Lady Finger's Song List
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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings. -
Hair for Rent: How the Idioms of Rock 'N' Roll Are Spoken Through the Melodic Language of Two Rock Musicals
HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Eryn Stark August, 2015 HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS Eryn Stark Thesis Approved: Accepted: _____________________________ _________________________________ Advisor Dean of the College Dr. Nikola Resanovic Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Interim Dean of the Graduate School Dr. Brooks Toliver Dr. Rex Ramsier _______________________________ _______________________________ Department Chair or School Director Date Dr. Ann Usher ii TABLE OF CONTENTS Page LIST OF TABLES ............................................................................................................. iv CHAPTER I. INTRODUCTION ............................................................................................................1 II. BACKGROUND OF THE STUDY ...............................................................................3 A History of the Rock Musical: Defining A Generation .........................................3 Hair-brained ...............................................................................................12 IndiffeRent .................................................................................................16 III. EDITORIAL METHOD ..............................................................................................20 -
1. Early Years: Maria Before La Callas 2. Metamorphosis
! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani. -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound. -
Song Lyrics – in Alphabetical Order
Song Lyrics – In Alphabetical Order A Lot of Livin' to Do There are guys just ripe for some kissin' And I mean to kiss me a few! Oh, those guys don't know what they're missin' I've got a lot of livin' to do! And there's wine all ready for tastin' And there's Cadillacs all shiny and new! Gotta move, cause time is a-wastin' There's such a lot of livin' to do! There's music to play, places to go, people to see! Everything for you and me! Oh, life's a ball If only you know it And it's all just waiting for you You're alive So come on and show it There's such a lot of livin' to do There's music to play, places to go, people to see! Everything for you and me! Life's a ball, if only you know it! And it's all just waiting for you! You're alive, so go on and show it! There's such a lot of livin' to do! Such a lot of livin' to do! What a lot of livin' to do! Can't Help Lovin' Dat Man Spoken: Oh listen, sister, I love my mister man And I can't tell you why There ain't no reason for me to love that man It must be somethin' that the angels done plan Fish got to swim, birds got to fly, I got to love one man till I die. Can't help lovin' that man of mine. -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation. -
Philosophy and Music CVSP 295X
Philosophy and Music CVSP 295X This course intends to couple specific philosophical texts and concepts with related musical works, topics and styles (actual listening to music and viewing various operas and performances). Comparisons will as well cover material pertaining to artistic means besides music, such as sculpture, dance, theatre, cinema, literature and architecture. Although music, as artistic form will be the main focus, the course shall try to relate art in general and philosophy. The students shall learn to relate to philosophy not only intellectually or conceptually, but also esthetically; in a way, it will be a ludic (but serious) way to “philosophize”. On the other hand, they will be enticed to perceive art as an essential, profound element of human existence, rather than as mere entertainment. An effort will be made to relate both art (music) and philosophy to historic and sociological context such ad wars, scientific discoveries, technology…etc. 5 different topics will be presented. An attempt shall be made at creating bridges between the various topics in the goal of synthesizing an overall panoramic view: 1- Bach/Leibniz and the Baroque 2- The Dionysian and the Apollonian 3- German romanticism 4- Kierkegaard’s stages of life 5- Artistic creation: the old and the new Literature: Hemingway, Heine, Rilke, Goethe, Novalis, Schiller, Holderlin, Merimée, Lou Salome, Anais Nin, Thomas Mann ...etc. Composers: Bach, Mozart, Beethoven, Schumann, Schubert, Mahler, Brahms, Schoenberg, Kurtag, Nietzsche, Webern, Ligeti, Berio, Xenakis, Boulez, Debussy…etc. Artists and performers: Kandinsky, Velasquez, Monet, Manet, Escher, Durer, Maurice Bejart, Pina Bausch, Pollock, Warhol, Klee, Glenn Gould, Maria Yudina, Maria Callas, Placido, Domingo…etc. -
