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Preliminary Syllabus MUS 20: the Poetry and Songs of Leonard Cohen Instructor, T
Preliminary Syllabus MUS 20: The Poetry and Songs of Leonard Cohen Instructor, T. Hampton Recommended book: Cohen, Stranger Music. First Meeting, Oct 11: “Remember me, I used to live for music.” The poet as songwriter. Montréal. The Canadian Scene. Irving Layton. Cohen in Greece: Let Us Compare Mythologies, Songs of Leonard Cohen, Songs from a Room. Key Songs: “Suzanne,” “Sisters of Mercy,” “Stranger Song,” “Bird on the Wire,” “Story of Isaac,” “Seems So Long Ago, Nancy,” “So Long, Marianne.” Themes: flesh and spirit, the identity of the singing voice, abjection and humiliation. Second Meeting, Oct 18: “It’s four in the morning, the end of December.” Cohen in the spotlight. The Chelsea Hotel. Isle of Wight. Cohen on the move. Songs of Love and Hate, New Skin for the Old Ceremony. Key Songs: “Famous Blue Raincoat,” “Joan of Arc,” “Who by Fire,” “A Singer Must Die,” “Take This Longing,” “Dress Rehearsal Rag.” Themes: limits of power, self-doubt, drugs, self-purification, betrayal. Third Meeting, Oct 25: “I will speak no more, till I am spoken for.” Cohen as “The Prince of Bummers.” Death of a Lady’s Man. Death of a Ladies Man. Recent Songs. Various Positions. Key Songs: “If It Be Your Will,” “Hallelujah,” “Coming Back to You.” “The Guests.” “The Smoky Life,” “Dance Me to the End of Love.” Jennifer Warnes, Famous Blue Raincoat. Themes: Humility, divinity, Impotence. Fourth Meeting, Nov. 1: “I was born like this, I had no choice.” Cohen Returns. The importance of the keyboard. New production values. Book of Mercy. Book of Longing. I’m Your Man. -
The Compositional Style of Jazz Guitarist Nathen Page
University of North Florida UNF Digital Commons All Volumes (2001-2008) The sprO ey Journal of Ideas and Inquiry 2004 Artist Study: The ompC ositional Style of Jazz Guitarist Nathen Page Stephen Lesche University of North Florida Follow this and additional works at: http://digitalcommons.unf.edu/ojii_volumes Part of the Composition Commons Suggested Citation Lesche, Stephen, "Artist Study: The ompositC ional Style of Jazz Guitarist Nathen Page" (2004). All Volumes (2001-2008). 89. http://digitalcommons.unf.edu/ojii_volumes/89 This Article is brought to you for free and open access by the The sprO ey Journal of Ideas and Inquiry at UNF Digital Commons. It has been accepted for inclusion in All Volumes (2001-2008) by an authorized administrator of UNF Digital Commons. For more information, please contact Digital Projects. © 2004 All Rights Reserved Artist Study: The Compositional his mastery because he does not compare Style of Jazz Guitarist Nathen to other guitarists that they have listened Page to. In spite of this, this is exactly why he is so great: he plays like himself. His tone is all his own and I have grown to Stephen Lesche enjoy it. His approach to technique is also very personalized. While he may Faculty Sponsor: Kevin Bales, not be able to produce rapid flurries of Assistant Professor of Music sixteenth notes like some of his contemporaries can, this has never Nathen Page is one of the hindered him in expressing himself and masters of modern jazz guitar. producing music of the highest caliber. Unfortunately, he is also one of the least In developing as an artist, there known and recognized of the masters. -
LEWIS FUREY Joue-Moi Un Tango
