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Kennedy Center Education Department. Funding Also Provided by the Kennedy Center Corporate Fund
DOCUMENT RESUME ED 381 839 CS 508 906 AUTHOR Carr, John C. TITLE "Crazy for You." Spotlight on Theater Notes. INSTITUTION John F. Kennedy Center for the Performing Arts, Washington, D.C. SPONS AGENCY Department of Education, Washington, DC. PUB DATE [95] NOTE 17p.; Produced by the Performance Plus Program, Kennedy Center Education Department. Funding also provided by the Kennedy Center Corporate Fund. For other guides in this series, see CS 508 902-905. PUB TYPE Guides General (050) EDRS PRTCE MF01/PC01 Plus Postage. DESCRIPTORS Acting; *Cultural Enrichment; *Drama; Higher Education; Playwriting; Popular Culture; Production Techniques; Secondary Education IDENTIFIERS *Crazy for You; Historical Background; Musicals ABSTRACT This booklet presents a variety of materials concerning the musical play "Crazy for You," a recasting of the 1930 hit. "Girl Crazy." After a brief historical introduction to the musical play. the booklet presents biographical information on composers George and Ira Gershwin, the book writer, the director, the star choreographer, various actors in the production, the designers, and the musical director. The booklet also offers a quiz about plays. and a 7-item list of additional readings. (RS) ....... ; Reproductions supplied by EDRS ore the best that can he made from the original document, U S DEPARTMENT OF EDUCATION Ofi.co ofEaucabonni Research aria improvement EDUCATIONAL RESOURCES INFORMATION CENTER IERIC1 Et This document has been reproduced as received from the person or organization onqinallnq d 0 Minor charms have been made to improve reproduction quality. Points or view or opinions stated in this document do not necessarily represent official OERI position or policy -1411.1tn, *.,3^ ..*. -
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 -
Gershwin Part 1: “I Got Rhythm” Music from 9AM – 9:30 - Log On, Get Your Coffee, Listen, Relax
Gershwin Part 1: “I Got Rhythm” Music from 9AM – 9:30 - Log on, get your coffee, listen, relax. • “I Got a Crush on You” recorded by Nat Adderley in 1960 on Work Song. Written in 1928 for Treasure Girl. • “Nice Work If You Can Get It” recorded by Sarah Vaughn in 1950 on Sarah Vaughn with George Treadwell and his All Stars. Written in 1937 for Damsels in Distress. • “Isn’t It A Pity” recorded by Cheryl Bentyne in 2010 on The Gershwin Songbook. Written in 1933 for Pardon My English. • “I Loves You, Porgy” recorded by Billie Holiday, accompanied by Bobby Tucker. Written in 1935 for Porgy & Bess. • “Let’s Call The Whole Thing Off” recorded by Ella Fitzgerald and Louis Armstrong with the Oscar Peterson Trio in 1957 on Ella and Louis Again. Written in 1937 for Shall We Dance. • “They Can’t Take That Away From Me” recorded by Frank Sinatra in 1962 on Sinatra and Swingin’ Brass. Written in 1937 for Shall We Dance. • “Do It Again” recorded by Beverly Kenney accompanied by Ellis Larkins in 1958 on Beverly Kenney Sings for Playboys. Written in 1922 for The French Doll. • “Love is Here to Stay” recorded in 1955 by Carmen McRae. Written in 1937 for The Goldwyn Follies. • “My One and Only” recorded in 1950 by Ella Fitzgerald with Ellis Larkin on Ella Sings Gershwin. Written in 1927 for Funny Face. • “I Got Rhythm” recorded in 1964 in Sweden by Sarah Vaughn. Written in 1930 for Girl Crazy. Class Begins at 930AM The Gershwins Part 1: “I Got Rhythm” Course Agenda showing the music 1. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
INDICE COMPOSITORI Irving BERLIN (Israel Baline) SIBERIA 1888 – USA 1989 1
