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Detta Är En Dokumentmall För Examensarbeten
EXAMENSARBETE Höstterminen 2009 Lärarutbildningen i musik Elisabet Johansson Vilken roll spelar pianot i countrymusiken? En undersökning riktad till pianister, pianopedagoger och klasslärare i musik Handledare: Astrid Boström och Ulrika Bohlin Förord Jag vill börja med att tacka min informant för att han så generöst delat med sig av sina egna erfarenheter och sin kunskap. Jag vill även tacka familj, vänner och kurskamrater för tjänstvil- lighet och stöd. Slutligen vill jag tacka mina handledare Astrid Boström och Ulrika Bohlin för er hjälp och era tydliga direktiv genom hela processen. Studien har varit mycket givande och innehållit både glada och mindre glada stunder. Jag är mycket glad och stolt över att arbetet blivit klart och är övertygad om att arbetet kan ge både mig och andra musikpedagoger tips och hjälp i undervisningen framöver. Abstract Title: What part does the piano play in country music? – A study intended for pianists, piano pedagogues and class teachers in music Author: Elisabet Johansson The purpose of this essay is to find out what part the piano play in country music. The re- search includes an interview with an artist from Texas and an analysis of five chosen music examples. The research question is: What part does the piano play in country music and how can that knowledge influence my teaching as a piano pedagogue and class teacher in music? Four result areas appear and they are Piano as a rhythmic instrument, Piano as a lead-instrument, The piano’s interaction with the singer and The influences of the piano from other genres. The study concludes that there are different parts for the piano in country music. -
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli. -
A Piece of History
A Piece of History Theirs is one of the most distinctive and recognizable sounds in the music industry. The four-part harmonies and upbeat songs of The Oak Ridge Boys have spawned dozens of Country hits and a Number One Pop smash, earned them Grammy, Dove, CMA, and ACM awards and garnered a host of other industry and fan accolades. Every time they step before an audience, the Oaks bring four decades of charted singles, and 50 years of tradition, to a stage show widely acknowledged as among the most exciting anywhere. And each remains as enthusiastic about the process as they have ever been. “When I go on stage, I get the same feeling I had the first time I sang with The Oak Ridge Boys,” says lead singer Duane Allen. “This is the only job I've ever wanted to have.” “Like everyone else in the group,” adds bass singer extraordinaire, Richard Sterban, “I was a fan of the Oaks before I became a member. I’m still a fan of the group today. Being in The Oak Ridge Boys is the fulfillment of a lifelong dream.” The two, along with tenor Joe Bonsall and baritone William Lee Golden, comprise one of Country's truly legendary acts. Their string of hits includes the Country-Pop chart-topper Elvira, as well as Bobbie Sue, Dream On, Thank God For Kids, American Made, I Guess It Never Hurts To Hurt Sometimes, Fancy Free, Gonna Take A Lot Of River and many others. In 2009, they covered a White Stripes song, receiving accolades from Rock reviewers. -
T T LJ I Republic/Universal's Flaw Sees C R E a T O R O F a L
$6.95 (U.S.), $8.95 (CAN.), £5.50 (U.K.), 8.95 (EUROPE), Y2,500 (JAPAN) aw a zW MA!' THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO, AND HOME ENTERTAINMENT, JUNE 22, 2002 BMG's Zomba Buy Sets Calder Free As BMG Absorbs Mandatory Deal, Industry Ponders Zomba Co- Founder's Plans BY GORDON MASSON Calder for more than 30 years, corn- ness," one former Calder associate LONDON-While the music industry ments, "I've always found it ex- notes. "Whatever he does next, I'm comes to terms with Zomba chair - tremely difficult to think of Clive not sure it'll be a phenomenal success." man/CEO Clive Calder's decision to sell doing anything. Having known him Calder was unavailable for com- out to BMG and the resulting mam- since the 1960s and having worked ment, but in a statement he said: moth payout, the most intrigu- "With its outstanding execu- ing part of the news for many tives and creative talent, Zom- lies in what the reclusive South SMG ba should add a lot of value to African plans to do next. With a Bertelsmann's music division, reputed $2.8 billion check soon BMG. While the exercise of heading his way from Bertelsmann's with him all those years, I can't this option will undoubtedly be a German headquarters in Gütersloh, believe he'll do nothing. But I don't surprise to many in the music Calder is not exactly in need of a job. have any idea what would be in his industry, this is a natural culmina- But those who know the man do not mind -I guess that's going to exer- tion of many years of close business believe he is about to simply retire. -
