CS6 Internal Song Lists
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Concert Magic & Lesson Song Lists
Concert Magic & Lesson Song Lists CONCERT MAGIC SONG LIST Category Song Name Key Mode Children's Songs Bingo G#1 EB Frère Jacques F#1 MP Good Morning To You F1 MP Hickory Dickory Dock D#1 EB I'm A Little Teapot A#0 MP Itsy, Bisty Spider A1 MP London Bridge C#1 MP Mary Had A Little Lamb C1 MP Pop Goes The Weasel E1 MP Row,Row,Row, Your Boat D1 MP The Farmer In The Dell G1 MP This Old Man B0 MP Twinkle,Twincle Little Star A0 MP Christmas Songs Deck The Halls C2 MP Hark The Herald Angels Sing A#1 MP Jingle Bells B1 MP Joy To The World D2 MP O Come All Ye Faithful C#2 MP Silent Night E2 MP The First Noel D#2 MP We Wish You A Merry Christmas F2 MP What Child Is This? (Greensleeves) F#2 MP Patriotic Songs America The Beautiful A2 MP Battle Hymn Of The Republic G#2 MP Hail To The Chief B2 MP My Country 'Tis Of Thee G2 MP Yankee Doodle A#2 MP American Classics Auld Lang Syne C#4 MP Beautiful Dreamer A#4 EB Bill Bailey Won't You Come Home G3 EB Bycicle Built For Two F4 EB Clementine A3 MP Danny Boy C3 EB Down In The Valley C#3 EB Fascination A#3 SK For He's A Jolly Good Fellow F#3 EB Give My Regards To Broadway G#3 SK Home On The Range B3 MP Home Sweet Home D#3 EB In The Good Old Summertime F3 EB Let Me Call You Sweetheart D3 EB Michael Row The Boat Ashore D4 MP My Bonnie Is Over The Ocean E3 EB Oh Susanna D#4 SK On Top Of Old Smokey E4 EB Take Me Out To The Ballgame C4 EB The Band Played On G4 EB The Camptown Races F#4 MP When Johnny Comes Marching Home G#4 MP When The Saints Go Marching In A4 EB 2 Concert Magic & Lesson Song Lists Category Song -
Song Lyrics of the 1950S
Song Lyrics of the 1950s 1951 C’mon a my house by Rosemary Clooney Because of you by Tony Bennett Come on-a my house my house, I’m gonna give Because of you you candy Because of you, Come on-a my house, my house, I’m gonna give a There's a song in my heart. you Apple a plum and apricot-a too eh Because of you, Come on-a my house, my house a come on My romance had its start. Come on-a my house, my house a come on Come on-a my house, my house I’m gonna give a Because of you, you The sun will shine. Figs and dates and grapes and cakes eh The moon and stars will say you're Come on-a my house, my house a come on mine, Come on-a my house, my house a come on Come on-a my house, my house, I’m gonna give Forever and never to part. you candy Come on-a my house, my house, I’m gonna give I only live for your love and your kiss. you everything It's paradise to be near you like this. Because of you, (instrumental interlude) My life is now worthwhile, And I can smile, Come on-a my house my house, I’m gonna give you Christmas tree Because of you. Come on-a my house, my house, I’m gonna give you Because of you, Marriage ring and a pomegranate too ah There's a song in my heart. -
A Definition of Song from Human Music Universals Observed in Primate Calls
bioRxiv preprint doi: https://doi.org/10.1101/649459; this version posted May 24, 2019. The copyright holder for this preprint (which was not certified by peer review) is the author/funder. This article is a US Government work. It is not subject to copyright under 17 USC 105 and is also made available for use under a CC0 license. A definition of song from human music universals observed in primate calls David Schruth1*, Christopher N. Templeton2, Darryl J. Holman1 1 Department of Anthropology, University of Washington 2 Department of Biology, Pacific University *Corresponding author, [email protected] bioRxiv preprint doi: https://doi.org/10.1101/649459; this version posted May 24, 2019. The copyright holder for this preprint (which was not certified by peer review) is the author/funder. This article is a US Government work. It is not subject to copyright under 17 USC 105 and is also made available for use under a CC0 license. Abstract Musical behavior is likely as old as our species with song originating as early as 60 million years ago in the primate order. Early singing likely evolved into the music of modern humans via multiple selective events, but efforts to disentangle these influences have been stifled by challenges to precisely define this behavior in a broadly applicable way. Detailed here is a method to quantify the elaborateness of acoustic displays using published spectrograms (n=832 calls) culled from the literature on primate vocalizations. Each spectrogram was scored by five trained analysts via visual assessments along six musically relevant acoustic parameters: tone, interval, transposition, repetition, rhythm, and syllabic variation. -
III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
