DOCSLIB.ORG

LEATHERS JEWISH WORD ROLLS \ 267 Der Erster Chaver

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LEATHERS JEWISH WORD ROLLS \ 267 Der Erster Chaver Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org JUNE 11, 1921 THE MUSIC TRADE REVIEW 57 TMENT A PLAYER SALESMANSHIP SCHOOL one of the greatest obstacles to increased player sales to-day is the poor playing by owners, Gulbransen-Dickinson Co. Plans to Conduct which is largely due to the fact that they were School During Summer Months Under John never painstakingly informed concerning the Martin—Three-day Courses Being Arranged correct manipulation of this instrument. The Gulbransen-Dickinson Co. has always CHICAGO, III., June 7.—Three-day courses of in- pioneered in educational work for the player- struction in the selling of player-pianos are now pianos, first among the tuners, in order to in- being arranged by the Gulbransen-Dickinson crease their knowledge of its mechanical side, Co. for the benefit of their retail dealers and later among dealers, salesmen and the pub- throughout the country. Classes of twenty-five lic, emphasizing the musical possibilities of the are now being formed as the reservations come Gulbransen. in and it looks as though the thing is going to The fact that to get business now requires prove highly popular with the trade. It is be- more effort makes the men who sell keen to lieved that a course in player salesmanship con- obtain every possible help in improving their ducted by a man like Martin can accomplish individual selling ability. much for those who wish to sell these instru- John Martin's new method of selling player- ments in a way that keeps them sold and main- pianos will be the outstanding feature of the tains the interest of the purchaser after the player salesmanship school. It is gratifying tc sale. As was brought out at the conventions, note that men who have already spent a little time with Mr. Martin and have become ac- quainted with his methods of handling buyers are anxious for additional information. Mr. Martin's instruction will go fully into the details of correct player selling before and after the sale. The six points he will cover are: 1. Player technique, the art of interesting the Records $ .85 prospects in the musical possibilities of the ARTo Word Rolls 1.00 Gulbransen. VOCo Word Rolls .85 2. Progressive steps^ in player demonstration Subject to Liberal Trade Discounts and salesmanship. ARTo RECORDS 3. Keeping the customer interested after the FOR JULY, 1921 sale. DANCE RECORDS 9072 Lazy Mississippi (Where the Lazy Mississippi 4. Gulbransen instruction rolls and how to Flows). Waltz AKTu Dance Orchestra Down Yonder. One-step AItTo Dance Orchestra use them. 9071 Emaline. Fox-trot. .Julius Lenzberg and His Orchestra You Made Me Forget How to Cry. Fox-trot, 5. The roll department as an auxiliary to Julius Lenzberg and His Orchestra DANCE RECORDS WITH VOCAL CHORUSES player selling. 9067 All By Myself. Introducing: "Someone Else." Medley Fox-trot. Vocal Chorus by Ernest Hare, 6. Enlisting the support of musical people, in- Selvin's Novelty Orchestra Just Keep a Thought for Me. Introducing: "Daisy cluding the profession. Days." Medley Fox-trot. Vocal Chorus by Ernest Hare Moulin Rouge Orchestra C. R. Gulbransen, who is in charge of the 9065 I'm Nobody's Baby. Introducing: "Two Sweet Lips." Medley Fox-trot ARTo Dance Orchestra service promotion department of the Gulbran- Wait Until You See My Madeline. Fox-trot. Hand Played Word Rolls Vocal chorus by AI ISeilan. .Jules BufTano's Orchestra sen-Dickinson Co., and who has spent years VOCAL RECORD 9070 Peggy O'Neil. Waltz Song. Tenor Solo. Orch. working with tuners and salesmen in enlarging Accomp Arthur Hall for JULY Honey Rose. Ballad. Baritone Solo, Orch. Accomp., their understanding of Gulbransen construction Ernest Hare COLORED VOCAL AND DANCE RECORDS NOVELTY SONG ROLLS and maintenance, will give a talk to each class 9068 Wang Wang Blues. Vocal Blues, Lucille Hegamin and Iter Blue Flame Syncopaters 68518 Cherle Bibo covering the following points: I Like You Because You Have Such Loving Ways. Lucille Hegamin and Her Blue Flame Syncopaters 70218 Miml (Mf-Me) Conrad 1. The construction of the Gulbransen player. 