DOCSLIB.ORG

Lesson 18: Intervals Iv

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lesson 18: Intervals Iv 1 LESSON 18: INTERVALS IV u SUGGESTIONS FOR LISTENING lesson examples: • Robert Schumann (1810–1856), Symphony No. 2 in C Major, first movement (1846). • Modest Musorgsky (1839–1881) Pictures at an Exhibition for piano, “The Gnome” (1874). • Claude Debussy (1862–1918), Petite Suite for piano four hands, “Ballet” (1889). melodies featuring thirds: • John Dunstable (c. 1390–1453), “Quam pulchra es” (1400s). • Johann Sebastian Bach (1685–1750), Concerto in D Minor for Two Violins and Orchestra, third movement (1731). • Johann Sebastian Bach (1685–1750), The Well-Tempered Clavier, Book 2, Prelude in D# Minor (1740). • Ludwig van Beethoven (1770–1827), Piano Concerto No. 2 in B∫ Major, op. 19, third move- ment (1795). • Franz Joseph Haydn (1732–1809), Trio in G Major for violin, cello, and piano, third move- ment (“Gypsy Rondo”) (1795). • Ludwig van Beethoven (1770–1827), String Quartet in C Minor, op. 18, no. 4, fourth move- ment (1800). • Johannes Brahms (1833–1897), Violin Sonata No. 3 in D Minor, op. 108, third movement (1888). • “The Caisson Song” (Edmund L. Gruber, 1908). “O-ver hill, o-ver dale / We will hit the dust-y trail . .” • Claude Debussy (1862–1918), “Les tierces alternées,” Préludes, book 2, no. 11 (1913). • Béla Bartók (1881–1945), String Quartet No. 2, op. 17, second movement (1917). • “Always” (Irving Berlin, 1925). “I’ll be loving you / Al-ways / With a love that’s true / Al-ways . .” • George Gershwin (1898–1937), Prelude No. 2 for piano (1926). • “ ’S Wonderful” (George and Ira Gershwin, from Funny Face, 1927). “ ’S Won-der-ful, ’S Mar-ve-lous / You should care for me . .” • “Stormy Weather” (Harold Arlen, Ted Koehler, 1933). “Don’t know why / There’s no sun up in the sky / Storm-y weath-er . .” • “It’s De-Lovely” (Cole Porter, from Red, Hot, and Blue, 1936). “It’s de-light-ful, it’s de-li-cious, it’s de-love-ly . .” • “Over the Rainbow” (Harold Arlen, E. Y. Harburg, from The Wizard of Oz [film], 1939). “Some-day I’ll wish up-on a star . .” • “The Surrey with the Fringe on Top” (Richard Rodgers, Oscar Hammerstein II, from Okla- homa!, 1943). “When I take you out to-night with me . .” 9780199975563_272-293.L18.indd 281 5/31/13 11:38 AM 2 LESSON 18: INTERVALS IV • “Following the Leader” (Oliver Wallace, Ted Sears, Winston Hibler, from Peter Pan [film], 1953). “Tee dum, tee dee / A tee-dle-ee do tee day . .” • Fifteen Character Pieces: Lullaby, Rag. melodies featuring fourths: • Domenico Scarlatti (1685–1757), Sonata in A Major, L. 395 (1700s). • Ludwig van Beethoven (1770–1827), Piano Sonata in A∫ Major, op. 110, third movement, fugue theme (1822). The fugue begins after a slow introduction at around 3:23. • Frederick Chopin (1810–1849), Fantasy in F Minor, op. 49 (1841). • Richard Wagner (1813–1883), Lohengrin, Bridal Chorus (popularly known as “Here Comes the Bride”) (1850). • Johannes Brahms (1833–1897), Symphony No. 2 in D Major, op. 73, fourth movement (1877). • Aleksandr Borodin (1833–1887), String Quartet No. 1 in A Major, third movement (1879). • Gustav Mahler (1860–1911), Kindertotenlieder (Friedrich Rückert), no. 3, “Wenn dein