Trees I Think That I Shall Never See a Poem Lovely As a Tree. a Tree Whose
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Jazz Lines Publications Fall Catalog 2009
Jazz lines PubLications faLL CataLog 2009 Vocal and Instrumental Big Band and Small Group Arrangements from Original Manuscripts & Accurate Transcriptions Jazz Lines Publications PO Box 1236 Saratoga Springs NY 12866 USA www.ejazzlines.com [email protected] 518-587-1102 518-587-2325 (Fax) KEY: I=Instrumental; FV=Female Vocal; MV=Male Vocal; FVQ=Female Vocal Quartet; FVT= Femal Vocal Trio PERFORMER / TITLE CAT # DESCRIPTION STYLE PRICE FORMAT ARRANGER Here is the extended version of I've Got a Gal in Kalamazoo, made famous by the Glenn Miller Orchestra in the film Orchestra Wives. This chart differs significantly from the studio recorded version, and has a full chorus band intro, an interlude leading to the vocals, an extra band bridge into a vocal reprise, plus an added 24 bar band section to close. At five and a half minutes long, it's a (I'VE GOT A GAL IN) VOCAL / SWING - LL-2100 showstopper. The arrangement is scored for male vocalist plus a backing group of 5 - ideally girl, 3 tenors and baritone, and in the GLENN MILLER $ 65.00 MV/FVQ DIFF KALAMAZOO Saxes Alto 2 and Tenor 1 both double Clarinets. The Tenor solo is written on the 2nd Tenor part and also cross-cued on the male vocal part. The vocal whistling in the interlude is cued on the piano part, and we have written out the opening Trumpet solo in full. Trumpets 1-4: Eb6, Bb5, Bb5, Bb5; Trombones 1-4: Bb4, Ab4, Ab4, F4; Male Vocal: Db3 - Db4 (8 steps): Vocal key: Db to Gb. -
BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S
IN THIS ISSUE: ir An interview with KAY STARR, Pt. 2 ir Reviews of BOOKS AND RECORDS to consider BIG ☆ A new KEY RECORDINGS BAND SINGER BIG BAND TRIVIA QUIZ JUMP ★ LETTERS TO THE EDITOR about HARRY JAMES, ANITA O’DAY, MICHEL NEWSLETTER LEGRAND, PBS STATIONS and others BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE PAID A£hnta,GA 30355 Atlanta, GA Permit No. 2022 BIG BAND JUMP N EWSLETTER VOLUME 94 BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 2004 INTERVIEW WITH KAY STARR (Part Two) The Background In the last issue, we had Kay Starr’s comments about her early start in the singing business; her penchant for singing at age nine for the neighbors and her family. At first, Kay’s mother was hesitant, but her aunt had a business sense and saw that there was a future for Kay, insisting that she enter a number of amateur contests, leading to her performances at radio stations in Dallas and Memphis and finally being hired by famous violin ist and bandleader Joe Venuti whose guidance helped her achieve fame. She told us about her work with the Bob Crosby Band, her one week stint subbing for Marion Hutton with Glenn Miller at Glen Island Casino and her years with the Charlie Barnet Band, where she recalled pressing Kay Starr Capitol CD cover the band ’ s uniforms as well as being a featured vocalist. Jimmy Dorsey’s band. That why they didn’t have her. The Scene But they had every other girl singer. A girl singer they did not need. -
Music and the English Lyric Poem: Explorations in Conceptual Blending Qualification: Mmus
Access to Electronic Thesis Author: Dr Keith Green Thesis title: Music and the English Lyric Poem: Explorations in Conceptual Blending Qualification: MMus This electronic thesis is protected by the Copyright, Designs and Patents Act 1988. No reproduction is permitted without consent of the author. It is also protected by the Creative Commons Licence allowing Attributions-Non-commercial-No derivatives. If this electronic thesis has been edited by the author it will be indicated as such on the title page and in the text. Music and the English Lyric Poem: Explorations in Conceptual Blending Keith Michael Charles Green Thesis submitted for the award of Master of Music Department of Music May 2011 Music and the English Lyric Poem: Explorations in Conceptual Blending CONTENTS Chapter One: Preliminaries and Theory 1. The Nature of The Problem 1 2. Research on Poetry and Music 4 3. Saussure’s Contribution 9 4. The Nature of Poetry and Jacobson’s Theory 21 Chapter Two: The Music of Poetry and the Poetry of Music 1. Prosody of English 33 2. The Musicality of Poetry 36 3. The English Lyric Poem 39 4. English Song and the Problem of Irony 41 Chapter Three: Songs, Settings and Blended Spaces 1. Semantics and Syntax of Music 49 2. Music, Poetry and Conceptual Blending 55 3. Conceptual Blending in Butterworth’s Setting of ‘Loveliest of Trees’ 61 Bibliography 69 Chapter One: Preliminaries and Theory Of one thing we can be certain; what Hanslick called ‘the morganatic marriage of words and music’ is the least destructible of all musical elements (Gerald Finzi, Crees Lecture, 1954). -
K&Futfl&Iiet Results CADET WINS FIRST CLASS RATING
