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A Voice Within
Transformation - A Voice Within By Shyamli Mohamed It’s time to consider the long view. Reimagine work in holistic and integrated way, push the boundaries like never before. We have played “defense” well long enough, now it is time to take control of the game. - Build capacity to energize the vision and mission - Doing more with Less - Create an agile and engaged workforce - Reimagine delivery across the enterprise Long gone are the days when we did things in a way believed work must be done in certain ways, and by whom. These traditional ways no longer hold water. There is full culture shift in every organization, “do it or just fade away”, the world is shifting at breakneck speed and we better start running. Transformation is not about “technology”, it is rethinking, and reinvention of people, processes, technology tools, structures, to be completely new. I often hear, everyone everywhere is in transformation, but the question it begs to ask are you truly and really transforming or just mistaken with upgrading of technology, or systems or new process implementations as transformation. To be truly “Transformed”, it is critical to comprehend and recognize the term in its full capacity and successfully change beyond Physical limits. According to McKinsey experts an estimated 70% of transformations fail to achieve it mission. I have completed three transformations in my career span to date, 1st a business transformation which entailed 80 countries around the world and two more business and technology transformations. Transformation is difficult and long journey, it has kept me up many, many nights, but the benefits of three successful transformations is nothing short of magnificent In my experience most organizations struggle with transformations attributable to inadequacies in: - Maintaining disciplined timelines & milestones; - Overdesign of scope; - Leadership, - Inadequate attention to change management, - Training and - Communication A key factor above all things is to keep it Simple. -
Evocations of Voice in Memory and Culture
Ricardo Santhiago http://dx.doi.org/10.23925/2176-2724.2018v30i3p-595-606 “Where there is no sin, no forgiveness”: Evocations of voice in memory and culture “Onde não há pecado nem perdão”: Evocações da voz na memória e na cultura COMUNICATIONS “Donde no hay pecado ni perdón”: Evocaciones de la voz en la memoria y en la cultura Ricardo Santhiago* Abstract Introduction: The starting point for this communication is the idea that vocal production consists not only of an anatomical and physiological phenomenon, but also of a psychological and social one – dimensions which have been comprised by the Speech-Language Studies. Objective: The article aims to present and discuss three possible links between these dimensions: the visions about the voice engendered and circulated through Brazilian popular songs; the place occupied by the voice within the oral history practice and the specialized literature on this research method; the personal narratives by a variety of individuals about the presence and meaning of the voice in their lives. Methods: The work has collected several songs that approach the human voice as a theme, as well as testimonies recorded in an experimental project at the undergraduate level. They were interpreted in accordance with the principles of hermeneutics in an essay text. Conclusion: Both the Brazilian popular music and the testimonies given by persons who use the voice intensely demonstrate enormous variety and complexity in understanding the role of voice in the life of individuals. Keywords: Voice; Singing; Music; Memory. -
The Voice Within CHRISTINA AGUILERA Arr
The Voice Within CHRISTINA AGUILERA Arr. by Ludy WHPSR ¡ ¡ ¡ K ¶ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Piano " K ¡ K ¡ K ¡ K ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ K ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Young girl, don't cry I'll be right here when you're world starts to fall " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¶K ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ K ¡ ¡¡¡¡ ¡¡ Young girl it's all right Your tears K ¡ K ¡ ¡ ¡ ¡ ¡ " ¡ ¡ ¡ ¡ ¡ ¡ , , ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ will dry you'll soon be free to fly " ¡ ¡ ¡ ¡ K ¡ K ¡ ¡ ¡ ¡ ¡ Words & Music - free piano arrangements KWWSZZZEULQNVWHUFRPZP ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ When you're safe in - side your room you tend to dream ¡ ¡ " ¡ ¡ ¡ ¡ ¡ ¡ ¡ , , ¡ ¡ K ¶ ¶ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Of a place where no - thing's har - der