INDICE COMPOSITORI Irving BERLIN (Israel Baline) SIBERIA 1888 – USA 1989 1. Watch Your Step (1914) Di seguito in ordine alfabetico troverete i 2. Stop. Look. Listen! – revue (1914) maggiori compositori di musical e le loro 3. The Century Girl – revue (1916) opere riportate in ordine cronologico. 4. The Ziegfeld Follies of 1918 – revue (1918) ABBA 5. The Canary – operetta-parte della score (1918) (Benny Andersson – SVEZIA 1945 – Bj Örn 6. Yip, Yip, Yaphank – revue (1918) Ulvaeus – SVEZIA 1946) 7. Music Box – revue (1921) 1. Abbacadabra (1984) 8. The Cocanuts (1925) 2. Chess (1986) 9. Face the Music (1932) 3. Kristina… (1998) 10. As Thousands Cheer (1933) 4. Mamma Mia! (1999) 11. Luisiana Purchaese (1940) 12. This Is the Army (1942) Richard ADLER 13. Annie Get Your Gun (1946) USA 1921-2012 14. Miss Liberty (1949) 1. John Murray Anderson’s Almanac 15. Call Me Madame (1950) (revue) 1953 16. Mr. President (1962) 2. The Pajama Game (1954) 3. Damn Yankees (1955) Leonard BERNSTEIN 4. Music Is (1956) USA 1918-1990 5. Kwamina (1961) 1. Fancy Free – balletto (1944) 6. A Mother’s Kisses (1969) 2. On The Town (1944) 7. Music Is (1976) 3. Facsimile – balletto (1946) 8. Off Key (1995) 4. Peter Pan – commedia con musiche (1950) Harold ARLEN (Hyman Arluck) 5. Trouble in Tahiti – opera (1952) USA 1905-1986 6. Wonderful Town (1952) 1. Earl Carroll Vanities – revue (1930) 7. The Lark – commedia con musiche 2. You Said It – revue (1931) (1955) 3. Rhythmania – revue (1931) 8. Candide (1955–56) – revised (1974) – 4. Cotton Club Parade – revue (1932) revised (1989) 5. -
Anything Goes on an Ocean Liner: Musical Comedy As a Carnivalistic Heterotopia
Article title: Anything Goes on an ocean liner: musical comedy as a carnivalistic heterotopia [in Studies in Musical Theatre, 7(3), February 2014, pp. 326-345] Author: George Burrows Author affiliation: University of Portsmouth Author Contact Details: George Burrows Senior Lecturer in Music School of Creative Arts, Film and Media Eldon Building Winston Churchill Avenue Portsmouth PO1 2DJ [email protected] Abstract: This article argues that the ocean-liner setting of the 1934 Broadway musical Anything Goes provides a rich place from which to explore how such seemingly frivolous musical comedy can otherwise be viewed as socially discursive and critical. It explores the way Anything Goes can be viewed as a typical product of the Great Depression and suggests its function in re-envisioning identities in the face of the apparent failure of the „American Dream‟. The nature of the carnivalistic comedy offered in the shipboard narrative of Anything Goes further suggests that it offers an important salve for Depression-era anxiety. From this Bakhtinian perspective, Anything Goes is figured as a subversive space for the performance of social deviance of one sort or another. Bakhtin‟s vision of carnival spaces suggests that musical comedy has an important function in social renewal but it might be too utopian to articulate to „real‟ society. However, Michel Foucault‟s notion of heterotopias allows for a re-connection of Bakhtin‟s utopianism with the „real‟ world and thus serves to show that Anything Goes and, indeed, musical comedy more generally might be as vital a location as passenger ships for functional socio-critical discourse. -
Theater Playbills and Programs Collection, 1875-1972
Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items. -
James W. Phillips Collection