Hydra-Spetses
HYDRA-SPETSES DISTANCE: 93 miles CRUISING TIME: 4 Hours CROUISING SPEED: 30 Knots PROGRAM 9:30-10.00 Boarding Boarding from our base, the Navex Yacht Parking at Harakas Beach in Legrena Attica and traveling to Hydra crossing the Argosaronic Gulf. 10:50 Tselevinia In less than 60 minutes (26 miles), we reach Zelevinia. The unfamiliar exotic paradise that hears in the name of Cavo Dog or Celebinia Poros, is a wonderful place adjacent to turquoise waters and "blue lakes" where you can swim, reminiscent of exotic destinations. Stop about 1 hour. 12:00 Departure Departure for the port of Spetses 13:00 Spetses In less 1 hour (20 miles) we arrive at the port of Spetses, to visit the city, time for sightseeing and lunch. Spetses is a historical Argosaronic island near the Argolic Peninsula, to the right of the entrance to the Argolic Gulf. The island got its present name from the Venetians after calling it Isola di Spezia which means Island of Perfumes because of the many flowers that existed. Stop about 2 hours. 15:00 Departure Departure for the port of Hydra 16:00 Hydra In less than 1 hour (16 miles) we reach the picturesque port of Hydra. An island of Argosaronikos that gave birth, nurtured and dominated during the war for the independence of the whole country. Hydra, with her peculiar architecture and her continuous contribution to the tourism and cultural life of our country, remains the jewel of Argosaronic and one of the most important resorts in Greece. Hydra became a famous destination people from all over the world, such as John Lennon, Eric Clapton, Rolling Stones, Aristotle Onassis and Maria Callas, Rex Harrison, Peter Oustinov, Leonard Koen and many others were enjoying their stay. -
© 2017 Star Party Karaoke 17 Cross Canadian Ragweed 45 Shinedown 98.6 Keith 247 Artful Dodger Feat
Numbers Song Title © 2017 Star Party Karaoke 17 Cross Canadian Ragweed 45 Shinedown 98.6 Keith 247 Artful Dodger Feat. Melanie Blatt 409 Beach Boys, The 911 Wyclef Jean & Mary J Blige 1969 Keith Stegall 1979 Smashing Pumpkins, The 1982 Randy Travis 1985 Bowling For Soup 1999 Prince 1999 Wilkinsons, The 5678 Step #1 Crush Garbage 1, 2 Step Ciara Feat. Missy Elliott 1, 2, 3 Redlight 1910 Fruitgum Co 10 Days Late Third Eye Blind 10,000 Promises Backstreet Boys, The 100 Years Five For Fighting 100 Years From Now Huey Lewis & The News 100% Chance Of Rain Gary Morris 100% Pure Love Crystal Waters 16th Avenue Lacy J Dalton 18 & Life Skid Row 18 Till I Die Bryan Adams 18 Yellow Roses Bobby Darin 19-2000 Gorillaz 19th Nervous Breakdown Rolling Stones, The 2 Become 1 Spice Girls, The 20 Good Reasons Thirsty Merc 20th Century Fox Doors, The 21 Questions 50 Cent Feat Nate Dogg 24 Hours At A Time Marshall Tucker Band, The 24-7 Kevon Edmonds 25 Miles Edwin Starr 25 Minutes Michael Learns To Rock 25 Minutes To Go Johnny Cash 25 Or 6 To 4 Chicago 26 Cents Wilkinsons, The 29 Nights Danni Leigh 29 Palms Robert Plant 3 Strange Days School Of Fish 30 Days In The Hole Humble Pie 30,000 Pounds Of Bananas Harry Chapin 32 Flavours Alana Davis 4 In The Morning Gwen Stefani 4 Seasons Of Loneiness Boyz 2 Men 4 To 1 In Atlanta Tracy Byrd 4+20 Crosby, Stills, Nash & Young 42nd Street Broadway Show “42nd Street” 455 Rocket Kathy Mattea 4th Of July Shooter Jennings 5 Miles To Empty Brownstone 50,000 Names George Jones 50/50 Lemar 500 Miles (Away From Home) Bobby Bare -
3.0 Song Seasons of Love 1