Te Deum the Church and Music 1St Edition Pdf Free
TE DEUM THE CHURCH AND MUSIC 1ST EDITION PDF, EPUB, EBOOK Paul Westermeyer | 9780800631468 | | | | | Te Deum The Church and Music 1st edition PDF Book It was also featured in the film The Wicker Man. At first, there was no break with the Jewish faith; Christians still attended synagogues and the Second Temple in Jerusalem just as Jesus Christ had done, and presumably still carried on the same musical traditions in their separate Christian meetings. Enlarge cover. Reference Reviews. Basil the Great. Westermeyer is professor of church music at Luther Seminary, St. You could see the text on song 5 — this is old Bulgarian since 18th century,under Russian political pressure, incorrectly called Church Slavonic language, written on Cyrillic, which means that this particular text is written not earlier than 9 century AD. Save for Later. This setting of the Ordinary of the Mass spawned a tradition of Mass composition to which many famous composers of the standard concert repertory made contributions, including Bach , Haydn , Mozart and Beethoven. Related Articles. This article needs additional citations for verification. The hymn follows the outline of the Apostles' Creed , mixing a poetic vision of the heavenly liturgy with its declaration of faith. Original Title. Views Read Edit View history. Spread the loveMarching bands are a fundamental part of sporting events, parades, and other festive activities. Catholic Encyclopedia. No trivia or quizzes yet. Return to Book Page. James, which is the oldest complete form of the Divine Liturgy still in existence. Other editions. Help Learn to edit Community portal Recent changes Upload file. At a time when Christianity was competing for prominence with other religions, the music and chants were often beautiful and elaborate to attract new members to the Church. -
Kosher Country: Success and Survival on Nashville's Music Row V
Kosher Country: Success and Survival on Nashville's Music Row V Stacy Harris uring the last few years, Nashville's country music in- dustry has been mourning a larger number of its citizens Dthan usual. These losses included two, Norma Gerson ("makeup artist to the stars") and Rainbow Room owner/- erstwhile "Hee Haw" bit-player David "Skull" Schulman ("the mayor of Printers' Alley"), that underscore the little-known range and diversity of roles Jews have played in Nashville and country- music history. According to Karen B. Fine, Nashville's Jewish music indus- try population numbers "about 60 or 70."1 Few would characterize this minority as a vocal one. Indeed, when Life staff writer Charles Hirshberg wrote about the relationship between Jews and country music in the Forward, he titled the article "Nashville's Jewish Newcomers Assert Themselves (Softly)."2 Likening the reluctance of Jewish country-music industry participants to medieval Marranos who, Hirshberg believed, kept "their Jewishness private to protect their livelihoods," Hirshberg's observations of five years ago seem equally as dire in 1999.3 There would well be a justification for this. Country music's heritage is rooted in traditions of a Protestant-Christian America. Six years ago, this author wrote, "Most country artists have re- corded at least one album of sacred songs; indeed it is almost expected."4 112 SOUTHERN JEWISH HISTORY Nonetheless change may be imminent. With many more new artists and a younger listener base, this expectation no longer exists. While it still looks good for a country singer to have a press kit containing biographical information noting that the subject's earliest memories are of "hymns or more fervent gospel songs" and of his/her own performances in church, whether true or not, such references are increasingly less mandatory. -
Extra Special Supplement to the Great R&B Files Includes Updated