than it " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¶ ¶ K ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ seems No one e - ver wants or bo - thers to ex - " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ K ¡ ¡ ¡ ¡ ¡ Ì ¡ ¡ ¡ ¡ ¡¡ plain Of the heart - ache life can bring and what it " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Ì ¡ ¡ ¡ ¡ ¡ ¡ ¡K ¡¡¡ K , ¡ ¡¡ ¡ OÌ means When there's no one else Look in - side your - self " ¡¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ O¡¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ Like your old - est friend Just trust the voice with - in Then you'll ¡ ¡ ¡ ¡ ¡ ¡ ¡ " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡K ¡¡¡ K ¡¡ ¡ OÌ find your strength That will guide your way " ¡ ¡ ¡ ¡ ¡ ¡ O¡¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ° ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ , ¡ ¡ ¡ ¡ ¡ ¡ If you will learn to be - gin To trust the voice with- in ¡ ¡ ¡ ¡ ¡ ¡ ¡ " ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¶ ¡ -
Site 1 Results
WSMA State Site 1 Results UW-Green Bay Solo & Ensemble Festival Name School Event 8:00DNA Mcallister, Sarah Bay Port HS 4111 Trumpet Solo 8:102 Lecaptain, Riannon De Pere High Sch 4111 Trumpet Solo 8:201 Kesler, Dylan Freedom HS 4311 Trombone Solo 8:302 Corriganreynolds, Cainen De Pere High Sch 4111 Trumpet Solo 8:402 Reeb, Noah West De Pere HS 4311 Trombone Solo 8:501 Hoyerman, Eric Gibraltar HS 4311 Trombone Solo 9:001 Vanderlinden, Jenna Freedom HS 4111 Trumpet Solo 9:102 Kuchenbecker, Leah Manitowoc Luth HS 4311 Trombone Solo 9:20DNA Diefenthaler, Nick Pulaski HS 4111 Trumpet Solo 9:302 Bonin, Tyler Roncalli HS 4111 Trumpet Solo 9:402 Wiesner, Katie West De Pere HS 4111 Trumpet Solo 9:501 O'connor, Joseph Washington JHS 4111 Trumpet Solo 10:001 Quigley, Alexander Southern Door HS 4211 French Horn Solo 10:101 Fulgione, Dylan Pulaski HS 4111 Trumpet Solo 10:201 Maki, Daniel Kingsford HS 4211 French Horn Solo 10:302 Stephens, Maggie Sturgeon Bay HS 4211 French Horn Solo 10:402 Hall, Elizabeth Pulaski HS 4111 Trumpet Solo 10:502 Reigles, Abigail Valders HS 4111 Trumpet Solo 11:00 2 Stanko, Sam Ashwaubenon HS 4111 Trumpet Solo 11:10 2 Boettcher, Lauren Wrightstown HS 4111 Trumpet Solo 11:20 1 Munoz-ozzello, Luiasa Kingsford HS 4111 Trumpet Solo 11:30 1 Sladek, Audrey Notre Dame Acad 4211 French Horn Solo 11:40 1 Brehmer, Amber Gillett HS 4211 French Horn Solo 11:50 2 Forbes, Chloe Notre Dame Acad 4111 Trumpet Solo 1:001 Kandler, Matheu Pulaski HS 4111 Trumpet Solo 1:101 Rodeheaver, Eli GB East HS 4311 Trombone Solo 1:201 Kunesh, Sara Pulaski -
Theories of Voice in Twentieth-Century Thought and Performance
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Louisiana State University Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 The sound of meaning: theories of voice in twentieth-century thought and performance Andrew McComb Kimbrough Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Kimbrough, Andrew McComb, "The ounds of meaning: theories of voice in twentieth-century thought and performance" (2002). LSU Doctoral Dissertations. 533. https://digitalcommons.lsu.edu/gradschool_dissertations/533 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SOUND OF MEANING: THEORIES OF VOICE IN TWENTIETH-CENTURY THOUGHT AND PERFORMANCE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by Andrew McComb Kimbrough B.A., Wake Forest University, 1984 M.F.A., Carnegie Mellon University, 1997 May 2002 © Copyright 2002 Andrew McComb Kimbrough All rights reserved ii To Liu Zhiguang iii TABLE OF CONTENTS ABSTRACT . .v CHAPTER 1 INTRODUCTION. 1 2 THE VOICE IN PALEOANTHROPOLOGY . 31 3 THE PHENOMENOLOGICAL VOICE. 82 4 THE MUTABLE VOICE IN THE LINGUISTIC TURN. -
The Top 7000+ Pop Songs of All-Time 1900-2017
The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox -
Deep River Woman Mp3 Free Download Lionel Richie
deep river woman mp3 free download Lionel Richie. Search and download from millions of songs, albums and concerts. Top hit songs are in the MP3 format and can be played on any computer, laptop, phone or MP3 Player. Live concert albums of your favorite band. Learn how to download music to your computer. mp3. EMD music offers a premium experience that includes unlimited downloads and access to CD quality music. Free music download to computer. Download Deep River Woman by Lionel Richie. Lionel Richie Deep River Woman lyrics. Deep river woman Lord, I'm coming home to you Deep river woman Lord, I know she's waiting Just anticipating all my love. Spent a night in L.A. Just another chance to see you, just you and I Wanted you to know that my playing days are over 'Cause all I do is think of you The writing's on the wall. Deep river woman Lord, I'm coming home to you Deep river woman Lord, I know she's waiting Just anticipating all my love. I've been out in the world Yes, the fast life had me going Now all that's changed, finally made up my mind About the one thing I've been knowing You're the only girl I've ever cared for in this world. Deep river woman Lord I'm coming home to you Deep river woman Lord I know she's waiting Just anticipating all my love. Your kind of love Girl is forever It took me a long time to realize That I've come so far and end up going nowhere Oh, girl, I need you by my side. -