JC Brouchard LEWIS FUREY Joue-moi un tango Vivonzeureux - 3 - Lewis Furey : Joue-moi un tango © 2014 JC Brouchard ISBN : 978-2-9536575-5-5 Vivonzeureux http://vivonzeureux.fr [email protected] - 4 - Caught You Apporte-moi une surprise Un air qui s'improvise Joue-moi un tango Referme ton emprise 1 1 Extrait de Joue-Moi Un Tango (1979), adaptation française par Dominique Isserman de Bring Me A Tango (Lewis Furey — Carole Laure). - 5 - C'est un disque. Le premier album de Lewis Furey. Un 33 tours édité en juin 1975 aux Etats-Unis. Il y a eu une édition européenne, mais c'est l'américaine qui a été la plus largement diffusée, même en France. Le disque a plutôt eu un succès d'estime, il s'est vendu en quantité juste suffisante pour ne pas être une véritable rareté, même s'il n'a quasiment pas été réédité : en fréquentant les dépôts-ventes et les vide-greniers, on est certain de tomber dessus au moins une ou deux fois par an. L'éditeur du disque est A&M Records. Si, à ses débuts dans les années 1960, le label était surtout associé aux disques de trompette mariachi de l'un de ses fondateurs, Herb Alpert, au milieu des années 1970 le catalogue de la maison de disques américaine était associé principalement au monde de la pop et du rock, avec des vedettes comme Cat Stevens, Nazareth, Captain & Tennile, Styx, Supertramp ou Chris de Burgh. Le recto de la pochette du disque, l'image qu'on découvrait en premier chez les disquaires, est très marquant. -
Title "Stand by Your Man/There Ain't No Future In
TITLE "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC by S. DIANE WILLIAMS Presented to the American Culture Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the Master of Liberal Studies in American Culture Date 98 8AUGUST 15 988AUGUST Firs t Reader Second Reader "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC S. DIANE WILLIAMS AUGUST 15, 19SB TABLE OF CONTENTS Preface Introduction - "You Never Called Me By My Name" Page 1 Chapter 1 — "Would Jesus Wear A Rolen" Page 13 Chapter 2 - "You Ain’t Woman Enough To Take My Man./ Stand By Your Man"; Lorrtta Lynn and Tammy Wynette Page 38 Chapter 3 - "Think About Love/Happy Birthday Dear Heartache"; Dolly Parton and Barbara Mandrell Page 53 Chapter 4 - "Do Me With Love/Love Will Find Its Way To You"; Janie Frickie and Reba McEntire F'aqe 70 Chapter 5 - "Hello, Dari in"; Conpempory Male Vocalists Page 90 Conclusion - "If 017 Hank Could Only See Us Now" Page 117 Appendix A - Comparison Of Billboard Chart F'osi t i ons Appendix B - Country Music Industry Awards Appendix C - Index of Songs Works Consulted PREFACE I grew up just outside of Flint, Michigan, not a place generally considered the huh of country music activity. One of the many misconception about country music is that its audience is strictly southern and rural; my northern urban working class family listened exclusively to country music. As a teenager I was was more interested in Motown than Nashville, but by the time I reached my early thirties I had became a serious country music fan. -
The Window”: Reading Leonard Cohen’S Song Doron B
Speaking Sweetly from “The Window”: Reading Leonard Cohen’s Song Doron B. Cohen To the memory of Amnon Amir My first partner in reading LC Leonard Cohen is famous for two themes that are the mutual foci of his work, from his earliest poems to his most recent songs: love and spirituality. Through Cohen‟s poems, novels and songs readers and listeners have been offered a candid view of both his sexuality and faith. However, his work can not be divided accurately by this dichotomy; first because there are other aspects to it, such as political concerns in the widest sense, and second because it is sometimes difficult to separate between those various concerns, which are often intertwined. It might therefore be difficult to offer an unequivocal interpretation to a Leonard Cohen poem or song, as they can often be interpreted in more than one way, and they also mean different things to different people. In this reading of “The Window”,1 I do not wish to impose an interpretation from outside, according to one common theory or the other, but to try, as far as possible, to work from inside Cohen‟s poetry, from his familiar world of imagery, and while referring to his own words when talking about his work. My aim here is to try to come as near as possible to what Cohen might have had in mind when composing this song. I will also introduce external material of various kinds, but such that must have been familiar to Cohen, and could have had an impact on the song. -