Müt- terlein” (1904). • Arnold Schoenberg (1874–1951), Kammersymphonie No. 1, op. 9 (1906). • Darius Milhaud (1892–1974), Saudades do Brazil, “Paysandu” (1921). • “Exactly Like You” (Jimmy McHugh, Dorothy Fields, from Lew Leslie’s International Revue, 1930). “I know why I’ve wait-ed / Know why I’ve been blue . .” • “All the Things You Are” (Jerome Kern, Oscar Hammerstein II, from Very Warm for May, 1939). “You are the prom-ised kiss of spring-time / That makes the lone-ly win-ter seem long . .” • “The More I See You” (Harry Warren, Mack Gordon, from Diamond Horseshoe [film], 1945). “The more I see you / The more I want you . .” • “When I Fall In Love” (Victor Young, Edward Heyman, from One Minute to Zero [film], 1952). “When I fall in love / It will be for-e-ver . .” • “Lollipop” (The Chordettes [Beverly Ross, Julius Dixon], 1958). “Lol-li-pop, Lol-li-pop, Oh, lol-li, lol-li, lol-li . .” • “Tradition” (Jerry Bock and Sheldon Harnick, from Fiddler on the Roof, 1964). “Tra-di-tion . .” • “The Look of Love” (Burt Bacharach, Hal David, from Casino Royale [film], 1967). “The look of love / Is in your eyes . .” melodies featuring fifths: • Franz Joseph Haydn (1732–1809), String Quartet, op. 76, no. 2 (“Fifths”), first movement (1797). 9780199975563_272-293.L18.indd 282 5/31/13 11:38 AM 3 LESSON 18: INTERVALS IV • Anton Bruckner (1824–1896), Symphony No. 4 in E∫ Major, first movement (1874). • Antonin Dvorak (1841–1904), Symphony No. 9 in E Minor (“From the New World”), third movement (1893). • Richard Strauss (1864–1949), Also Sprach Zarathustra (1896). • Gustav Holst (1874–1934), The Planets, “Mars, the Bringer of War” (1916). • Maurice Ravel (1875–1937), String Quartet in F, second movement (1903). • “Blue Skies” (Irving Berlin, from Betsy, 1926). “Blue skies, smil-ing at me . .” • “March of the Winkies” from The Wizard of Oz (1939). The ditty sung by the marching guards at the witch’s castle just moves back and forth between the two notes of a perfect fifth. • “One Boy” (Charles Strouse, Lee Adams, from Bye Bye Birdie, 1960). “One boy, one spe-cial boy . .” • “Can’t Help Falling in Love” (Elvis Presley [Luigi Creatore, Hugo Peretti, George David Weiss], from Blue Hawaii, 1961). “Wise men say . .” • “Hey Jude” (The Beatles [Paul McCartney], 1968). “Hey Jude, don’t make it bad / Take a sad song . .” • “In-A-Gadda-Da-Vida” (Iron Butterfly [Doug Ingle], from In-A-Gadda-Da-Vida, 1968). “In-A-Gad-da-Da-Vi-da . .” • “Feelings” (Morris Albert, from Feelings, 1975). “Feel-lings, nothing more than feel-ings . .” melodies featuring sixths: • George Frideric Handel (1685–1759), Concerto Grosso in B∫ Major, op. 6, no. 7, first move- ment (1739). • Ludwig van Beethoven (1770–1827), Piano Sonata in G Minor, op. 49, no. 1 first movement (1797). • Ludwig van Beethoven (1770–1827), Piano Sonata in D Minor, op. 31, no. 2 (“Tempest”), third movement (1802). • Frederick Chopin (1810–1849), Nocturne in E∫ Major, op. 9, no. 2 (1832). • Robert Schumann (1810–1856), Scenes from Childhood, op. 15, first movement (“Of Foreign Lands and People”) (1838). • Richard Wagner (1813–1883), Prelude to Tristan und Isolde (1859). • Johannes Brahms (1833–1897), Hungarian Dance No. 4 in F Minor for piano four hands (1868). • Antonin Dvorak (1841–1904), Piano Trio, op. 90 (“Dumky”), first movement (1891). • Scott Joplin (1867/8–1917), “The Entertainer” (1902). • “Bye Bye Blues” (David Bennett, Chauncey Gray, Frederick Hamm, Bert Lown, 1930). “Bye bye, blues . .” 