• Glee Club Results The Glee dab will leave Thursday The results of the ACP 24-page for a three-day engagement at the criticism booklet on The Cadet's Earle Theatre In Washington. k&fUtfl&iiet rating will be printed next week. im VOLUME XXXIII LEXINGTON, VIRGINIA, APRIL 16, 1940 NUMBER 26 CADET WINS FIRST CLASS RATING Cadet Paper Awarded King to Head New Finance Committee Rating for Excellence On First Year's Entry R. H. Spessard Corps Hears Receiving a First Class rating for the excellence of its Treasurer General Reilly work, the VMI Cadet was included in the announcement of All-American honors for 76 college publications made at the Of Committee In JM Hall University of Minnesota last Saturday by the Associate Col- War Correspondent legiate Press, nationwide campus publication organization. New Committee The awards were made after a study of 406 college papers Tells of Today's Use in 43 states, Hawaii, and the District of Columbia. To Assume Duties Of New Equipment During This June A 24-page criticism booklet is expected here later this week "Wars today are not being won which will give The Cadet a rating on its make-up and its Everett Glenn King of Columbus, by highly developed, powerful style of writing, along with suggestions for improving both. Ga., will serve as chairman of the scientific equipment, but by well- This is the first year that The Cadet has been entered in Second Class Finance Committee of trained, well led men with guts," the annual criticism service offered by the Associated Col- the Class of 1942, according to an- Brig. -
The Name of the Catholic Soldier-Poet, Alfred Joyce Kilmer
ALFRED JOYCE KILMER The name of the Catholic soldier-poet, Alfred Joyce Kilmer, continues to excite admiration not only because of the heroism he displayed in his generous death-sacrifice, but also because of the nobility of his whole character as revealed so delicately in his writings. Let us briefly review his career. He was born at New Bruns wick, N. J., December 6, 1886; was graduated from Rutgers College in 1904; received his A. B. from Columbia in 1906; began teaching the same year as instructor in Latin at Morristown High School, N. J . ; some time after he became lexicographer; conducted for nine years the poetry department of the Literary Digest; finally, in 1913, he engaged as special writer for the New York Times Sunday Magazine. This year of 1913 marked the great turning-point in his life, for then it was that he pro fessed, together with his wife, the Catholic faith, having hitherto adhered to the Episcopalian persuasion. His conversion was thorough. Staunchly Catholic he re mained, laboring heartily withal for the spread of God's kingdom through a literary mission of piety and mirth; giving thereby a new impetus to our Catholic journalism. When the United States went into the World War Mr. Kilmer volunteered in the "Sixty ninth." In his "Apology" he tells us why he laid down his pen, grasped the gun, and with a farewell to wife and family, crossed the seas to fight: "Is freedom a will-o-the-wisp To cheat a poet's eye? Be it phantom or fact, it's a noble cause In which to sing and to die."' Sweetly did he sing, bravely did he fight, and manfully did he die in the cause of justice and freedom on August 1, 1918, his age being thirty-one years. -
The Quixotic Return of Heroism in GK Chesterton's Modernism
Columbia University Department of English & Comparative Literature Tilting After the Trenches: The Quixotic Return of Heroism in G.K. Chesterton’s Modernism Luke J. Foster | April 6, 2015 Prof. Erik Gray, Advisor The Senior Essay, presented in partial fulfillment of the requirements for the degree of Bachelor of Arts with honors in English. Dedicated to Grace Catherine Greiner, a hope unlooked-for and a light undimmed. Tho' much is taken, much abides; and tho' We are not now that strength which in old days Moved earth and heaven, that which we are, we are; One equal temper of heroic hearts, Made weak by time and fate, but strong in will To strive, to seek, to find, and not to yield. Alfred, Lord Tennyson, “Ulysses.” Foster 2 Heroic and Ironic Chivalry Today almost forgotten, G.K. Chesterton’s “Lepanto” achieved immense popularity during World War I as a heroic vindication of the British cause. Chesterton published “Lepanto” three years before the outbreak of war in the weekly he edited, The Eye-Witness. A 173-line poem in ballad form, “Lepanto” deals with the decisive naval battle of 1571 when a coalition fleet drawn from the Habsburg Empire and several Italian city-states defeated a superior Ottoman naval force in the Ionian Sea. But from the decisively stressed opening syllables (“White founts falling”1), “Lepanto” looks beyond the historical significance of the battle and seeks to establish a myth with much broader implications. Chesterton, as his biographer Ian Ker explains, claimed that the story of Lepanto demonstrated that “all wars were religious wars,” and he intended the poem as a comment on the meaning of warfare in general.2 After the outbreak of World War I, “Lepanto” was read as an encouragement to British troops in the field. -