MUSICAL RENT HÖRVERSTEHEN SPRECHEN LESEN SCHREIBEN Seasons of Love Lead Song Pre- knowledge: The students know the story of the Musical Rent. Learning goals: The students get to know the lead song of the Musical Rent. They can interpret its meaning in relation to the plot of the piece. Time: 25 minutes Materials: work-sheet, song (download on www.rent.ch) Organisation: • The teacher tells the students, that they will listen to a song out of the Musical Rent. It is the song of the Musical that became most famous. The teacher lets the students listen to the song “Seasons of Love” for a first time. • The students have to concentrate on words they understand. The teacher collects the words after the first listening. • The students receive the cloze text of the lyrics of “Seasons of Love”. They read through it for a first time. • The students listen to the song for a second and if necessary a third time; to be able to fill in the gaps. • Correction of the exercise in class. After the song you can discuss in class: • What is the song about? • What does it try to tell? e e • p p ... p p a a m m s s g g n n u u b b Ü Ü MUSICAL RENT HÖRVERSTEHEN SPRECHEN LESEN SCHREIBEN Seasons of Love Lead Song 525,600 minutes, 525,000 ………………. so dear. 525,600 minutes - how do you measure, measure a year? In ………………., in sunsets, in midnights, in ……………….. In inches, in miles, in laughter, in strife. In 525,600 minutes - how do you measure a ……………… in the life? How about love? How about love? How about love? Measure in love. -
Performance As a Master Narrative in Music History
Roundtable: Performance as a Master Narrative in Music History DANIEL BAROLSKY, SARA GROSS CEBALLOS, REBECCA PLACK, AND STEVEN M. WHITING The Editors or a Roundtable in this issue the Editors invited musicologists from various institutions to engage in an e-mail conversation with Daniel F Barolsky over the summer of 2012 to discuss the how music historians engage students with issues of performance in their classes. As Barolsky states in his opening essay “The music in our existing histories is restricted to past compositions, as mere museum artifacts. Yet the identities of the wonderful performers who brought these pieces to life (and many of whom we can still see and hear today!) are relegated to the liner notes, their presence and inter- pretive contribution repressed and ignored.” Are there ways we can enrich, transform, or adapt our teaching to focus more on a history of performance? Would such a change be more meaningful to our students, most of whom see themselves as young performers, rather than as young composers? What new questions, discussions, and course assignments would arise from such changes? The Editors invited musicologists who teach at a variety of schools (small liberal arts college, conservatories of various sizes and locations, and large state schools) to discuss the issue of teaching about music performance in music history courses and to share their thoughts and experiences about their work in this area. Daniel Barolsky began the conversation with an opening essay to which the panel responded by e-mail during the summer of 2012.1 Among the several threads that develop are questions about the choices for recordings of the score anthologies that accompany textbooks, the differences between teaching a survey for undergraduates and an advanced seminar, and teaching suggestions that address performance more clearly—such as 1. -
J a M S E T L I
J A M S E T L I S T v Artist / Movie / Show Song v 3 Doors Down Here Without You Baby v 3 Doors Down Kryptonite v 4 Non Blondes What's Going On v A Chorus Line One v A Chorus Line What I Did For Love v A Great Big World Feat. Christina Aguilera Say Something v A Taste Of Honey Boogie Oogie Oogie v Abba Dancing Queen v Abba Fernando v Abba Knowing Me Knowing You v Abba Mamma Mia v Abba Take A Chance On Me v Abba Thank You For The Music v Abba The Winner Takes It All v Abba Waterloo v Acdc Back In Black v Acdc Highway To Hell v Acdc Thunderstruck v Acdc You Shook Me All Night Long v Adele Hello v Adele Rolling In The Deep v Adele Set Fire To The Rain v Adele Someone Like You v Adele To Make You Feel My Love v Adele When We Were Young v Aerosmith Amazing v Aerosmith Dream On v Aerosmith Dude Looks Like A Lady v Aerosmith I Don't Wanna Miss A Thing v Aha Take On Me v Air Supply All Out Of Love v Al Green Let's Stay Together v Alan Jackson & Jimmy Buffett It's 5 O'clock Somewhere v Alanis Morisette You Oughta Know v Alanna Myles Black Velvet v Alicia Bridges I Love The Nightlife v Alicia Keys Empire State Of Mind v Alicia Keys Fallin v Alicia Keys If I Ain't Got You v Alicia Keys No One v Alison Krausse When You Say Nothing At All v All 4 One I Can Love You Like That v All 4 One I Swear v Amii Stewart Knock On Wood v Amy Winehouse Rehab v Amy Winehouse Valerie v Anastacia I'm Outta Love v Andrea Bocelli & Celine Dion The Prayer v Andrew Lloyd Webber Amigos Para Siempre v The Andrews Sisters In The Mood v Andy Williams Somewhere My Love (Lara's