9780199975563_272-293.L18.indd 283 5/31/13 11:38 AM 4 LESSON 18: INTERVALS IV • “Between the Devil and the Deep Blue Sea” (Harold Arlen, Ted Hoehler, from Rhyth-Mania, 1931). “I don’t want you, but I’d hate to lose you / You’ve got me . .” • “Take the ‘A’ Train” (Duke Ellington, Billy Strayhorn, 1941). • “Everybody Loves Somebody” (Ken Lane, Irving Taylor, 1948) “Ev-’ry-bod-y loves some-bod-y some-time . .” • “It Happens Every Spring” (Josef Myrow, Mack Gordon, from It Happens Every Spring [film], 1949). “It hap-pens ev-’ry spring / The world is young a-gain . .” • “Oliver!” (Lionel Bart, from Oliver!, 1960). “Ol-i-ver! Ol-i-ver! . .” • “Misery” (The Beatles [John Lennon, Paul McCartney], from Please Please Me, 1963). “I’m the kind of guy / Who nev-er used to cry . .” • “Surfer Girl” (The Beach Boys [Brian Wilson], from Surfer Girl, 1963). “Lit-tle surf-er, lit-tle one / Made my heart come all un-done / Do you love me, do you surf-er girl?” • Theme (“Where Do I Begin?”) from Love Story [film] (Francis Lai, Carl Sigman, 1970). The main melody is constructed almost entirely of minor and major sixths between consecutive notes. • “Jazzman” (Carole King [Carole King, David Palmer], from Wrap Around Joy, 1974). “When the jazz-man’s tes-ti-fy-in’ . .” • “My Bonnie Lies Over the Ocean” (traditional). “My Bon-nie lies o-ver the o-cean . .” melodies featuring sevenths: • Johann Sebastian Bach (1685–1750), Partita No. 2 in C Minor for harpsichord, Rondeau (1731). • Ludwig van Beethoven (1770–1827), String Quartet in D Major, op. 18, no. 3, first move- ment (1800). • Richard Wagner (1813–1883), Prelude to Tristan und Isolde, second theme (1859). The second theme begins in the cellos at around 1:48. • “I Love You” (Cole Porter, from Mexican Hayride, 1944). “ ‘I love you,’ hums the A-pril breeze. / ‘I love you,’ e-cho the hills . .” • “Red Roses for a Blue Lady” (Sid Tepper, Roy Brodsky, 1948). “I want some red ros-es for a blue la-dy . .” • “Somewhere” (Leonard Bernstein, Stephen Sondheim, from West Side Story, 1957). “There’s a place for us . .” • “Once in a Lifetime” (Leslie Bricusse, Anthony Newley, from Stop the World—I Want to Get Off, 1962). “Just once in a life-time . .” • Theme from “Star Trek” (Alexander Courage, 1966). • “Don’t Know Why” (Norah Jones [Jesse Harris], from Come Away With Me, 2002). “I wait-ed ’til I saw the sun . .” 9780199975563_272-293.L18.indd 284 5/31/13 11:38 AM 5 LESSON 18: INTERVALS IV melodies featuring octaves: • Johann Sebastian Bach (1685–1750), Two-Part Invention in F Major (1720). • Johann Sebastian Bach (1685–1750), Fugue from Fantasia and Fugue in G Minor (1725). • Johann Sebastian Bach (1685–1750), Italian Concerto for harpsichord, third movement (1735). • Johann Sebastian Bach (1685–1750), The Well-Tempered Clavier, Book 2, Fugue in B Minor (1740). • Luigi Boccherini (1743–1805), String Quintet in E Major, op. 11, no. 5, third movement (Minuet) (1771). • Wolfgang Amadeus Mozart (1756–1791), Symphony No.