III CHAPTER III THE BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – flamboyant, elaborately ornamented a. Characteristics of Baroque Music 1. Unity of Mood – a piece expressed basically one basic mood e.g. rhythmic patterns, melodic patterns 2. Rhythm – rhythmic continuity provides a compelling drive, the beat is more emphasized than before. 3. Dynamics – volume tends to remain constant for a stretch of time. Terraced dynamics – a sudden shift of the dynamics level. (keyboard instruments not capable of cresc/decresc.) 4. Texture – predominantly polyphonic and less frequently homophonic. 5. Chords and the Basso Continuo (Figured Bass) – the progression of chords becomes prominent. Bass Continuo - the standard accompaniment consisting of a keyboard instrument (harpsichord, organ) and a low melodic instrument (violoncello, bassoon). 6. Words and Music – Word-Painting - the musical representation of specific poetic images; E.g. ascending notes for the word heaven. b. The Baroque Orchestra – Composed of chiefly the string section with various other instruments used as needed. Size of approximately 10 – 40 players. c. Baroque Forms – movement – a piece that sounds fairly complete and independent but is part of a larger work. -Binary and Ternary are both dominant. 2. The Concerto Grosso and the Ritornello Form - concerto grosso – a small group of soloists pitted against a larger ensemble (tutti), usually consists of 3 movements: (1) fast, (2) slow, (3) fast. - ritornello form - e.g. tutti, solo, tutti, solo, tutti solo, tutti etc. Brandenburg Concerto No. 2 in F major, BWV 1047 Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo. -
CCLI 2015-2017 Top 100 Songs Vetted for United Methodist Congregations
CCLI 2015-2017 Top 100 Songs Vetted for United Methodist Congregations CCLI Top 100 Vetting Team Taylor Burton-Edwards, Kim Chapman, Nelson Cowan, Keum Hwang, Jackson Henry, Laura Jaquith Bartlett, Lim Swee Hong, Robert McMichael, Janice McNair, and Lester Ruth One of the most significant indicators of the use of newer music in Christian congregations in The United States is the CCLI Top 100 list. CCLI is the nation’s leading provider of licensing services for churches that reproduce songs in print or on screen for congregational singing. As a list, the CCLI Top 100 only indicates what copyrighted songs congregations subscribing to the CCLI license are using the most. The list provides no information about the quality of the songs, either theologically, musically, or in terms of their use of language for humanity and God. The majority of the contemporary/modern worship corpus reflected in the CCLI Top 100 list is generated by artists whose theological traditions are not generally Wesleyan-Arminian. Most could be described as charismatic, Pentecostal, Calvinist, or neo-Calvinist. These traditions have not fully shared and sometimes have taken positions opposite to our core commitments as United Methodists. These commitments include: ¨ an understanding of salvation in which ongoing sanctification and making use of the means of grace are seen as crucial ¨ a practice of corporate worship and discipleship in which sacraments are central ¨ an attentiveness to doctrinal and biblical accuracy in lyrical form ¨ the importance of congregational singing, and ¨ the use of language for God that is expansive, inclusive, non-patriarchal and that consistently respects persons of all cultures, ethnicities, and physical and mental abilities. -
Classical Music from the Late 19Th Century to the Early 20Th Century: the Creation of a Distinct American Musical Sound
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2019 May 1st, 12:30 PM - 1:45 PM Classical Music from the Late 19th Century to the Early 20th Century: The Creation of a Distinct American Musical Sound Ashley M. Christensen Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Music Theory Commons Let us know how access to this document benefits ou.y Christensen, Ashley M., "Classical Music from the Late 19th Century to the Early 20th Century: The Creation of a Distinct American Musical Sound" (2019). Young Historians Conference. 13. https://pdxscholar.library.pdx.edu/younghistorians/2019/oralpres/13 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. CLASSICAL MUSIC FROM THE LATE 19th CENTURY TO THE EARLY 20th CENTURY: THE CREATION OF A DISTINCT AMERICAN MUSICAL SOUND Marked by the conflict of the Civil War, the late 19th century of American history marks an extremely turbulent time for the United States of America. As the young nation reached the second half of the century, idle threats of a Southern secession from the union bloomed into an all-encompassing conflict. However, through the turbulence of the war, American music persisted. Strengthened in battle, the ideas of a reconstructed American national identity started to form a distinctly different American culture and way of life. This is reflected in the nation’s shift in the music written after the war. -
