast Album) Frank Ford John Houseman Theater THE LITTLE PRINCE The Aviator John Houseman Theater THE PRINCE AND THE PAUPER Hugh Hendon The Lamb’s Theater NATIONAL TOUR LES MISÉRABLES Javert Marius Company, III National A GRAND NIGHT FOR SINGING Featured Soloist Pace Corp./101 Productions SAYONARA Ace Gruver TUTS/Seattle 5th Avenue Theater REGIONAL THEATRE (representative) BEAUTY AND THE BEAST The Beast Houston, Theater Under The Stars HUNCHBACK OF NOTRE DAME Captain Phoebus Fox/Magicworks -- The Rep. (TRT) BRIGADOON Tommy Albright Paper Mill Playhouse THE MERRY WIDOW (w/Judy Kaye) Danilo Paper Mill Playhouse SOME SWEET DAY Isaac Ingram Goodspeed Opera Co. CAROUSEL Billy Bigelow Westchester Broadway Theater GIGI Gaston Laschaille Westchester Broadway Theater ASSASSINS John Wilkes Booth Players Theater Columbus SHOWBOAT Gaylord Ravenal North Carolina Theater TAMING OF THE SHREW Lucentio Tennessee Repertory Theater (The Rep.) A MIDSUMMER NIGHTS DREAM Lysander Tennessee -
South Pacific
THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods. -
Showstoppers! Soprano
LIGHT OPERA SHOWSTOPPERS – SHOWSTOPPERS! The list below is a guide to arias from the realm of light opera that are bound to get attention, as they require not only exquisite singing, but also provide opportunities for acting, so necessary in the HAROLD HAUGH LIGHT OPERA VOCAL COMPETITION. Some, although from serious works, are light in nature, and are included. The links below the title, go to performances on YouTube, so you can audition the song. An asterisk (*) indicates the Guild has the score in English. SOPRANO ENGLISH Poor Wand’ring One – Pirates of Penzance (Gilbert and Sullivan)* http://www.youtube.com/watch?v=5QRnwT2EYD8 The Hours Creep On Apace - HMS Pinafore (Gilbert and Sullivan)* http://www.youtube.com/watch?v=lGMnr7tPKKU The Moon and I – The Mikado (Gilbert and Sullivan)* http://www.youtube.com/watch?v=EcNtTm5XEfY I Built Upon a Rock – Princess Ida (Gilbert and Sullivan)* http://www.youtube.com/watch?v=aF_MHyXPui8 I Live, I Breathe – Ages Ago (Gilbert and Clay)* http://www.youtube.com/watch?v=b-HalKwnNd8 Light As Thistledown – Rosina (Shield) http://www.youtube.com/watch?v=9yrQ2boAb50 When William at Eve – Rosina (Shield) http://www.youtube.com/watch?v=-Vc50GGV_SA I Dreamt I Dwelt In Marble Halls – Bohemian Girl (Balfe)* http://www.youtube.com/watch?v=IoM1hYqpRSI At Last I’m Sovereign Here – The Rose Of Castile (Balfe)* http://www.youtube.com/watch?v=hswFzeqY8PY Hark the Ech’ing Air – The Fairy Queen (Purcell)* http://www.youtube.com/watch?v=NeQMxI1S84U VIENNESE Meine Lippen Sie Kussen So Heiss – Giuditta (Lehar) http://www.youtube.com/watch?v=p_kaOYC_Fww -
Copyright Infringement of Music: Determining Whether What Sounds Alike Is Alike
Vanderbilt Journal of Entertainment & Technology Law Volume 15 Issue 2 Issue 2 - Winter 2013 Article 1 2013 Copyright Infringement of Music: Determining Whether What Sounds Alike Is Alike Margit Livingston Joseph Urbinato Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons Recommended Citation Margit Livingston and Joseph Urbinato, Copyright Infringement of Music: Determining Whether What Sounds Alike Is Alike, 15 Vanderbilt Journal of Entertainment and Technology Law 227 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol15/iss2/1 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. VANDERBILT JOURNAL OF ENTERTAINMENT AND TECHNOLOGY LAW VOLUME 15 WINTER 2013 NUMBER 2 Copyright Infringement of Music: Determining Whether What Sounds Alike Is Alike Margit Livingston* and Joseph Urbinato** ABSTRACT The standard for copyright infringement is the same across different forms of expression. But musical expression poses special challenges for courts deciding infringement disputes because of its unique attributes. Tonality in Western music offers finite compositional choices that will be pleasing or satisfying to the ear. The vast storehouse of existing public domain music means that many of those choices have been exhausted. Although independent creation negates plagiarism, the inevitable similarity among musical pieces within the same genre leaves courts in a quandary as to whether defendant composers infringed earlier copyrighted works or simply found their own way to a similar melody, harmony, rhythm, or formal structure. -
SMTA Tenor Index 2015
