Alan Lomax Collection (AFC 2004/004): Radio Programs
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Cesifo Working Paper No. 8302
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Ursprung, Heinrich Working Paper Jane Beats Them All: Price Formation and Financial Returns to Investing in Rare Books CESifo Working Paper, No. 8302 Provided in Cooperation with: Ifo Institute – Leibniz Institute for Economic Research at the University of Munich Suggested Citation: Ursprung, Heinrich (2020) : Jane Beats Them All: Price Formation and Financial Returns to Investing in Rare Books, CESifo Working Paper, No. 8302, Center for Economic Studies and Ifo Institute (CESifo), Munich This Version is available at: http://hdl.handle.net/10419/219120 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu 8302 2020 May 2020 Jane Beats Them All: Price Formation and Financial Returns to Investing in Rare Books Heinrich W. -
©Studentsavvy Music Around the World Unit I Thank You For
©studentsavvy Music Around the World Unit I thank you for StudentSavvy © 2016 downloading! Thank you for downloading StudentSavvy’s Music Around the World Unit! If you have any questions regarding this product, please email me at [email protected] Be sure to stay updated and follow for the latest freebies and giveaways! studentsavvyontpt.blogspot.com www.facebook.com/studentsavvy www.pinterest.com/studentsavvy wwww.teacherspayteachers.com/store/studentsavvy clipart by EduClips and IROM BOOK http://www.hm.h555.net/~irom/musical_instruments/ Don’t have a QR Code Reader? That’s okay! Here are the URL links to all the video clips in the unit! Music of Spain: https://www.youtube.com/watch?v=_7C8MdtnIHg Music of Japan: https://www.youtube.com/watch?v=5OA8HFUNfIk Music of Africa: https://www.youtube.com/watch?v=4g19eRur0v0 Music of Italy: https://www.youtube.com/watch?v=U3FOjDnNPHw Music of India: https://www.youtube.com/watch?v=qQ2Yr14Y2e0 Music of Russia: https://www.youtube.com/watch?v=EEiujug_Zcs Music of France: https://www.youtube.com/watch?v=Ge46oJju-JE Music of Brazil: https://www.youtube.com/watch?v=jQLvGghaDbE ©StudentSavvy2016 Don’t leave out these countries in your music study! Click here to study the music of Mexico, China, the Netherlands, Germany, Australia, USA, Hawaii, and the U.K. You may also enjoy these related resources: Music Around the WorLd Table Of Contents Overview of Musical Instrument Categories…………………6 Music of Japan – Read and Learn……………………………………7 Music of Japan – What I learned – Recall.……………………..8 Explore -
Music for the People: the Folk Music Revival
MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance. -
Southern Black Gospel Music: Qualitative Look at Quartet Sound
LIBERTY UNIVERSITY SOUTHERN BLACK GOSPEL MUSIC: QUALITATIVE LOOK AT QUARTET SOUND DURING THE GOSPEL ‘BOOM’ PERIOD OF 1940-1960 A THESIS SUBMITTED TO THE FACULTY OF THE SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY BY BEATRICE IRENE PATE LYNCHBURG, V.A. April 2014 1 Abstract The purpose of this work is to identify features of southern black gospel music, and to highlight what makes the music unique. One goal is to present information about black gospel music and distinguishing the different definitions of gospel through various ages of gospel music. A historical accounting for the gospel music is necessary, to distinguish how the different definitions of gospel are from other forms of gospel music during different ages of gospel. The distinctions are important for understanding gospel music and the ‘Southern’ gospel music distinction. The quartet sound was the most popular form of music during the Golden Age of Gospel, a period in which there was significant growth of public consumption of Black gospel music, which was an explosion of black gospel culture, hence the term ‘gospel boom.’ The gospel boom period was from 1940 to 1960, right after the Great Depression, a period that also included World War II, and right before the Civil Rights Movement became a nationwide movement. This work will evaluate the quartet sound during the 1940’s, 50’s, and 60’s, which will provide a different definition for gospel music during that era. Using five black southern gospel quartets—The Dixie Hummingbirds, The Fairfield Four, The Golden Gate Quartet, The Soul Stirrers, and The Swan Silvertones—to define what southern black gospel music is, its components, and to identify important cultural elements of the music. -