9069 Sweet Mamma, Papa's Getting Mad. Fox-trot, 70318 The Little Tin Soldier (The Little Ilegamin's Blue Flame Syncopaters (An interesting and understandable presentation Strut, Miss Lizzie. Fox-trot, Rag Doll) Hanley of the technical side.) Hegamln's Blue Flame Syncopaters 70418 My Daddy Morgan 2. How knowledge of player construction can ARTo Word'Rolls $1.00 FOX-TROTS be used by the salesman in keeping owners in- 68618 I'm Nobody's Baby Davis terested and developing prospects. VOCo Word Rolls .85 68718 Crooning Caesar ARTo Popular Rolls . .50 69018 Humming Breau Other features helpful to Gulbransen dealers 69118 Look for the Silver Lining (Sally), and salesmen will be covered by other members Subject to Liberal Trade Discounts Kern of the Gulbransen organization. ARTo WORD ROLLS 69318 I Cull You Sunshine Silvers FOR JULY. 1921 Each class will also make a tour of the fac- 1416 Down Yonder. One-step. 69418 Who'll Be the Next One to Cry Over 1420 I Wonder Where My Sweet, Sweet Daddy's Gone. Fox- You? Black tory and thus have an opportunity of seeing in trot. 1417 In a Little Front Parlor on an Old Back Street. Fox- 69618 Then You'll Know You're Just detail how Gulbransen players are made. trot. Lonely and Blue Delcamp-Sandefur 1419 It Takes a Good Man to Do That. Fox-trot. 1421 Listening. Fox-trot. 69818 Poor Me Finney 1418 Mimi. Fox-trot. 69918 Moonlight Conrad 1422 Molly on a Trolley. Fox-trot. PLAYER--ORGAN--PIANO 1423 Oh, Me! Oh, Myl From "Two Little Girls In Blue." 70018 Near Me Fred Fischer Fox-troL 273 Old-Time Waltz Songs. Medley No. 2. Introducing: 70118 I Wonder Where My Sweet, Sweet (1) "In the Good Old Summer Time"; (2) "Daisy Daddy's Gone Berlin Bell"; (3) "School Days." 1415 Peggy O'Neil. Waltz Song. 1424 Who'll Be the Next One hi Cry Over You? Fox-trot. ONE-STEP The above Songs without words can be had In the ARTo POPULAR Rolls, which retail at 50c. 69518 Down Yonder Gilbert STANDARD INSTRUMENTAL ROLL 88331 Paderewski Rag. One-step. Cue. A Travesty on the Celebrated Minuet. WALTZES AND BALLADS LEATHERS JEWISH WORD ROLLS \ 267 Der Erster Chaver. $1.00. 68818 Wyoming Williams A Specialty of Pneumatic Leathers 266 Noch a Bisel in Espes Noch. $1.00. 254 Tzurik Kein Zion (Ich Benk Tzurik a Helm). $1.00. 69718 Mello Cello Moret I IITTFIMC IMA 40 SPRUCE STREET 271 Zion Heilege (Bleibst Schoin ELbig Beim Yld). $1.00. 68918 Little Crumbs of Happiness Ball T. L LUlMNd, IDC. NEW YORK 69318 The Passion Flower Berlin Exceptionally liberal term* to jobbers MARCHES The ARTo Co. 70518 Our Director Bigelow 70618 Blaze Away Holzman Standard Music Roll Co. 70718 Thunder and Blazes Fucik WHITE, SON CO. New York Offices, 1658 Broadway 70818 'A Frangesa Costa Manufacturers of 70918 Our Favorite Regiment Ertl Factories: Orange. New Jersey OUR PRINCIPAL JOBBERS ARE: ORGAN AND PLAYER-PIANO CROWN MUSIC CO.. New York City. PLAZA MU8IC CO., New York City. FULTON TALKING MACHINE CO.. New York City. GRIMLER SALES CO., New York City. ARTo DISTRIBUTING CO., New York City. WILLIAM H. FERRIS CO., INC., Brooklyn. N. Y. Republic Player Roll Corp. THE MORRIS MUSIC PUBLISHING CO.. Philadelphia. Pa. CONSOLIDATED TALKING MACHINE CO.. Chicago. III. PAUL B. KLUGH, Pres. LEATHERS PENNSYLVANIA ARTo CO., McKeesport, Pa. Act quickly and obtain 75th Street at Broadway N. Y. CITY 530-540 Atlantic Ave., BOSTON, MASS. profitable jobbing agency.