(POETRY MANUSCRIPT) by JEFF NEWBERRY
TRANSPOSING THE TRADITION: JAZZ, LYRIC POETRY, AND THE INDIVIDUAL TALENT & BRACKISH (POETRY MANUSCRIPT) by JEFF NEWBERRY (Under the Direction of Edward Pavlić) ABSTRACT Brackish is a collection of poems preceded by the critical introduction, “Transposing the Tradition: Jazz, Lyric Poetry, and the Individual Talent.” Brackish explores the writer’s experiences coming of age on the coast of Northwest Florida, using brackish water as its central metaphor. Neither fresh nor salty, brackish water is a mixture of both. It retains elements of salt water and fresh water and finds identity in the fact that it is neither. The lyric voice in Brackish moves in this way: it is neither a child’s voice nor an adult’s voice, but a voice that stands between those two poles, retaining a child’s sense of discovery and mystery and an adult’s awareness of the larger world. In this way, the poems explore the tenuous gap between innocence and experience. “Transposing the Tradition: Jazz, Lyric Poetry, and the Individual Talent” develops the theory of lyric transposition, a way of understanding jazz-influenced poetry. Like jazz standards, poems often cover familiar territory; and like a jazz musician, a poet develops an individual voice in the context of familiar material. What separates a poem from others on similar subjects or themes is the poet’s voice. Lyric transposition describes the movement from subject matter to the poet’s register, the way that musical transposition describes the movement from a song’s original key to another key, more appropriate for a particular musician. This theoretical perspective frames a discussion and reading of three jazz-influenced works of poetry: Michael S. -
The Decline of Literary Criticism
University of Chicago Law School Chicago Unbound Journal Articles Faculty Scholarship 2008 The Decline of Literary Criticism Richard A. Posner Follow this and additional works at: https://chicagounbound.uchicago.edu/journal_articles Part of the Law Commons Recommended Citation Richard A. Posner, "The Decline of Literary Criticism," 32 Philosophy and Literature 385 (2008). This Article is brought to you for free and open access by the Faculty Scholarship at Chicago Unbound. It has been accepted for inclusion in Journal Articles by an authorized administrator of Chicago Unbound. For more information, please contact [email protected]. Critical Discussion THE DECLINE OF LITERARY CRITICISM by Richard A. Posner ónán McDonald, a lecturer in literature at the University of R Reading, has written a short, engaging book the theme of which is evident from the title: The Death of the Critic. Although there is plenty of both academic and journalistic writing about literature, less and less is well described by the term “literary criticism.” The literary critics of the first two-thirds or so of the twentieth century, now dead, including poets and other creative writers, such as T. S. Eliot, journalists such as Edmund Wilson, and academic literary critics, as distinct from literary scholars, such as F. R. Leavis in England and Cleanth Brooks in the United States, have so few successors that the very genre, if not yet dead, is moribund.1 McDonald deplores the decline of literary criticism and seeks to explain its causes. In place of literary criticism, McDonald (and many others, such as John Ellis) argue, we have postmodern literary theory, an animal of quite a different color from literary criticism.2 “Texts . -
Joyce Kilmer, the Author of "Trees." Sergeant Kilmer Was Killed in Action in Europe in World War I
In 1941, the Federal Government bought 1,000 acres to use as a staging area for troops fighting the War in Europe. It was an active Army installation through the Korean War. In 1956, it was used as America's Reception Center for Hungarians seeking freedom from Communist oppression A portion of Camp Kilmer was returned to use by the township as a park and ball- fields. Today, the Sutton/Kilmer Indust rial Campus is home to many prestigious corporations and is the site of Edison's large Kilmer Mail Facility. The New Jersey Job Corps Center is also located here. The area bears the name of Middlesex County's poet-laureat, Joyce Kilmer, the author of "Trees." Sergeant Kilmer was killed in action in Europe in World War I. Edison Twp. Pub. Library 3 4 0 Plainfield Ave. Edison, N.J. 08817 WiPERfiNCE CAMP KILMER Plainfield Avenue § Kilmer Road ASK AT DESK K»l vvjev-. ^ 9^. >j^US8M4» 4 K {*)! ^ 14 t *#w & * £ (<S <**/ : A > -' , I £ A \ c,6Iv Ca«wt> W\\in e r . Edi ion Tv'p. Pub. library May 11, 1990-ME review- page a ,., "340''fHtawfi6td.» M .mii^M.llV llrdil ,r-T>i...,., ,■,■■■■ I ................................... Gtgwn> N. J. 0M17 NOT TO BE TAKEN MOM LIBRARY From postal center to Army camp, Kilmer lends name to area facilities "%* ■,'<4 tery lies within the borders of By Joseph Kaschak 5 million soldiers stopped Camp Kilmer and to this day EDISON - The name Kil serves as a link and reminder mer is intricately woven into in Edison en route to Europe of the connection between the the history of Middlesex camp and the community. -