Aint Gonna Study War No More / Down by the Riverside
The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote. -
Issues and Emotions That Have a Long Histo- Ry
THE GREAT IDEAS ONLINE o Feb 16 Philosophy is Everybody’s Business N 853 Clifton Fadiman (May 15, 1902 – June 20, 1999) THE JOY OF READING Clifton Fadiman Unlike many men of letters, Clifton Fadiman thought of himself primarily as a guide to the wisdom of others. But as a guide, Fadiman had few equals: for over 60 years, the editor, essayist, anthologist, and broadcast personality led countless readers to myriad subjects. As an editor and judge for the Book-of-the-Month Club for over 50 years, he helped shape the reading choices of countless Americans. He wrote for the Encyclopaedia Britannica as well as numerous magazines and compiled over two dozen an- thologies on subjects ranging from mathematics to poetry to the pun. On radio and television programs, most notably the radio quiz show Information, Please!, he become a model of wit and er- udition. He wrote informal essays for Holiday magazine for 10 years, and more than 65 introductions to books ranging from The Martian Chronicles to War and Peace. For one anthology of short stories, he wrote not only the introduction, but also 63 commen- taries. In the early 1980s, Fadiman, who once listed his avoca- tions as wine and "the avoidance of exercise," co-authored the compendium The Joys of Wine with Sam Aaron. Fadiman once estimated that he had read over 25,000 books in his life. 2 At Columbia, Fadiman became lifelong friends with some of the College's most illustrious teachers and alumni: Jacques Barzun, Mark Van Doren (saluted by Fadiman in the essay, "What Makes a Teacher Great?"), Mortimer Adler, and Whittaker Chambers, whom Fadiman encouraged to read The Communist Manifesto. -
1661 Vll3d0 3H.L .LV .LNVA3'l
1661 ·~upds 06v :l!snw 1un woN ~u-e r .A.rnw Vll3d0 3H.L .LV .LNVA3'l liV~SO Oscar Levant is known for his songs in the area of popular music, but his operas are virtually unknown. Obtaining and studying any one of his three operas should be important for establishing him as more than a popular-music composer. Levant's opera Carnival, from the 20th Century Fox movie Charlie Chan at the Opera, is especially worthy of consideration. Through careful analysis of this work, much can be learned about the style and interests of Oscar Levant. While comparisons to other composers and their works may be too extensive for this specific paper, some comparisons to Levant's own popular tunes of the same time period as Carnival may reveal remarkable similarities and/or differences. Along with an analysis of the score, observation of the opera as it is presented in the movie will provide information about the basis for its content and reveal its incorporation into the movie's plot. In addition, seeing the movie will give aural information, such as the types of instruments used. The interest in this topic stems from Oscar Levant's own books A Smattering of Ignorance, The Unimportance of Being Oscar, and The Memoirs of an Amnesiac. He refers to this opera in A Smattering of Ignorance. but his references to his musical acquaintances in The Memoirs of an Amnesiac may supply additional facts to help in understanding his musical style. Examining c 'arnival will contribute to showing the significance of Oscar Levant's style of composition. -
Piano Music in Italy During the Fascist Era