Chamber Music Festival
UNIVERSITY MUSICAL SOCIETY Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Third Concert 1957-1958 Complete Series 3229 Eighteenth Annual Chamber Music Festival BUDAPEST STRING QUARTET JOSEPH ROISMAN, First Violin BORIS KROYT, Viola ALEXANDER SCHNEIDER, Second Violin MISCHA SCHNEIDER, Violoncello ROBERT COURTE, Guest Viola SUNDAY AFTERNOON, FEBRUARY 23, 1958, AT 2 :30 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM String Quartet in B-flat major, Op. 18, No.6 BEETHOVEN Allegro con brio Adagio ma non troppo Scherzo La MaJinconia; adagio; allegretto quasi allegro String Quartet, Op. 22, No.3 HINDEMITH Very slow quarters Fast eighths-very energetic Quiet quarters Moderately fast quarters Rondo INTERMISSION String Quintet in E-flat major, K. 614 MOZART Allegro eli molto Andante Menuetto: allegretto Allegro Columbia Records A R S LON G A V I T A BREVIS MAY FESTIVAL MAY I, 2, 3, 4, 1958 THE PHILADELPHIA ORCHESTRA AT ALL CONCERTS THURSDAY, MAY 1, 8:30 P.M. LILY PONS, Coloratura Soprano of the "Met" (songs and operatic arias). "Credendum" (Schuman); Symphony in D minor (Franck). EUGENE ORMANDY, <:onductor. FRIDAY, MAY 2, 8:30 P.M. "Samson and Delilah"-opera in concert form, with UNIVERSITY CHORAL UNION; CLARAMAE TURNER, Contralto; BRIAN SULLIVAN, Tenor; MARTIAL SINGHER, Baritone; and YI·KWEI SZE, Bass. THOR JOHNSON, Conductor. SATURDAY, MAY 3, 2:30 P.M. Program of Hungarian music. GYORGY SANDOR, Pianist, in Bartok Concerto No.2; Suite in F-sharp minor (Dohnanyi); Rakoczy March (Liszt); and Dances from "Galanta" (Kodaly). WILLIAM SMITH, Con ductor. FESTIVAL YOUTH CHORUS, Hungarian Folk Songs. MARGUERITE HOOD, Conductor. -
Low Male Voice Repertoire in Contemporary Musical Theatre: a Studio and Performance Guide of Selected Songs 1996-2020
LOW MALE VOICE REPERTOIRE IN CONTEMPORARY MUSICAL THEATRE: A STUDIO AND PERFORMANCE GUIDE OF SELECTED SONGS 1996-2020 by Jeremy C. Gussin Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee __________________________________________ Ray Fellman, Research Director __________________________________________ Brian Gill, Chair __________________________________________ Jane Dutton __________________________________________ Peter Volpe December 10, 2020 ii Copyright © 2020 Jeremy Gussin iii Preface This project is intended to be a resource document for bass voices and teachers of low male voices at all levels. For the purposes of this document, I will make use of the established term low male voice (LMV) while acknowledging that there is a push for the removal of gender from voice classification in the industry out of respect for our trans, non-binary and gender fluid populations. In addition to analysis and summation of musical concepts and content found within each selection, each repertoire selection will include discussions of style, vocal technique, vocalism, and character in an effort to establish routes towards authenticity in the field of musical theatre over the last twenty five years. The explosion of online streaming and online sheet music resources over the last decade enable analysis involving original cast recordings, specific noteworthy performances, and discussions on transposition as it relates to the honoring of character and capability of an individual singer. My experiences with challenges as a young low voice (waiting for upper notes to develop, struggling with resonance strategies above a D♭4) with significant musicianship prowess left me searching for a musically challenging outlet outside of the Bel Canto aesthetic. -
Street Scene Program.Pdf