The Great R&B Pioneers Extra Special Supplement to the Great R&B Files 2020 The R&B Pioneers Series edited by Claus Röhnisch Extra Special Supplement to the Great R&B Files - page 1 The Great R&B Pioneers Is this the Top Ten ”Super Chart” of R&B Hits? Ranking decesions based on information from Big Al Pavlow’s, Joel Whitburn’s, and Bill Daniels’ popularity R&B Charts from the time of their original release, and the editor’s (of this work) studies of the songs’ capabilities to ”hold” in quality, to endure the test of time, and have ”improved” to became ”classic representatives” of the era (you sure may have your own thoughts about this, but take it as some kind of subjective opinion - with a serious try of objectivity). Note: Songs listed in order of issue date, not in ranking order. Host: Roy Brown - ”Good Rocking Tonight” (DeLuxe) 1947 (youtube links) 1943 Don’t Cry, Baby (Bluebird) - Erskine Hawkins and his Orchestra Vocal refrain by Jimmy Mitchell (sic) Written by Saul Bernie, James P. Johnson and Stella Unger (sometimes listed as by Erskine Hawkins or Jmmy Mitchelle with arranger Sammy Lowe). Originally recorded by Bessie Smith in 1929. Jimmy 1. Mitchell actually was named Mitchelle and was Hawkins’ alto sax player. Brothers Paul (tenorsax) and Dud Bascomb (trumpet) played with Hawkins on this. A relaxed piano gives extra smoothness to it. Erskine was a very successful Hawkins was born in Birmingham, Alabama. Savoy Ballroom ”resident” bandleader and played trumpet. in New York for many years. -
諾箋護憲薫葦嵩叢 Br皿ant Years of Singing Pure Gospel with the Soul Stirrers, The
OCk and ro11 has always been a hybrid music, and before 1950, the most important hybrids pop were interracial. Black music was in- 恥m `しfluenced by white sounds (the Ink Spots, Ravens and Orioles with their sentimental ballads) and white music was intertwined with black (Bob Wills, Hank Williams and two generations of the honky-tOnk blues). ,Rky血皿and gQ?pel, the first great hy垣i立垂a血QnPf †he囲fti鎧T臆ha陣erled within black Though this hybrid produced a dutch of hits in the R&B market in the early Fifties, Only the most adventurous white fans felt its impact at the time; the rest had to wait for the comlng Of soul music in the Sixties to feel the rush of rock and ro11 sung gospel-Style. くくRhythm and gospel’’was never so called in its day: the word "gospel,, was not something one talked about in the context of such salacious songs as ’くHoney Love’’or ”Work with Me Annie.’’Yet these records, and others by groups like theeBQ聖二_ inoes-and the Drif曲 閣閣閣議竪醒語間監護圏監 Brown, Otis Redding and Wilson Pickett. Clyde McPhatter, One Of the sweetest voices of the Fifties. Originally a member of Billy Ward’s The combination of gospel singing with the risqu6 1yrics Dominoes, he became the lead singer of the original Drifters, and then went on to pop success as a soIoist (‘くA I.over’s Question,’’ (、I.over Please”). 諾箋護憲薫葦嵩叢 br皿ant years of singing pure gospel with the Soul Stirrers, the resulting schism among Cooke’s fans was deeper and longer lasting than the divisions among Bob Dylan’s partisans after he went electric in 1965. -
CHAPTER 11 Gospel Versus Profane Music in Slovakia1
CHAPTER 11 Gospel versus profane music in Slovakia1 Yvetta Kajanová Abstract This study provides a historical perspective on the establishment of church music as a market segment. The political changes after 1989 meant that sacred music became a regular part of Central Europe culture, and the previously homogenous market became divided between secular and sacred segments. 11Due to the communist ideology and strong atheist propaganda in the former communist countries of Central Europe, the separation processes followed a different path than in the western world. The research has shown that, during the communist regime, illegal recording studios and secretive distribution of sacred music were the basis for the later character of music market. Up to the present time, the music industry still maintains the secular‐sacred segmentation even though the two music streams are tending towards convergence. The author uses historical, analytical, and statistical methods to explain the particular case of the winners of the 2009 Eurovision Song Contest in Slovakia, in which both gospel and profane music singers participated and where the gospel music supporters outvoted the profane audience. From numerous historical facts obtained during a 2005–2008 study of oral tradition, those relevant for the formation of the Slovak audience, its self‐confidence, and transformation have been selected to support this paper. 1. Beginnings Contrary to the traditional idea of cultural identity, which spoke of a solid and fixed self, umbilically related to a territory and collective history, nowadays we must take in account the volatility of these identities. Crane’s perspective on this is of course of the utmost importance (2002). -