Not "The Thinker," but Kirke Mechem, Tennis Umpire and Som.Etimc Author and Historian
r Je :/ Not "The Thinker," but Kirke Mechem, tennis umpire and som.etimc author and historian. This recent pholograph of 1Hr. Mecbem belies a fairly general belief that the s(;holar is out of toueh with thing's oJ the world. He're he is shown calling shots at a, !.ennis tournament in Topeka. He formerly p-layed, and two of his sons gained eminenee in Kansas and Missouri Valley play, kirke mechem THE KANSAS HISTORICAL QUARTERLY Volume XVII November, 1949 Number 4 "Home on the Range" KIRKE MECHEM The night Franklin D. Roosevelt was first elected president a group of reporters sang "Home on the Range" on his doorstep in New York City. He asked them to repeat it, and made the statement, so it was said, that it was his favorite song. Later he often listened to the ballad at the White House, and it was reported that at Warm Springs he frequently led his guests in singing it. Stories of the President's approval soon made "Home on the Range" one of the country's hit songs. By 1934 it had moved to the top on the ra dio, where it stayed for six months. Everybody sang it, from Lawrence Tibbett to the smallest entertainer. Radio chains, motion picture com panies, phonograph record concerns and music publishers had a field day -all free of royalties, for there was no copyright and the author was un known. At its peak the song was literally sung around the world. Writing from Bucharest, William L. White, son of William Allen White of Kansas, said: They all know American songs, which is pleasant if you are tired of wars and little neutral capitals, and are just possibly homesick. -
Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2012 "Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge Jordan Timothy Ray Baker [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Epistemology Commons, Medieval Studies Commons, and the Musicology Commons Recommended Citation Baker, Jordan Timothy Ray, ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1360 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jordan Timothy Ray Baker entitled ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: -
How Understanding Arrangement Techniques Can Improve Your Songs Mike Levine on Jul 04, 2017 in Music Theory & Education 1 Comments
Arranging for Success - How Understanding Arrangement Techniques Can I : Ask.Au... Page 1 of 6 Arranging for Success - How Understanding Arrangement Techniques Can Improve Your Songs Mike Levine on Jul 04, 2017 in Music Theory & Education 1 comments Understanding some key universal concepts around arrangement, dynamics and composition can help you take your tracks to the next level. Here's how. Whether you’re in the studio or on stage, just having a strong song and performing it well is not enough. You also need a smart arrangement in order for your song to have its maximum impact. Giving your arrangement a dramatic arc helps make it more interesting and accessible to listeners. It's beyond the scope of this article to focus on specific instruments and how to arrange them for particular musical genres—that would require a series of books—but the aim here is to cover some global arranging concepts, which will apply no matter what the specific style or instrumentation. Contrast is King Just like a painting, a song arrangement needs contrast. If everything is too similar, it will be boring and the listeners will tune out. You want to keep their attention, so you should structure the song so that it’s not static. Think of it almost like a book or play, which has a beginning a middle and an end. You have a number of tools at your disposal for creating drama and interest with your arrangement, which include varying the dynamics, adding to the instrumentation as you go, and building the complexity of the instrument and vocal parts as the song progresses. -
Section IX the STATE PAGES