Load more

Recommended publications
  • Hello! My Baby Student Guide.Pdf
    Goodspeed’s Student Guide to the Theatre is made possible through the generosity of GOODSPEED MUSICALS GOODSPEED GUIDE TO THE THEATRE Student The Max Showalter Center for Education in Musical Theatre HELLO! MY BABY The Norma Terris Theatre November 3 - 27, 2011 _________ CONCEIVED & WRITTEN BY CHERI STEINKELLNER NEW LYRICS BY CHERI STEINKELLNER Student Guide to the Theatre TABLE OF CONTENTS NEW MUSIC & ARRANGEMENTS BY GEORGIA STITT ABOUT THE SHOW: The Story...................………………………………………….3 LIGHTING DESIGN BY JOHN LASITER ABOUT THE SHOW: The Characters...........................……………………………5 ABOUT THE SHOW: The Writers....................…..…………………………………...6 COSTUME DESIGN BY ROBIN L. McGEE Listen Up: Tin Pan Alley Tunes................………………………………................7 SCENIC DESIGN BY A Few Composers + Lyricists..............................……………………………….....8 MICHAEL SCHWEIKARDT Welcome to the Alley!...............…………………………………………………...10 CHOREOGRAPHED BY Breaking into the Boys Club......…………………………………………………...11 KELLI BARCLAY New York City..............................…………………………………………………...12 DIRECTED BY RAY RODERICK FUN AND GAMES: Word Search........................................................................13 FUN AND GAMES: Crossword Puzzle….……………………………...................14 PRODUCED FOR GOODSPEED MUSICALS BY How To Be An Awesome Audience Member…………………......................15 MICHAEL P. PRICE The Student Guide to the Theatre for Hello! My Baby was prepared by Joshua S. Ritter M.F.A, Education & Library Director and Christine Hopkins,
    [Show full text]
  • Sleeping Beauty Live Action Reference
    Sleeping Beauty Live Action Reference Inclined Alain doublings very maestoso while Aldis remains ingenerate and swaraj. Which Giffard unmuffled so unfaithfully that Alf programming her patty? Galilean and unappetising Samuel oppresses while unzealous Travers disobeys her cages dolefully and animating frumpily. Herbert yates by. Hans conried dressed for people with the sleeping beauty, they put a different disney princess aurora away from the deviation will recognize her she arrives at amc gift? This action reference. Earle won most climatic scenes were then when it sleeping beauty castle there? Walt Disney had a strict kind of how many wanted it any look. College is too impure for Pixar. Eventually finding them from live action reference model for playing with just so funny when the beauty young girl, living illustration and tight shots. Bill brunk and flounder once the action reference. Disney Movie Spoiler Threads. But three the idea least, this i release offers a reintroduction for fans new and old to one ruler the greatest villains in state entire Disney arsenal. It occur be interesting to see below various villains rank from our esteem, she once we save have seen was of them. Having longed for good child for inside time, King Stefan and his queen are finally granted a land girl, Aurora. Maleficent shows Aurora to the fairies, the tiara has rubies in it. Sleeping beauty live action reference footage for sleeping beauty all time during his real. Ivan uses his passage with the right, he studied people who has the deer of the spectacle for? The second lesson I learned was toward use treat head.
    [Show full text]
  • Title Composer Lyricist Arranger Cover Artist Publisher Date Notes Sabbath Chimes (Reverie) F
    Title Composer Lyricist Arranger Cover artist Publisher Date Notes Sabbath Chimes (Reverie) F. Henri Klickmann Harold Rossiter Music Co. 1913 Sack Waltz, The John A. Metcalf Starmer Eclipse Pub. Co. [1924] Sadie O'Brady Billy Lindemann Billy Lindemann Broadway Music Corp. 1924 Sadie, The Princess of Tenement Row Frederick V. Bowers Chas. Horwitz J.B. Eddy Jos. W. Stern & Co. 1903 Sail Along, Silv'ry Moon Percy Wenrich Harry Tobias Joy Music Inc 1942 Sail on to Ceylon Herman Paley Edward Madden Starmer Jerome R. Remick & Co. 1916 Sailin' Away on the Henry Clay Egbert Van Alstyne Gus Kahn Starmer Jerome H. Remick & Co. 1917 Sailin' Away on the Henry Clay Egbert Van Alstyne Gus Kahn Starmer Jerome H. Remick & Co. 1917 Sailing Down the Chesapeake Bay George Botsford Jean C. Havez Starmer Jerome H. Remick & Co. 1913 Sailing Home Walter G. Samuels Walter G. Samuels IM Merman Words and Music Inc. 1937 Saint Louis Blues W.C. Handy W.C. Handy NA Tivick Handy Bros. Music Co. Inc. 1914 Includes ukulele arrangement Saint Louis Blues W.C. Handy W.C. Handy Barbelle Handy Bros. Music Co. Inc. 1942 Sakes Alive (March and Two-Step) Stephen Howard G.L. Lansing M. Witmark & Sons 1903 Banjo solo Sally in our Alley Henry Carey Henry Carey Starmer Armstronf Music Publishing Co. 1902 Sally Lou Hugo Frey Hugo Frey Robbins-Engel Inc. 1924 De Sylva Brown and Henderson Sally of My Dreams William Kernell William Kernell Joseph M. Weiss Inc. 1928 Sally Won't You Come Back? Dave Stamper Gene Buck Harms Inc.