Charles Taylor
“God’s Got The Keys”: Three Legendary Black Pianists From Gospel’s Golden Age” Herbert “Pee Wee” Pickard, Evelyn Starks Hardy & Prof. Charles Taylor Compiled and annotated by Opal Louis Nations BISHOP CHARLES TAYLOR Percussive accompaniment within the black church experience dates back to the early part of the century. Both the Pentecostal and Holiness denominations required a measure of celebratory music to heighten their sometimes wildly ecstatic song services. First came the instruments commonly associated with minstrelsy, the banjo, harmonium and melodium, then gradually the piano became the favored instrument. One of the earliest exponents was Blind Arizona Dranes (c.1905-c.1960), a female sanctified singer and first-known gospel-pianist. Dranes served as songleader and pianist for Bishops Emmett Morey Page (1871-1944), Riley Felman Williams (c.1880-1952) and Samuel M. Crouch Jr. (1896-1976). Dranes played in the ragtime tradition synonymous with the syncopated styles that flourished in the 1890s. Dranes recorded with Sarah Martin in Chicago for Okeh Records. Then came Thomas Andrew Dorsey, known as “The Father of Gospel Music,” who took the straight forward blues refrain and together with his simple, spiritual propensity developed a style that became known as gospel piano. Dorsey, who had started out as arranger and band leader for the great Gertrude “Ma” Rainey, went on to write many jazz and blues compositions for Tampa Red (Hudson Whittaker) and for his own small ensemble, Texas Tommy & Friends. One of Dorsey’s earliest gospel compositions, “If I don’t get there,” was published in 1921 in “Gospel Pearls,” a songbook published by the newly formed National Baptist Convention. -
Guide to the Martin and Morris Music Company Records, Circa 1930-1985
Guide to the Martin and Morris Music Company Records, circa 1930-1985 NMAH.AC.0492 Deborra Richardson March 1996 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 4 Scope and Contents........................................................................................................ 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 5 Container Listing ............................................................................................................. 6 Series 1: Correspondence, 1941-1980.................................................................... 6 Series 2: Business and Financial Records, 1940-1978........................................... 8 Series 3: Sheet Music, circa 1930-1985................................................................ 11 Series 4: Song Books, ca. 1930-1985.................................................................. -
MUSIC Knowledge Organiser Y4 Spring Lean on Me (Soul/Gospel)
MUSIC Knowledge Organiser Links to other years Y3 – Y5 – Y4 Spring “Begin playing musical “Begin to play musical instruments in solo instruments in solo and Lean on Me (Soul/Gospel) contexts with increasing ensemble contexts with accuracy, fluency, increasing accuracy, control and expression” fluency, control and Curriculum Drivers “Appreciate and expression” Focus: Songs understand a wide range “Appreciate and “Play musical instruments in solo contexts with increasing accuracy, fluency, of high-quality live and understand a wide range control and expression” recorded music drawn of high-quality live and “Appreciate and understand a wide range of high-quality live and recorded music from different recorded music drawn drawn from different traditions and from great composers and musicians” traditions and from from different Aspirational people: Mahalia Jackson, known as “The World’s Greatest Gospel Singer” was also a civil rights activist. great composers and traditions and from Knowledge of the world: South America is a continent in the Western musicians” great composers and Hemisphere, it can be described as a southern subcontinent of the Americas. musicians” Healthy body/mind: How does the music make you feel? What music makes your heart rate rise the quickest? How can music be used to show friendship, kindness, respect, happiness? Subject Theme Soul/Gospel music and helping one another. Key Knowledge Gospel - Gospel music is a genre of Christian music. It is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. Gospel music usually has dominant vocals (often with strong use of harmony) with Christian lyrics and can be traced to the early 17th century.