Load more

Recommended publications
  • Selected Observations from the Harlem Jazz Scene By
    SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan.
    [Show full text]
  • HEGAMIN, LUCILLE, 1894-1970. Lucille Hegamin Papers, 1894-1969
    HEGAMIN, LUCILLE, 1894-1970. Lucille Hegamin papers, 1894-1969 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Hegamin, Lucille, 1894-1970. Title: Lucille Hegamin papers, 1894-1969 Call Number: Manuscript Collection No. 1134 Extent: .5 linear foot (1 boxes) and 1 oversized papers box (OP) Abstract: Papers of African American blues singer Lucille Hegamin, including correspondence, photographs, printed material, manuscript music scores, and financial material. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Separated Material The African American Sheet Music Collection contains items originally part of the Lucille Hegamin Papers. Source Purchase, 2001 Custodial History Originally received as part of the Bill Crawford and New World Book Fair collection. Citation [after identification of item(s)], Lucille Hegamin papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Lucille Hegamin papers, 1894-1969 Manuscript Collection No. 1134 Processing Processed by Elizabeth Roke, March 1, 2010 This finding aid may include language that is offensive or harmful. Please refer to the Rose Library's harmful language statement for more information about why such language may appear and ongoing efforts to remediate racist, ableist, sexist, homophobic, euphemistic and other oppressive language.
    [Show full text]
  • SPIVEY, VICTORIA. Victoria Spivey Papers, Circa 1960-1976
    SPIVEY, VICTORIA. Victoria Spivey papers, circa 1960-1976 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Spivey, Victoria. Title: Victoria Spivey papers, circa 1960-1976 Call Number: Manuscript Collection No. 809 Extent: 7.75 linear feet (17 boxes), 1 oversized papers box (OP), and 1 bound volume (BV) Abstract: Papers of Victoria Spivey, African American blues artist, motion picture actress, and owner of Spivey Records. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Due to the fragile nature of some of the materials, researchers are required to use photocopies. Terms Governing Use and Reproduction Printed or manuscript music in this collection that is still under copyright protection and is not in the Public Domain may not be photocopied or photographed. Researchers must provide written authorization from the copyright holder to request copies of these materials. Source Purchase, 1997 with subsequent additions Citation [after identification of item(s)], Victoria Spivey papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Emily Blanck, March, 1999; Revised This finding aid may include language that is offensive or harmful. Please refer to the Rose Library's harmful language statement for more information about why such language may appear Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Victoria Spivey papers, circa 1960-1976 Manuscript Collection No.
    [Show full text]
  • The Music Trade Review
    Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org 52 THE MUSIC TRADE REVIEW NOVEMBER 26, 1921 VICTOR ARTISTSJN CINCINNATI ENDORSE LOS MGELES CONCERT "SWEET LADY^ FEATURED Appear in That City Under Auspices of Bald- Music Trades Association Expresses Apprecia- Columbia Record of Recent Hit Basis of Attrac- win Co. and Praise Baldwin Grand Piano tion of Concert Work of Los Angeles Express tive Window Display Featuring Talking Machine Records CINCINNATI, O., November 21.—The Eight Fa- S. M. Creedman, Columbia dealer, at 4502 mous Victor Artists, who have been making a Los ANGELES, CAL., November 11.—The success Thirteenth avenue, Brooklyn, N. Y., recently pre- concert tour of the country, appeared recently of the daily concerts at the Los Angeles Express pared an unusual sales campaign, featuring the in this city, under the auspices of the Victrola Auditorium was emphasized by a letter from the Columbia record of "Sweet Lady," that not only Music Trades Association, addressed to F. W. Kel- logg, owner and business manager, who said: "The_ members of the Music Trades Association of Southern California wish to express their appreciation of the plan put forward by the Los Angeles Evening Express for the advance- ment of music through the phonograph record, and by means of sixty-four concerts being held at the Express Auditorium. ''They appreciate the won- derful value to music which Window Display of Columbia Record is being given through edi- proved a direct success, but was valuable from torial and news publicity by a publicity angle. the Los Angeles Evening In the preparation of this campaign Mr.