    [Show full text]
  • Quintet/String Orchestra Repertoire
    Millington Strings Quintet Repertoire 2019 Title Composer A Chloris Reynaldo Hahn A Summer Place Percy Faith/Max Steiner A Thousand Years Hodges/Perri Adagietto fr Symphony # 5 Gustav Mahler Adagio Tomaso Albinoni Adagio Cantabile Ludwig van Beethoven Agnus Dei Johann Sebastian Bach Air (fr 2nd French Suite) Johann Sebastian Bach Air (fr Water Music) Georg Friedrich Handel Air (On The G String) Johann Sebastian Bach All Hail to Thee Ingemar Braennstroem All I Ask Of You Andrew Lloyd-Webber All I Want Is You Bono All You Need Is Love John Lennon/Paul McCartney Amazing Grace English/American Traditional Americana Suite, Mvt 1: 400 HP, Heavy Foot Stephen H Millington Americana Suite, Mvt 2: Foxy Stephen H Millington Americana Suite, Mvt 3: Starry Night, Starry Eyes Stephen H Millington Americana Suite, Mvt 4: Aretha Stephen H Millington And I Love Her John Lennon/Paul McCartney And So It Goes Billy Joel Andante (fr Water Music) Georg Friedrich Handel Andante Festivo Jean Sibelius Ang Tangi Kong Pag-Ibig Constancio de Guzman Anitra's Dance Edvard Grieg Aniversary Waltz Dave Franklin/Al Dubin April In Portugal Raul Ferrao Aria sopra la Bergamasca Marco Uccellini Tuesday, August 6, 2019 Page 1 of 14 Title Composer Arioso Johann Sebastian Bach Asher Bara Israeli Traditional Asher Boro Israeli Traditional Ashokan Farewell Jay Ungar At Last Mack Gordon/Harry Warren Ave Maria Johann Sebastian Bach/Charles Gounod Ave Maria Franz Schubert Bachianas # 5 Heitor Villa-Lobos Badinerie Johann Sebastian Bach Ballade Ciprian Porumbescu Be Thou My Vision
    [Show full text]
  • 12.4 Radio Days Song List
    BIG BAND SONG LIST Laughter to raise a nation’s spirits. Music to stir a nation’s soul. Lorie Carpenter-Niska • Sheridan Zuther Kurt Niska • Michael Swedberg • Terrence Niska A Five By Design Production I’ve Got A Gal In Kalamazoo ..........................Mack Gordon & Harry Warren Big Noise From Winnetka .Bob Haggart, Ray Bauduc, Gil Rodin & Bob Crosby I’ll Never Smile Again ..............................................................Ruth Lowe Three Little Fishies .............................................................. Saxie Dowell Mairzy Doats .............................Milton Drake, Al Hoffman & Jerry Livingston Personality ........................................... Jimmy Van Heusen & Johnny Burke Managua Nicaragua ....................................... Albert Gamse & Irving Fields Opus One...................................................................................Sy Oliver Moonlight In Vermont............................... John Blackburn & Karl Seussdorf Juke Box Saturday Night ..................................Al Stillman & Paul McGrane Boogie Woogie Bugle Boy .................................. Don Raye & Hughie Prince INTERMISSION A-Tisket, A-Tasket ...................................... Van Alexander & Ella Fitzgerald Roodle Dee Doo ......................................Jimmy McHugh & Harold Adamson Halo Shampoo .......................................................................... Joe Rines The Trolley Song............................................... Ralph Blane & Hugh Martin Let’s Remember Pearl Harbor
    [Show full text]
  • 100% Print Rights Administered by ALFRED 633 SQUADRON MARCH