Kurt Weill’s Street Scene American Opera in 2 Acts Book by Elmer Rice, based on his play of the same name Lyrics by Langston Hughes and Elmer Rice Used by arrangement with European American Music Corporation, agent for The Kurt Weill Foundation for Music, Inc., the Rice Estate and the Hughes Estate First performance – January 9, 1947, at New York City’s Adelphi Theatre, presented by Dwight Deere Wiman and The Playwrights’ Company. New Orleans – this weekend’s performances are the first in the city CAST (in order of appearance) Friday, January 20 Sunday, January 22 Greta Fiorentino Rachel Looney Mary Cloud Emma Jones Zara Zemmels Olivia Garcia Louie, the dog Louie Louie Olga Olsen Pamela Nions Sarah Neal Woman Emily Braverman Emily Braverman Carl Olsen Andres Benavides Cascante Andres Benavides Cascante Shirley Kaplan Gloria Cosenza Gloria Cosenza Abraham Kaplan Tyler Smith Tyler Smith Salvation Army Girl 1 Isabella Vanderhoof Linden Uter Salvation Army Girl 2 Allison Joiner Meghan Kessel Henry Davis Reid Canal Reid Canal Anna Maurrant Emma Mountcastle Cherita Monche Covington Sam Kaplan Christian Patterson Bryton Gunther Daniel Buchanan Mark Anthony Thomas Mark Anthony Thomas Voice of Mrs. Buchanan Emily Barber Emily Barber Frank Maurrant Spencer Reichman Spencer Reichman George Jones David Murray David Murray Steve Sankey Kyle Grubbs Kyle Grubbs Lippo Fiorentino Alexander Sibley Alexander Sibley Jenny Hildebrand Audrey Harmon Christina Hera 2nd Graduate Abigail White Brittany Schaubhut 3rd Graduate Marinna Carmichael Zoë Spangler Mrs. Hildebrand Julia Tuneberg Julia Tuneberg Rose Maurrant Haley Whitney Kathryn Domyan Harry Easter Alex Lucas Alex Lucas Mae Jones Caroline Boudreaux Caroline Boudreaux Dick McGann Kentro Mason, Jr. -
OSU Template
Perfecting Your Practice: Rehearsal Techniques and Strategies for the Undergraduate Singer 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 Jennifer Maxwell Whitehead, B.M., M.M. Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Robin Rice, Advisor Michael David Trudeau Marshall R. Haddock Copyright by Jennifer Maxwell Whitehead 2013 Abstract Each year, young singers enter colleges and universities with the intent of pursuing degrees in vocal performance, many of whom soon find themselves frustrated and discouraged, as well as at odds with their voice teachers over their failure to practice in such a way as to foster steady progress leading to excellence in their singing. While many of these students possess the innate talent and intellect they need to successfully complete these degree programs, most need help learning how to effectively practice so as to make the most of these gifts, because without effective practice, they will not realize their full potential. Perfecting Your Practice seeks to provide undergraduate singers with a body of knowledge about how to approach practicing, create a successful practice environment, wisely budget their practice time, negotiate various challenges in repertoire and vocal health, and prepare for recitals and roles. While specifically written with the needs and challenges of the undergraduate classical singer in mind, this document may serve as a guide for any singer, at any stage of development, amateur or professional, who wishes to improve the efficiency and effectiveness of their practice routine. -
WNET Licensing (A's)
The “A’s” (Source: NET microfiche, unless listed) Aaron Copland Meets the Soviet Composers (1959) Initial Broadcast: N/A Number of programs: 1 Origin Format: Undetermined Running time: 30 minutes AARON COPLAND MEETS THE SOVIET COMPOSERS is a half-hour studio production kinescope of an interview between Copland and six Soviet musicians, musicologists and/or composers who were travelling in the US. My impression is that this was a visit in return for one made to the USSR by an American group earlier that included Menned (?), Sessions, Harris and Kay (?). The setting for the interview is a recreated concert hall stage with the guests sitting in players’ chairs and Copland and his translator located where a solo instrumentalist would be seated. The questions appear to have been scripted in advance – and scripts placed on the music stands. The responses from the Soviets appear to have been ad lib. Copland’s questions were translated into Russian by an American (?) of Russian origins, Nicholas Slonimsky, himself a musician. The Soviets spoke in Russian and were heard through simultaneous translation. The translator was unseen and uncredited. The Soviet guests include (in order of answering questions): Dmitri Kabalevsky, Boris Yarustovsky, Tikhon Khrennikov, Dmitri Shostakovich, Konstantin Dankevich and Fikret Amirov. Kabalevsky was asked about the knowledge of American music in the USSR; Yarustovsky on the influence of American music on Russian music; Khrennikov on the reactions of Soviet musicians to the visit of four American musicians earlier (in the exchange program?); Shostakovich on American jaZZ and its influence; Dankevich on younger Soviet composers and Amirov on the adaption of native musical types to series music.