PIANO MUSIC IN ITALY DURING THE FASCIST ERA by KARIN MARIA DI BELLA .Mus., The University of Western Ontario, 1994 Mus., Washington University in St. Louis, 1996 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming tp—^-fre-^required standard THE UNIVERSITY OF BRITISH COLUMBIA January 2002 © Karin Maria Di Bella, 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of Vancouver, Canada Date DE-6 (2/88) Abstract This thesis investigates Italian instrumental music (specifically piano music) during the two decades between the two World Wars, the period of Italian fascism under Mussolini's rule. After two centuries of opera domination in that country, instrumental music, especially an up-to- date brand of it, was sorely lacking. A number of composers recognized this need and began to effect changes in the instrumental music scene, some with more success than others. Most of these composers are not well known to the general music public today. The pressing question is, to what extent the fascist government and its culture had an effect on the development of music during this period. -
5290-001 B. J. Bullert Papers Inventory Accession
UNlVERSllY U BRARIJES w UNIVERSITY of WASHI NGTON Spe ial Colle tions 5924 B. J. Bullert papers Inventory Accession No: 5290-001 Special Collections Division University of Washington Libraries Box 352900 Seattle, Washington, 98195-2900 USA (206) 543-1929 This document forms part of the Preliminary Guide to the B. J. Bullert Papers. To find out more about the history, context, arrangement, availability and restrictions on this collection, click on the following link: http://digital.lib.washington.edu/findingaids/permalink/BullertBJ5290/ Special Collections home page: http://www.lib.washington.edu/specialcollections/ Search Collection Guides: http://digital.lib.washington.edu/findingaids/search University of Washington Libraries Manuscripts, Special Collections, University Archives Bullert, Bette Jean Bette Jean Bullert Papers 1986-91 1.21 cubic feet Accession No. 5290-001 INVENTORY Box Dates VIDEO CASSETTES – VHS ROBINSON MEMORIAL 1 (Tape 1) Memorial Service at the Los Angeles 1st Unitarian Church 25 Aug. 1991 Narrators: Miriam Sharman and Mario Cassetta; sponsored by the Southern California Library of Social Studies and Research. Speakers: Norman Corwin, Betty Garrett. Hope Foy and William Marshall, singers, and others. (Tape 2) Memorial Service University Unitarian Church, Seattle. 18 Aug. 1991 A West Seattle High School (Earl’s contemporaries) jazz band played the West Seattle High School Song, accompanied by Earl’s son, Perry with Joan Glasgow and the Jump band. Narrators during service: Earl’s son, Perry, and Eric Gordon (Tape 3) Memorial Service Unitarian, Tape 2 of this service (with some duplication from Tape 1. th BIRTHDAYEARL’S CELEBRATION80 15 July 1990 (Tapes 4-7) 4 tapes of celebration with Earl’s songs sung by various groups and Earl, with Pete Seeger in Seattle at Meany Hall; narrated by Eric Gordon Tape 5 is a celebration for Earl at Meany Hall with an award From Mayor Norm Rice. -
The Pacific Coast and the Casual Labor Economy, 1919-1933
© Copyright 2015 Alexander James Morrow i Laboring for the Day: The Pacific Coast and the Casual Labor Economy, 1919-1933 Alexander James Morrow A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2015 Reading Committee: James N. Gregory, Chair Moon-Ho Jung Ileana Rodriguez Silva Program Authorized to Offer Degree: Department of History ii University of Washington Abstract Laboring for the Day: The Pacific Coast and the Casual Labor Economy, 1919-1933 Alexander James Morrow Chair of the Supervisory Committee: Professor James Gregory Department of History This dissertation explores the economic and cultural (re)definition of labor and laborers. It traces the growing reliance upon contingent work as the foundation for industrial capitalism along the Pacific Coast; the shaping of urban space according to the demands of workers and capital; the formation of a working class subject through the discourse and social practices of both laborers and intellectuals; and workers’ struggles to improve their circumstances in the face of