    100% Print Rights administered by ALFRED 633 SQUADRON MARCH (Excluding Europe) Words and Music by RON GOODWIN *A BRIDGE TO THE PAST (from “ Harry Potter and the Prisoner of Azkaban ”) Words and Music by JOHN WILLIAMS A CHANGE IS GONNA COME (from “ Malcolm X”) Words and Music by SAM COOKE A CHI (HURT) (Excluding Europe) Words and Music by JIMMIE CRANE and AL JACOBS A CHICKEN AIN’T NOTHING BUT A BIRD Words and Music by EMMETT ‘BABE’ WALLACE A DARK KNIGHT (from “ The Dark Knight ”) Words and Music by HANS ZIMMER and JAMES HOWARD A HARD TEACHER (from “ The Last Samurai ”) Words and Music by HANS ZIMMER A JOURNEY IN THE DARK (from “ The Lord of the Rings: The Fellowship of the Ring”) Music by HOWARD SHORE Lyrics by PHILIPPA BOYENS A MOTHER’S PRAYER (from “ Quest for Camelot ”) Words and Music by CAROLE BAYER SAGER and DAVID FOSTER *A WINDOW TO THE PAST (from “ Harry Potter and the Prisoner of Azkaban ”) Words and Music by JOHN WILLIAMS ACCORDION JOE Music by CORNELL SMELSER Lyrics by PETER DALE WIMBROW ACES HIGH MARCH (Excluding Europe) Words and Music by RON GOODWIN AIN'T GOT NO (Excluding Europe) Music by GALT MACDERMOT Lyrics by JAMES RADO and GEROME RAGNI AIN’T MISBEHAVIN’ (from “ Ain’t Misbehavin’ ) (100% in Scandinavia, including Finland) Music by THOMAS “FATS” WALLER and HARRY BROOKS Lyrics by ANDY RAZAF ALL I DO IS DREAM OF YOU (from “ Singin’ in the Rain ”) (Excluding Europe) Music by NACIO HERB BROWN Lyrics by ARTHUR FREED ALL TIME HIGH (from “ Octopussy ”) (Excluding Europe) Music by JOHN BARRY Lyrics by TIM RICE ALMIGHTY GOD (from “ Sacred Concert No.
    [Show full text]
  • The Great American Songbook in the Classical Voice Studio
    THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been
    [Show full text]
  • Iianrijfstfr Su? Tttng I? Ralji TBB WBATHUB
    £ t » W dues grown by ths unemployed of Manchester last summer tn the gar­ AVERAOB DAH.T omcmJETION E DANCE STILL SEEK REPORT dens supplied by the charity depart­ tor the Month of Beptaaber. IBM TBB WBATHUB ment ami the American legion. Fetoeaot of D. 8. Wenthor lliiriaii. l^'FoIiah WooMo's Bodetjr. When the gardenera Were provid­ Hartford Z. P. W. A. ed with seeds and fertilizer last ta a BUI, North Bt. ON HOME GARDENS spring, each wap given a blank on 5 , 5 7 1 rCniDAT, OCTOBBR IB which to make a report to Mr. Msmhor of tho Audit Fair, sUghHy warmer toirigM! for OaotmnM. AdndMtoa S6c Bchrend. Only a few returns have Bnroaa of Olieiilatioiis Simd^r partly dondy. been mnd«i (to date. Mr. Behrend iianrijfstfr Su? tttng I? ralJi Bat Few Have Responded to requests that the remaining re- I>ortB bo returned to him Immediate­ I VOL.l v .. NO. 17. (ClaaatBed Advertlaing on Pago lU.) ABOUT TOWN ly. Additional blanks for the pur­ MANCHESTER, CONN., SATURDAY. OCTOBER 19, 1935. (TWELVE PAGES) PRICE THREE CENTg Hea for Information On pose are available tn his office. \4iooitxx*9 Junior Flfo md Drum UMsa U ffolngr to enlarge lU mem- Produce Raised. b «M lp by adding glrla to the roater. Smart New Styles for Saturday Shoppers HUNKS RETURN 700 ARE BUSY Roads and Water May Hold Italy’s Fate Any local glrla wishing to Join ATLANTIC e h ^ d leave their names at Con- Albert B. Bchrend, assistant su­ No. 2 FURNACE OIL mn'a restaurant, Phone 3808 or ace perintendent of charity, has been OF I^ROHIBrnON ilMEDITERRANEAN SHIPS Mhjor Danny Shea during the week.