Joyce Kilmer
International Journal of Scientific and Research Publications, Volume 7, Issue 11, November 2017 655 ISSN 2250-3153 Stylistics Analysis on Poem “Trees” Joyce Kilmer By: Jomel B. Manuel Department of Arts and Humanities College of Arts and Sciences Cagayan State University, Carig Campus, Tugugarao City Abstract This paper aims to analyze Joyce Kilmer’s poem entitled “Trees” for the perspective of stylistic analysis. The analysis is made under the aspects of phonological, morphological, graphological, and lexico-syntactic levels. This research is helpful in understanding the basic concepts, literal and hidden meanings of the poem. Index Terms. graphological level, lexico-syntactic level, morphological level, phonological level, stylistics 1. Introduction Style is the basic feature of any literary piece of writing. This gives uniqueness to every writer. Through one’s style, s/he can convey more the message to the readers. This shows that what makes one understandable and effective in expressing the message he/she wanted to convey would depend on how he/she dresses up his/her thoughts. Furthermore, Leech (1969) said that personality of the writer is connected with his particular style. It reveals that how a person effectively and beautifully depicts his ideas and thoughts. It describes the way of person's speaking and writing. It is derived from the Latin word "elocutio" which means "style" and means "lexis" in Greek. Style is an aspect of language that deals with choices of diction, phrases, sentences and linguistic materials that are consistent and harmonious with the subject matter (Lawal, 1997). Style is involved in both, spoken and written, literary and nonliterary types of language. -
Big Band Jump
BIG BAND JUMP NEWSLETTER BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 BIG BAND JUMP NEWSLETTER VOLUME XLVII BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1996 our impression of Jo Stafford is that’s she’s a business JO STAFFORD INTERVIEW like person with no pretensions. Down-to-earth might be another way to describe our reaction to the conversation. The Background Her voice seems deeper than it was during her singing years; she admits to having Jo Stafford has been in the mu been a “dedicated smoker”until sic business since the ’30s, when just ten years ago. Our first she began her professional ca question concerned Jo’s life be reer with two older sisters. fore she became one of the Pied Pauline and Christine, as one of Pipers. a trio at a time when sister acts (the Andrews Sisters, the The Interview Boswell Sisters) were popular. How did you get into The Stafford Sisters worked in southern California on radio and music? in movie musicals until 1938 I had two older sis when Jo became the only girl ters, quite a bit older, singer with a group of seven 11 and 14 years older than I. men who called themselves the They were already in local ra Pied Pipers. dio in Long Beach, California and finally came up to Holly Jo is a native of California, where her Tennessee bom wood, doing radio in and around Los Angeles. When I parents moved just before she was bom in 1917. -
Glenn Miller 1941 “Keep ‘Em Flying” America’S Number One Band
GLENN MILLER 1941 “KEEP ‘EM FLYING” AMERICA’S NUMBER ONE BAND Dedicated to the Glenn Miller Birthplace Society June 2021 Prepared by: Dennis M. Spragg Glenn Miller Archives Glenn Miller and his Orchestra, Cafe Rouge, January 1941 A Pivotal Year 1941 was a pivotal year in the history of the United States and for America’s number one bandleader, Glenn Miller. As of January 1, all ASCAP-licensed music (most popular music) was off the air. Glenn broadcast with a replacement BMI-licensed theme, “Slumber Song.” On January 17, the band recorded the classic “Song of the Volga Boatmen,” Bill Finegan’s traditional music response to Jerry Gray’s treatment of “Anvil Chorus.” If not for the broadcasting industry vs. ASCAP dispute, these two all-time Miller hits might never have been written or performed. Further changes arrived to shake up the successful Miller musical organization. A gossip columnist ran a story about Marion Hutton’s pregnancy, which pushed her to stop performing sooner than anticipated. By January 1941, Marion was only appearing on Glenn’s “Chesterfield Moonlight Serenade” broadcasts and not at the Café Rouge. Miller had to replace her. A young “dimpled darling” named Dorothy Claire from LaPorte, Indiana was singing for bandleader Bobby Byrne. Dorothy was under contract for three years with Byrne. So when Bobby learned that Glenn Miller intended to hire Ms. Claire, he promptly sued Miller for $25,000. However, Claire joined the Miller band on January 8. Glenn offered her a salary of $250 per week, a significant raise from the $75 per week she earned with Byrne.