coercive and onerous conditions. Woven together, these strands reveal the consequences of a regional economy built upon contingent and migratory forms of labor. This workforce was hardly new to the American West, but the Pacific Coast’s reliance upon contingent labor reached its apogee after World War I, drawing hundreds of thousands of young men through far flung circuits of migration that stretched across the Pacific and into Latin America, transforming its largest urban centers and working class demography in the process. The presence of this substantial workforce (itinerant, unattached, and racially heterogeneous) was out step with the expectations of the modern American worker (stable, married, and white), and became the warrant for social investigators, employers, the state, and other workers to sharpen the lines of solidarity and exclusion. -
Folk Music, Internal Migration, and the Cultural Left
Internal Migration and the Left Futures That Internal Migration Place-Specifi c Introduction Never Were and the Left Material Resources THE SOUTH AND THE MAKING OF THE AMERICAN OTHER: FOLK MUSIC, INTERNAL MIGRATION, AND THE CULTURAL LEFT Risto Lenz In 1940, actor and activist Will Geer organized the “Grapes of Wraths Evening,” a benefi t concert for the John Steinbeck Committee for Agricultural Workers at Forrest Theater in New York City. The pro- gram served as a blueprint for what would later defi ne the American folk music revival: Urban Northerners sharing the stage with “authentic” rural Southerners, together celebrating America’s musical heritage in a politically charged framework (here: helping migrant farmwork- ers). Among the “real” folk were Aunt Molly Jackson, an organizer for the Kentucky coal mines and a singer of union songs, Huddie “Lead Belly” Ledbetter, an African American songster from Louisiana, and Woody Guthrie, a singer from Oklahoma. The three musicians, 1 He is sometimes also who would all spend their subsequent lives in New York as well as referred to as “Leadbelly.” in California, represent the three main migration fl ows of Southerners Both spellings are pos- sible. I will hereaft er use moving out of farms and towns of the American South in great “Lead Belly” since it was numbers and into cities and suburbs of the North and the West: The the preferred spelling of the singer himself as 1 Great Migration of black Southerners (Lead Belly ), the dust bowl well as of the Lead Belly migration (Guthrie), and the Appalachian migration (Jackson).2 The Foundation. -
Cisco Houston the Folkways Years 1944-1961 Mp3, Flac, Wma
Cisco Houston The Folkways Years 1944-1961 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: The Folkways Years 1944-1961 Country: US Released: 2007 Style: Folk MP3 version RAR size: 1698 mb FLAC version RAR size: 1204 mb WMA version RAR size: 1951 mb Rating: 4.8 Votes: 285 Other Formats: WAV AU MP2 XM VOX AAC DMF Tracklist Hide Credits I Ain't Got No Home 1 1:45 Written-By – Woody Guthrie Hard Traveling 2 1:28 Written-By – Woody Guthrie Rambling, Gambling Man 3 2:34 Written-By – G. Houston* Hobo Bill 4 2:13 Written-By – Waldo L. O'Neal* There's A Better World A-Comin' 5 1:59 Harmony Vocals – Cisco HoustonWritten-By, Lead Vocals, Guitar – Woody Guthrie The Strawberry Roan 6 3:13 Mandolin – Woody GuthrieMusic By – TraditionalWords By – Curly Fletcher The Great American Bum 7 1:42 Written-By – Harry McClintock The Intoxicated Rat 8 2:02 Written-By – Dorsey Dixon, Wade Mainer The Cat Came Back 9 2:14 Written-By – H. Miller* The Frozen Logger 10 2:09 Written-By – James Stevens Pat Works On The Railroad 11 2:12 Written-By – Traditional Dark As A Dungeon 12 2:33 Written-By – Merle Travis Diamond Joe 13 2:24 Written-By – G. Houston* The Girl In The Wood 14 2:59 Written-By – Neal Gilkyson, Terry Gilkyson Ship In The Sky 15 1:46 Written-By – Woody Guthrie The Fox 16 1:53 Written-By – Traditional What Did The Deep Blue Sea Say 17 Harmony Vocals, Guitar – Cisco HoustonLead Vocals, Guitar – Woody GuthrieWritten-By – 2:37 G.