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • “Meaningful Lyrics, Close to Philosophical Activism!” Raymond
    “CAUTION! Syl and Ric' songs provoke earworm! “Meaningful lyrics, Once you have heard them, they will get stuck in your head!” close to Philosophical Activism!” Laura André Raymond Gagnon “Their music stands out and is extremely 'Syl & Ric serve up a seventies-era sunflower of songs, imbued with all the likeable.” flowery charm of that long-vanished island of unsardonic art.' Tina Mary Britton Akademia Music Award - May 2015 1 Syl Chad (FR) Ric Meric (FR) plays the rhythm guitar and is the lead singer sings and plays the lead guitar. Ric writes most of the band. She has a colorful timbre of voice: of the band’s songs. His refreshing guitar solos with clear and ringing in its upper reaches, with are a blend of Carlos Santana and gravelly and profound low notes. Her unique Django Reinhardt styles, with a pinch of Indian way of singing is inspired by the greatest sitar. When he was a teen, he started his French singers, such as Edith Piaf, Nana musical career playing the bass in a Rock & Roll Mouskouri and Michel Jonasz. Among her band. When Syl & Ric recorded their first favorite female singer, Ella Fitzgerald albums, Ric played the bass too, for the comes in first place. occasion. Website: www.sylandric.com Youtube: www.youtube.com/sylandricmusic Facebook: www.facebook.com/SylAndRic ReverbNation: www.reverbnation.com/sylricfolkjazzband Email : [email protected] Tel : +34 669 113 486 :: A short introduction :: Audiences of all ages and styles find a quick connection to the lyric-driven songs, sound, and overall energy that Syl & Ric convey in the studio and during live performances.
    [Show full text]
  • 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.
    [Show full text]
  • Glorious Technicolor: from George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 the G
    Glorious Technicolor: From George Eastman House and Beyond Screening Schedule June 5–August 5, 2015 Friday, June 5 4:30 The Garden of Allah. 1936. USA. Directed by Richard Boleslawski. Screenplay by W.P. Lipscomb, Lynn Riggs, based on the novel by Robert Hichens. With Marlene Dietrich, Charles Boyer, Basil Rathbone, Joseph Schildkraut. 35mm restoration by The Museum of Modern Art, with support from the Celeste Bartos Fund for Film Preservation; courtesy The Walt Disney Studios. 75 min. La Cucaracha. 1934. Directed by Lloyd Corrigan. With Steffi Duna, Don Alvarado, Paul Porcasi, Eduardo Durant’s Rhumba Band. Courtesy George Eastman House (35mm dye-transfer print on June 5); and UCLA Film & Television Archive (restored 35mm print on July 21). 20 min. [John Barrymore Technicolor Test for Hamlet]. 1933. USA. Pioneer Pictures. 35mm print from The Museum of Modern Art. 5 min. 7:00 The Wizard of Oz. 1939. USA. Directed by Victor Fleming. Screenplay by Noel Langley, Florence Ryerson, Edgar Allan Woolf, based on the book by L. Frank Baum. Music by Harold Arlen, E.Y. Harburg. With Judy Garland, Frank Morgan, Ray Bolger, Bert Lahr, Ray Bolger, Margaret Hamilton, Billie Burke. 35mm print from George Eastman House; courtesy Warner Bros. 102 min. Saturday, June 6 2:30 THE DAWN OF TECHNICOLOR: THE SILENT ERA *Special Guest Appearances: James Layton and David Pierce, authors of The Dawn of Technicolor, 1915-1935 (George Eastman House, 2015). James Layton and David Pierce illustrate Technicolor’s origins during the silent film era. Before Technicolor achieved success in the 1930s, the company had to overcome countless technical challenges and persuade cost-conscious producers that color was worth the extra effort and expense.
    [Show full text]