Sylvie Simmons, I’M Your Man: the Life of Leonard Cohen, New York: Ecco, 2012
Almost a Miracle A review of Sylvie Simmons, I’m Your Man: The Life of Leonard Cohen, New York: Ecco, 2012 Written for the Leonard Cohen Files by Doron B. Cohen Four years ago I concluded my review of the second edition of Ira Nadel’s biography of Leonard Cohen (Various Positions: A Life of Leonard Cohen, 2007) saying that as far as a really satisfying biography of LC is concerned, “we are still waiting for the miracle”. Since then we’ve had two distinctly non-miraculous biographies (Tim Footman, Leonard Cohen: Hallelujah, 2009 and Anthony Reynolds, Leonard Cohen: A Remarkable Life, 2010). We now have in our hands a very promising third one. Did the miracle finally happen? Well, near enough. Perhaps not a genuine Crossing of the Sea miracle, but magical all the same. When I learned about the biography being written by Sylvie Simmons, I did not expect it to be the final, definitive biography (if such a thing is possible at all), but I did have several expectations: that the book would be well-written; that it would speak intelligently about the music; that it would reveal some new information; that it would be free of most of the errors which plagued the earlier biographies. These expectations were, to a great extant, met by the book. The fact that I am still left with a taste for more does not detract from the author’s achievement. First, a formal “Disclosure” is required: I met Sylvie Simmons in Las Vegas after the last concert of the 2010 world tour and had a long and lively conversation with her. -
Leonard Cohen Interview
Leonard Cohen Interview Broadcast on CBC Radio. 1984. Interviewers: Patricia Keeney and Robert Sward INT: You’ve just released your new album, Various Positions. The range of styles you bring into your music is quite amazing. Some of the pieces have a folk feel, others a spiritual quality and still others a very anxious, uneasy feel. How do the styles emerge? Do you write the lyrics in conjunction with the music? What’s the process? COHEN: Well, it’s not a deluxe operation. One is just trying to finish a song and when you’re not trying to finish a song you’re trying to start one. The form just seems to indicate itself at some point but it’s always just scraping the bottom of the barrel. Sometimes you fall upon a chord change that seems to evoke something and a word or two clings to it. Then you need a resolution of the phrase and a word or a chord comes and that seems to work. It’s a very rag- picking kind of operation. INT: There’s a very definite iambic meter to many of your poems and songs. COHEN: I think that’s the way we talk. The ordinary rhythm of ballads and songs is that simple way of speaking. The first song on Various Positions has an eastern European flavor, a marriage song. The second one has a country and western feel and there is a steel guitar, The third has a reference to reggae and the fourth is a traditional ballad where the whole story is told. -
1 Funding for the Smithsonian Jazz Oral
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MOSE ALLISON NEA Jazz Master (2013) Interviewee: Mose Allison (November 11, 1927-) Interviewer: Ted Panken and audio engineer Ken Kimery Dates: September 13-14, 2012 Depository: Archives Center, National Music of American History, Smithsonian Institution. Description: Transcript. 107 pp. Panken: I’m Ted Panken. It’s September 13, 2012. We’re in Eastport, Long Island, with the great Mose Allison, for part one of what we’re anticipating will be a two-session oral history for the Smithsonian in honor of Mose Allison and his Jazz Masters Award. Thank you very much for being here, Mr. Allison, and making us so comfortable. Allison: Thank you. Panken: Let’s start with the facts. Your full name, date of birth, location of birth. Allison: Mose J. Allison, Junior. Date of birth, 11-11-27. Panken: You’re from Tallahatchie County, Mississippi, near Tippo. Allison: Yes. It was just a crossroad. I was born on a farm three miles south of Tippo. Audre Allison: It was called the island. Tippo Creek. Panken: We also have with us, for the record, Audre Allison. You’ve been married over 60 years. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Allison: Yes. Audre Allison: 62, it will be. Or is it already 62? Panken: So I guess you’re qualified to act as a proxy. Allison: Ok. Audre Allison: Well, how much... When I just think that he leaves something out, I should fill in? I don’t want to take over the thing. -
Leonard Cohen I
Leonard Cohen I BYAMTHOKY D e CURTIS always experience myself as falling apart, been assured by this one-alone. However, the two and I’m taking emergency measures,” Leon- extraordinary albums that followed, Songs From a ard Cohen said fifteen years ago. “It’s coming Room (1969), which includes his classic song “Bird on apart at every moment. I try Prozac. I try love. a W ire,” and Songs of Love and Hate (1971), provided I try drugs. I try Zen meditation. I try the whatever proof anyone may have required that the monastery.I I try forgetting about all those strategies greatness of his debut was not a fluke. and going straight. And the place where the evaluation Part of the reason why Cohen’s early work revealed happens is where I write the songs, such a high degree of achieve when I get to that place where I For four decades, ment is that he was an accom can’t be dishonest about what I’ve plished literary figure before he been doing.” Cohen has been a m odel ever began to record. His collec For four decades, Cohen has ofgut'wrenching tions of poetry, including Let Us been a model of gut-wrenching emotional honesty Compare Mythologies (1956) and emotional honesty. He is, with Flowers for Hitler (1964), and his out question, one of the most novels, including Beautiful Losers important and influential songwriters of our time, (1966), had already brought him considerable recogni a figure whose body of work achieves greater depths tion in his native Canada. -
Leonard Cohen 2013
Agencja Artystyczna PARADAM prezentuje: LEONARD COHEN 2013 Jedyny koncert w Polsce! Piątek, 19 lipca, Atlas Arena, Łódź PRESS KIT 1. Leonard Cohen - legendarny Artysta wraca do Polski 2. Skrót biograficzny 3. Chronologia życia i twórczości 4. Dyskografia / filmografia / proza i poezja 5. Inni o Leonardzie Cohenie 6. Leonard Cohen o sobie 7. Kontakt s. 3 Leonard Cohen 2013_Press Kit 1 LEONARD COHEN – LEGENDARNY ARTYSTA WRACA DO POLSKI! Witany z olbrzymim entuzjazmem na całym świecie, genialny kanadyjski artysta Leonard Cohen, wystąpi na jedynym koncercie w Polsce, który odbędzie się w 19 lipca w Atlas Arena w Łodzi. Po trwającej prawie sześć dekad karierze, podczas której występował w wy- pełnionych po brzegi salach w najodleglejszych zakątkach świata, pisarz, poeta, trubadur i niezmiernie wpływowy artysta, po raz kolejny udowad- nia, że w każdym miejscu na naszej planecie fani wciąż czekają na jego koncerty. Od momentu zakończenia piętnastoletniej przerwy w występach na żywo i powrotu na scenę w 2008 roku, Leonard Cohen wciąż pokazuje, że nie stracił ani odrobiny energii, a jego najnowsze występy bez wątpie- nia przejdą do historii jako jedne z najważniejszych wydarzeń w dziejach muzyki. „Nie ma drugiego takiego artysty, który potrafiłby uwodzić publiczność, jak Leonard Cohen. Kiedyś cieszyłby się reputacją twórcy zdolnego uwieść każdą kobietę, dziś, w wieku 78 lat wykorzystuje swój talent ku innym celom, rzucając do swych stóp publiczność na całym świecie” – napisano w Financial Times. Cohen to bez wątpienia największy pieśniarz naszych czasów. W dniu przyjęcia go do Rock’n’Rollowego Hall of Fame, mogliśmy usłyszeć słowa Lou Reeda, który powiedział: „nie ulega najmniejszym wątpliwościom, że mamy do czynienia z najważniejszym i najbardziej wpływowym współcze- snym piosenkarzem, postacią, której twórczość zyskała z czasem niespoty- kaną głębię i tajemniczość.” Powrót Cohena do Polski to prawdziwe wydarzenie dla wszystkich fanów kanadyjskiego barda, jedyna okazja by zobaczyć to poruszające, wywołują- ce olbrzymie emocje i wzruszenie, widowisko. -