THE SINGER'S MUSICAL THEATRE ANTHOLOGY TENOR VOLUMES Bk. Only CDs Only Book/Audio T1 = Volume 1 00361073 00740233 00000485 T2 = Volume 2 00747032 00740234 00000490 T3 = Volume 3 00740124 00740235 00000495 T4 = Volume 4 00000395 00000399 00000499 T5 = Volume 5 00001153 00001159 00001164 T6 = Volume 6 00145260 00151248 00145266 TT = Teen's Edition 00230045 00230053 00230049 T16 = 16-Bar Audition 00230041 Alphabetically by Song Title SONG SHOW VOLUME Alas for You Godspell T5 Alive! Jekyll & Hyde T3 All Good Gifts Godspell T2, TT, T16 All I Need Is the Girl Gypsy T1, TT All Kinds of People Pipe Dream T1, T16 Almost Like Being in Love Brigadoon T3, T16 Alone at the Drive-In Movie Grease T2, T16 Amsterdam Jacques Brel Is Alive and Well and Living in Paris T3 Anthem Chess T2, TT, T16 Any Dream Will Do Joseph and the Amazing Technicolor Dreamcoat T3, TT, T16 Asking for You Do Re Mi T2 At the Grand Hotel Grand Hotel T2 Awaiting You Myths and Hymns T4, T16 The Ballad of Billy M'Caw Cats T1, T16 Barrett's Song Titanic T3 Beautiful Girls Follies T2, T16 Beauty School Dropout Grease T4, T16 Beethoven Day You're a Good Man Charlie Brown T4, T16 Being Alive Company T1, T16 The Big Black Giant Me and Juliet T1 Bigger Isn't Better Barnum T5 A Bit of Earth The Secret Garden T2 Body Beautiful Beale Grey Gardens T5 Boy for Sale Oliver! T2, T16 Breaking Free High School Musical TT The Breeze Kissed Your Hair The Cat and the Fiddle T1 Breeze Off the River The Full Monty T4 Bring Him Home Les Misé+B128rables T2, T16 Buddy's Blues Follies T3, T16 Can't Take My -
A 16 Bar Cut: the History of American Musical Theatrean Original Script and Monograph Document
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 A 16 Bar Cut: The History Of American Musical Theatrean Original Script And Monograph Document Patrick Moran University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Moran, Patrick, "A 16 Bar Cut: The History Of American Musical Theatrean Original Script And Monograph Document" (2006). Electronic Theses and Dissertations, 2004-2019. 916. https://stars.library.ucf.edu/etd/916 A 16 BAR CUT: THE HISTORY OF AMERICAN MUSICAL THEATRE An Original Script and Monograph Document by PATRICK JOHN MORAN B.A. Greensboro College, 2003 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2006 © 2006 Patrick John Moran ii ABSTRACT A final thesis for my Master of Fine Arts degree should encompass every aspect of the past few years spent in the class room. Therefore, as a perfect capstone to my degree, I have decided to conceive, write, and perform a new musical with my classmate Rockford Sansom entitled The History of Musical Theatre: A 16 Bar Cut. -
Broadway Sheet Music Collection Print Collection 31 Finding Aid Prepared by Siduri Beckman
Broadway sheet music collection Print Collection 31 Finding aid prepared by Siduri Beckman. Last updated on July 26, 2016. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2016 June 28 Broadway sheet music collection Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Controlled Access Headings..........................................................................................................................5 Collection Inventory...................................................................................................................................... 7 - Page 2 - Broadway sheet music collection Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Title Broadway sheet music collection Call number Print Collection 31 Date [inclusive] 1918-1929 Extent 2 linear feet (6 boxes) Language English Language Note The bulk of the material is -
Bridging the Gap Between Opera and Musical Theatre
The Crossover Opera Singer: Bridging the Gap Between Opera and Musical Theatre D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Keyona Willis-Lynam, M.M Graduate Program in Music The Ohio State University 2015 D.M.A. Document Committee: J. Robin Rice, Advisor Joe Duchi Kristine Kearney Copyright by Keyona Willis-Lynam 2015 Abstract For decades, a divide has existed between opera and musical theatre, with the lesser value being placed upon the latter. Singers, from the start of their training, are told to choose a genre if one wants to achieve any type of singing success. This type of division creates a chasm of isolation and misunderstanding between the musical styles. From academia, to the stage, to the concert goer, one’s allegiance to opera versus musical theatre has been built upon a firm foundation of contrast, without acknowledging that both genres have ties to one another. As a result, most teaching of singing is done from the perspective of the classical singing style, with little to no mention of how to efficiently and healthily sing in a musical theatre style. In today’s social and economic climate, opera houses across the United States and abroad are seeing a decline in ticket sales; some have been able to restructure to survive, while others are shutting down. Companies are seeking a variety of ways to stay connected to the community; one avenue that has produced an area of contention is the addition of musical theatre productions to the season’s billing.