Section IX THE STATE PAGES THE FOLLOWING section presents information on all the states of the United States and the District of Columbia; the commonwealths of Puerto Rico and the Northern Mariana Islands; the territories of American Samoa, Guam and the Virgin Islands; and the United Na tions trusteeships of the Federated States of Micronesia, the Marshall Islands and the Republic of Belau.* Included are listings of various executive officials, the justices of the supreme courts and officers of the legislatures. Lists of all officials are as of late 1981 or early 1982. Comprehensive listings of state legislators and other state officials appear in other publications of The Council of State Governments. Concluding each state listing are population figures and other statistics provided by the U.S. Bureau of the Census, based on the 1980 enumerafion. Preceding the state pages are three tables. The first lists the official names of states, the state capitols with zip codes and the telephone numbers of state central switchboards. The second table presents historical data on all the states, commonwealths and territories. The third presents a compilation of selected state statistics from the state pages. *The Northern Mariana Islands, the Federated States of Micronesia, the Marshall Islands and the Republic of Belau (formerly Palau) have been administered by the United Slates since July 18, 1947, as part of the Trust Territory of the Pacific Islands (TTPl), a trusteeship of the United Nations. The Northern Mariana Islands separated themselves from TTPI in March 1976 and now operate under a constitutional govern ment instituted January 9, 1978. -
Home on the Range an Educator’S Guide
C. Russell, Cowpunching Sometimes Spells Trouble (detail) 1889 Home on the Range An Educator’s Guide Mary Burke, Sid Richardson Museum, with Diane McClure, Art Specialist Design by Laura Fenley, Sid Richardson Museum Intern © 2004 Sid Richardson Museum, Third Edition © 2009 Home09_10_2010.indd 1 9/10/2010 1:53:18 PM Home on the Range Page numbers for each section are listed below. Online version – click on the content title below to link directly to the first page of each section. For an overview of the artworks included in this booklet, see Select a Lesson – Image List, page 30. Contents Introduction to Home on the Range 4 Sid W. Richardson 6 The Museum 10 Fredric S. Remington 12 Charles M. Russell 14 Timeline (Artists, Texas, U.S. History) 16 Select a Lesson – Image List 30 Lesson Plans 32 Student Activities 52 Teacher Resources 62 2 Home on the Range Sid Richardson Museum Home09_10_2010.indd 2 9/10/2010 1:53:18 PM Sid W. Richardson Sid W. About the Educator’s Guide This Educator’s Guide is a resource for viewing and dialogue containing questions to direct classroom The Museum interpreting works of art from the Sid Richardson Museum discussion and engage students in their exploration in the classroom environment. The images included in the of the artworks, background information about Guide have been selected to serve as a point of departure the artists and the works of art, vocabulary, and for an exploration of the theme of the cowboy way of life. suggestions for extension activities • Student Activities – activities that can be used to The background materials (timelines, biographies, complement classroom discussion about these (or bibliography and resources) are appropriate for educators other) artworks The Artists of all levels. -
Music Analysis Guide for Students
Music analysis guide for students Summary You will analyze and compare two songs from different periods, examining theme, style, and historical and technological context. The lyrics (Language) 1. What did you like about the song's words? What were your favourite parts? Why? (Critical thinking) _____________________________________________________________________ _____________________________________________________________________ 2. Are the song's words like the words to any other song that you know? How are they similar or different? (Connections) _____________________________________________________________________ _____________________________________________________________________ 3. Is there anything in the song that reminds you of something in your own life? (Personalization) _____________________________________________________________________ _____________________________________________________________________ 4. Do you find any of the words or sentences interesting? Confusing? Unusual? (Style) _____________________________________________________________________ _____________________________________________________________________ 5. Did the songwriter include images that you find funny? Scary? Old-fashioned? Embarrassing? (Evaluation) _____________________________________________________________________ _____________________________________________________________________ 6. What senses does the songwriter use in this song? Sight? Smell? Hearing? Taste? Touch? (Style) _____________________________________________________________________