    [Show full text]
  • Detroit Blues Women Michael Duggan Murphy Wayne State University
    Wayne State University Wayne State University Dissertations 1-1-2011 Detroit blues women Michael Duggan Murphy Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the African American Studies Commons, Music Commons, and the United States History Commons Recommended Citation Murphy, Michael Duggan, "Detroit blues women" (2011). Wayne State University Dissertations. Paper 286. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. DETROIT BLUES WOMEN by MICHAEL DUGGAN MURPHY DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2011 MAJOR: HISTORY Approved by: ____________________________________ Advisor Date ____________________________________ ____________________________________ ____________________________________ DEDICATION “Detroit Blues Women” is dedicated to all the women in Detroit who have kept the blues alive, to the many friends, teachers and musicians who have inspired me throughout my life, and especially to the wonderful and amazing family that has kept me alive. Many thanks to Lee, Frank, Tom, Terry, Kim, Allison, Brendan, John, Dianne, Frankie, Tommy, Kathy, Joe, Molly, Tom, Ann, Michael, Dennis, Nancy, Mary, Gerry, Charles, Noranne, Eugene, Maegan, Rebecca, Tim, Debby, Michael Dermot and Angela. ii ACKNOWLEDGMENTS I would first like to thank my advisor and committee chair John J. Bukowczyk for his friendship, his editing skills, and his invaluable guidance through all stages of this dissertation. Throughout my graduate career, Dr. Bukowczyk has been generous mentor with a great deal of insight into the workings of the University and the world at large.
    [Show full text]
  • Early West Coast Jazz
    1 Index Early West Coast Jazz & 'Reb' spikes - 2 Bands in Los Angeles - 75 Garland - 19 New Orleans Musician on the West Coast - 77/78 More on 'Reb' - 21 Carey-78, Petit-91, Coycault-94, Garland-95 Jelly Roll - 33 Bios of Famous West coast Musicians - 103 Norskog & first Negro Jazz Record - 38 Clay-103, Howrd-125, Woodman-131, Anderson-134, Hightower-134 Johnny spikes - 59 Los Angeles Bands - 134 Adam 'Slocum" Mitchell - 66 Mosby & The Blueblowers-137, Mitchell-145 Black & Time Line of 'Reb' Spikes - 70 Tan Band-134, Sunnyland Jazz Band-16 Places in Los Angeles - 71 Joe Darrenbourg - 147 Bands in Los Angeles - 75 Photos - 153-185 2 Early West Coast Jazz and The Spike Brothers of Los Angeles And New Orleans Musicians “Any talk of jazz on the West Coast must bring to mind the activities of the famous Spikes Brothers, for indeed they were, for a long period, the hub around which everything revolved.” Thus wrote Ray MacNic in his article on ”Reb Spikes-Music Maker.” Reb Spikes (1888-1982) Reb Spikes was born October 31, 1888 in Dallas, Texas. He was the youngest child in a family with three brothers and two sisters (three other children died in childbirth). His mother’s name was Medora Kirby Spikes. His father’s name was Munroe Spikes. In about 1893 or 1894 there was an awful fire to the family house and the family moved into one of their rental houses. There was a white woman named Miss Augustine that taught music, coming weekly to teach at the Spikes’ house.
    [Show full text]
  • AUCTION CLOSES MIDNIGHT SUNDAY 29Th OCTOBER 2017
    OFFERS INVITED by Mark Berresford Rare Records The Chequers, Chequer Lane, Shottle, Derbyshire, DE56 2DR, England. Tel: (+44) 1773 550275 Email: [email protected] Postage and packing in purpose-built new boxes extra. Winners only notified. Condition, as ever, guaranteed. Minimum bid unless stated £8/$10, however I reserve the right to refuse bids I consider unrealistic. HOW TO BID Basically, there are two ways of bidding; first is the simple Straight Bid - you offer a fixed amount for an item and if yours is the high - est bid, you win. Secondly, and easier for those more familair with internet auctions, and for those collectors unsure of what to offer, is the Maximum Bid. You offer a bid to a maximum amount, which will be increased in 10% increments over the nearest bid up to your maximum amount. For example, you bid to a maximum of $100 on an item, but the next highest bid is $20 - you will pay $22, i.e. 10% over the the next highest bid. In the event of a tie the fixed bidder, or earliest-placed bid wins. IMPORTANT! Please make clear the system of bidding you are using and currency you are bidding in (Pounds Sterling, Euros or US Dollars). If you have a maximum budget to spend, please advise with your bids. Please also double check your item numbers when bidding - I do not use titles or issue numbers on my auction spreadsheet, so if you bid on the wrong number and win it, it’s yours! Payment by all major Credit and Debit Cards (not AmEx or Diners) as well as £ and US$ personal checks and Paypal and Transferwise.