Leonard Cohen and Philosophy: Various Positions Ebook Free Download
LEONARD COHEN AND PHILOSOPHY: VARIOUS POSITIONS PDF, EPUB, EBOOK Jason Holt | 288 pages | 30 Oct 2014 | Open Court Publishing Co ,U.S. | 9780812698565 | English | Chicago, IL, United States Leonard Cohen and Philosophy: Various Positions PDF Book Vinyl wishlist by MarkMagic. Rodriguez rated it really liked it Mar 18, From Wikipedia, the free encyclopedia. Best albums of by tommysoul. The pair had not worked together or even spoken since a project called Songs For Rebecca had been scuttled by Cohen's manager Marty Machat to clear the way for the singer to work with Phil Spector on 's Death of a Ladies' Man. Stacey marked it as to-read Jun 02, Heart With No Companion. Karen Santos rated it really liked it Jul 04, They are more commonly defined by their production values. It's easy to dismiss Various Positions as just another veteran artist's experiment with special effects. Jonathan Cohen - - Philosophy 31 Views Read Edit View history. Mylinda Mayfield Lawhun marked it as to-read Apr 23, Stephan by vildapple. Various Positions made the top ten in Spain , Portugal , and Scandinavia , and fared modestly well in the United Kingdom. More filters. A small core of musicians from a group called Slow Train backed Cohen on the album. The Law. Update location. Top 80s album by personifierat. John Crowder Backing Vocals, Bass. Editorial team. Newer Post Older Post Home. Jon Smith 3 Recorded By. Select Option. Passport Records , CBS. Kenny Kosek Fiddle. Koekebakkerr marked it as to-read Oct 18, Various Positions is the seventh studio album by Leonard Cohen , released in December and February Each essay illuminates and sheds either light or darkness on themes within Cohen's body of work, individual albums and particular songs. -
Multilingual Metal Music EMERALD STUDIES in METAL MUSIC and CULTURE
Multilingual Metal Music EMERALD STUDIES IN METAL MUSIC AND CULTURE Series Editors: Rosemary Lucy Hill and Keith Kahn-Harris International Editorial Advisory Board: Andy R. Brown, Bath Spa University, UK; Amber Clifford-Napleone, University of Central Missouri, USA; Kevin Fellezs, Columbia University, USA; Cynthia Grund, University of Southern Denmark, Denmark Gérôme Guibert, Université Sorbonne Nouvelle, France; Catherine Hoad, Macquarie University, Australia; Rosemary Overell, Otago University, New Zealand; Niall Scott, University of Central Lancashire, UK; Karl Sprack- len, Leeds Beckett University, UK; Heather Savigny, De Montfort University, UK; Nelson Varas-Diaz, Florida International University, USA; Deena Wein- stein, DePaul University, USA Metal Music Studies has grown enormously over the last 8 years from a hand- ful of scholars within Sociology and Popular Music Studies, to hundreds of active scholars working across a diverse range of disciplines. The rise of interest in heavy metal academically reflects the growth of the genre as a normal or con- tested part of everyday lives around the globe. The aim of this series is to provide a home and focus for the growing number of monographs and edited collections that analyse heavy metal and other heavy music; to publish work that fits within the emergent subject field of metal music studies; that is, work that is critical and inter-disciplinary across the social sciences and humanities; to publish work that is of interest to and enhances wider disciplines and subject fields across social sciences and the humanities; and to support the development of early career researchers through providing opportunities to convert their doctoral theses into research monographs.