    [Show full text]
  • Two Steps from the Blues: Creating Discourse and Constructing Canons in Blues Criticism
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2001 Two steps from the blues: Creating discourse and constructing canons in blues criticism John M. Dougan College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Literature Commons, Mass Communication Commons, and the Music Commons Recommended Citation Dougan, John M., "Two steps from the blues: Creating discourse and constructing canons in blues criticism" (2001). Dissertations, Theses, and Masters Projects. Paper 1539623381. https://dx.doi.org/doi:10.21220/s2-nqf0-d245 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. TWO STEPS FROM THE BLUES: CREATING DISCOURSE AND CONSTRUCTING CANONS IN BLUES CRITICISM A Dissertation Presented to The Faculty of the Department of American Studies The College of William & Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy by John M. Dougan 2001 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3026404 Copyright 2001 by Dougan, John M. All rights reserved. UMI___ ® UMI Microform 3026404 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved.
    [Show full text]
  • Black Swan Returns to Pstjs on October 16!
    October 2016 Volume 41, Number 08 BLACK SWAN RETURNS TO PSTJS ON OCTOBER 16! Alan Phillips, the banjoist, was originally a French horn player who then moved on to piano tuning and restoration. He has played with a variety of Oregon groups, including the Eugene Symphony. That was probably not a banjo gig, but who knows? Ask Alan. The versatile drummer, Ron Leach, is a lifelong student of percussion. He has performed in Latin, blues, jazz, bluegrass, symphonic and theater groups throughout Oregon and was for three years music director aboard the Queen Of The West. Finally, there’s Marilyn Keller, the band’s crowd-pleasing singer. With her flawless vocal styling audiences can well imagine her as one of the stars of the original Black Swan recordings. Marilyn by George Swinford has recently returned from an extended The Black Swan band we’ll be hearing performing tour of northern Europe. The Black Swan Classic Jazz Band, last in October declares itself “dedicated to the Continued on page 4 heard on our stage in 2014, returns for our preservation and performance of Dixieland, October 16th concert. This fine group hails old-time gospel, early jazz and ragtime Editor’s note: See page 4 for more complete bios from Oregon’s Willamette Valley. music”. Here are the musicians who will of Black Swan. The band takes its name from Black demonstrate all that dedication: Swan Records, a Harlem-based company First, Kit Johnson, founder of the band, WHERE: founded in 1921. It was a black-owned and as he points out, owner (and operator) of Ballard Elks Lodge company and the first widely distributed the tuba.
    [Show full text]
  • Blues, Rhythm & Blues and Classic Soul
    N.A.R. HASLEWOOD SADMAN RECORDS SADMAN RECORDS SET-PRICE STOCK LIST: BLUES, R&B, BOOGIE AND GOSPEL ETC. P.O. BOX 1413 LEICESTER LE2 8ZE PUBLISHED: NOVEMBER 2015 U.K. TEL: (OO44) 0116 270 6325 TEL: (OO44) 07968 327155 (mobile) Welcome to Sadman Records' blues list for 2015 - yet again late this year but hopefully worth the wait! E-MAIL: [email protected] www.sadmanrecords.com SEE YOU AT THE RECORD FAIR: We will be attending the following upcoming record fairs. 1. UTRECHT, NETHERLANDS, SATURDAY-SUNDAY NOVEMBER 21ST/22ND. CONTENTS OF SADMAN BLUES LIST 2015. SECTION ONE -12" LPs IN ALPHABETICAL ORDER BY ARTISTS. SECTION TWO - COMPILATION/ANTHOLOGY 12" LPs IN ALPHABETICAL ORDER BY LABEL. POST AND PACKAGING CHARGES U.K./INLAND: 1 LP-2LPs = £4.00; 3LP-7LPs = £7.00, 7+ LPs = £14.00. There is now no ordinary parcel post over 2kg. EUROPE: 1LP = £5.00; 2LP = £7.50; 3LP = £9.50; 4LP = £11.00; then £1.00 per disc up to a maximum weight of 2kg (usually 7LPs). Ask for weights over this. WORLDWIDE: 1LP = £8.00; 2LP = £12.00; 3LP = £15.00; 4LP = £18.00; then £2.50 per disc up to a maximum weight of 2kg. Ask for weights over this. If you wish to have records sent by surface mail (6-8 weeks delivery time), this is possible outside Europe. The cost is slightly more than half the air-mail price. If you want a quotation for this, or you have other special requirements regarding delivery, please get in touch. PLEASE NOTE THAT ALL VINYL RECORDS LISTED ARE IN AT LEAST E+ CONDITION (COVER/DISC) UNLESS OTHERWISE STATED.
    [Show full text]
  • Music 126/Ethnic Studies 178 the Blues: an Oral Tradition Fall 2017 Course Page/Syllabus
    Music 126/Ethnic Studies 178 The Blues: An Oral Tradition Fall 2017 Course Page/Syllabus Instructor Asher Tobin Chodos Lecture Tuesday and Thursday 6:30p-7:50p in Center Hall, room 216 Office Hours Thursdays 4:00pm - 6:00pm at the Art of Espresso Teaching Assistants hold office hours by appointment Leah Bowden -- (Ahmed-Jarret) Kyle Motl -- (Jung-Nygard) Eliot Patros -- (Oulad-Zou) Final Exam Tuesday, 12/12/2017, 7:00p-9:59p, location TBA Course Overview Objectives This course traces the history of the blues from their beginnings to the present. We will approach the subject in two ways: 1. As a musical form. Here students will learn to appreciate and analyze the evolution of the diverse musical techniques that fall under the broad generic banner of "blues." Students will also enrich their understanding of American popular music in general by learning to hear the ways in which it derives from blues. 2. As a cultural product that can be uniquely instructive for the study of American history and culture. After learning to hear the spectrum of stylistic nuance in the blues, students will learn to interpret its significance. In this way students will not only deepen their knowledge of the narrative history of the United States, but will do so from the perspective that only aesthetic analysis can offer. The idea that music discloses basic truths about its social environment is a fundamental principle of musicology; in addition to offering students a course in American history through the lens of one of its most important cultural products, this course introduces students to the practice of musicology.
    [Show full text]
  • The Recording Industry's Influence on Vernacular Traditions 1920-1960
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2013 The Recording Industry's Influence on Vernacular Traditions 1920-1960: Illustrated Case Studies of Mamie Smith, the Carter Family, and Leadbelly Amanda Kate Smith University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Music Commons Recommended Citation Smith, Amanda Kate, "The Recording Industry's Influence on Vernacular Traditions 1920-1960: Illustrated Case Studies of Mamie Smith, the Carter Family, and Leadbelly" (2013). Theses and Dissertations. 162. https://dc.uwm.edu/etd/162 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE RECORDING INDUSTRY’S INFLUENCE ON VERNACULAR TRADITIONS 1920-1960: ILLUSTRATED CASE STUDIES OF MAMIE SMITH, THE CARTER FAMILY, AND LEADBELLY by Amanda Smith A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music at The University of Wisconsin—Milwaukee May 2013 ABSTRACT THE RECORDING INDUSTRY’S INFLUENCE ON VERNACULAR TRADITIONS 1920-1960: ILLUSTRATED CASE STUDIES OF MAMIE SMITH, THE CARTER FAMILY, AND LEADBELLY by Amanda Smith The University of Wisconsin-Milwaukee 2013 Under the Supervision of Professor Gillian Rodger In this study, the Kingston Trio’s 1958 recording of “Tom Dooley” is used as a starting point to explore the recording industry’s commercialization of folk music in the first half of the twentieth century. Three case studies – Mamie Smith, the Carter Family, and Leadbelly – address trends in academic folk music scholarship that juxtaposed an initial rise in a commercial music culture that began with early 1920s race recordings and culminates in the folk-revival in the post-WWII period.
    [Show full text]