JAMES W. PHILLIPS COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gigi Monacchino, spring 2013 Revised by Gail E. Lowther, winter 2019 1 TABLE OF CONTENTS Description of Collection . 3 Description of Series . 5 INVENTORY Sub-Group I: Composer Subdivision Series 1: Irving Berlin . 7 Series 2: George Gershwin, Victor Herbert, and Jerome Kern . 35 Series 3: Jerome Kern and Cole Porter . 45 Series 4: Cole Porter and Richard Rodgers . 60 Series 5: Richard Rodgers . 72 Series 6: Richard Rodgers and Sigmund Romberg . 86 Sub-Group II: Individual Sheet Music Division . 92 Sub-Group III: Film and Stage Musical Songs . 214 Sub-Group IV: Miscellaneous Selections . 247 2 DESCRIPTION OF COLLECTION Accession no. 2007/8/14 Shelf location: C3B 7,4–6 Physical extent: 7.5 linear feet Biographical sketch James West Phillips (b. August 11, 1915; d. July 2, 2006) was born in Rochester, NY. He graduated from the University of Rochester in 1937 with distinction with a Bachelor of Arts in Mathematics; he was also elected to the academic honors society Phi Beta Kappa. In 1941, he moved to Washington, DC, to work in the Army Ordnance Division of the War Department as a research analyst. He left that position in 1954 to restore a house he purchased in Georgetown. Subsequently, in 1956, he joined the National Automobile Dealers Association as a research analyst and worked there until his retirement in 1972. He was an avid musician and concert-goer: he was a talented pianist, and he composed music throughout his life. -
Bachelorarbeit
Carl von Ossietzky Universität Oldenburg Fakultät III: Sprach- und Kulturwissenschaften Institut für Musik Zwei-Fächer-Bachelor: Musik + Ev. Theologie und Religionspädagogik B.A. BACHELORARBEIT Titel Die Wechselwirkung zwischen klassischer Musik und Jazzmusik am Beispiel von Gershwins Rhapsody in Blue vorgelegt von Lennart Wähnke ZENSIERT ZENSIERT Matrikelnr.: ZENSIERT E-Mail: ZENSIERT Betreuende Gutachterin: Zweiter Gutachter: ZENSIERT ZENSIERT Oldenburg, den 10. Oktober 2019 Inhaltsverzeichnis 1. Einleitung und Fragestellung 1 2. Gershwin und sein Werk 2 3. Gattung Rhapsodie 5 4. Analyse 7 4.1 Analyse des Thema A 10 4.2 Blues- und Jazz-Elemente 14 4.3 Kunstmusik-Elemente 17 4.4 Abschnitte 19 5. Ergebnisse 22 6. Fazit und Selbstständigkeitserklärung 25 7. Literaturverzeichnis 28 8. Anhang 29 1. Einleitung und Fragestellung Das Thema dieser Arbeit entstand durch ein Treffen mit Frau Prof. Dinescu, als ich ihr offenbarte eine Bachelorarbeit bei ihr schreiben zu wollen. Nach meiner ursprünglichen Idee ein modernes Werk musiktheoretisch zu untersuchen, schlug sie mir verschiedene Werke vor. Dabei waren unter anderem das Klavierkonzert in G-Dur für die linke Hand von Maurice Ravel, Children’s Corner von Claude Debussy, verschiedene Werke von Leonard Bernstein, sowie Rhapsody in Blue von George Gershwin. Durch das Hören der Werke bekam ich einen Bezug zu Gershwins Rhapsody in Blue, insbesondere zur Schallplattenaufnahme des Columbia-Symphony-Orchestra mit Leonard Bernstein als Pianist und Dirigent von 1973, und der Videoaufnahme der New York Philharmonics in der Londoner Royal Albert Hall 1976, ebenfalls mit Bernstein als Pianist und Dirigent. Aufgrund der Diversität des Stücks stellte ich mir die Frage inwieweit sich Jazzmusik und „klassische“ Musik, in diesem Fall eher Kunstmusik im generellen, vermischen lassen und was dies mit der Musik macht. -
Vocal Music 405
VOCAL MUSIC 405 Into the Woods Porgy and Bess VOCAL SCORES Music and lyrics by Stephen Sondheim By George Gershwin, DuBose and Dorothy Heyward, and (POPULAR) Titles: Opening (Part I, II, IIA, III, IV, V, VI, VII, VIII) • Ira Gershwin Cinderella at the Grave • Hello Little Girl • I Guess This Titles: Jasbo Brown Blues • Summertime • A Woman Is a Assassins Is Goodbye • Maybe They’re Magic • Rapunzel • Baker’s Sometime Thing • Here Come de Honey Man • They Pass Reprise • Cinderella Coming from the Ball (Underscore) by Singin’ • Oh Little Stars • Gone, Gone, Gone • Overflow Music and lyrics by Stephen Sondheim • A Very Nice Prince • First Midnight • Giants in the Sky • • My Man’s Gone Now • Leavin’ for the Promise’ Lan’ • It Titles: Opening • Hail to the Chief (Underscore) • Sic Underscore 9A • Agony • and more. Take a Long Pull to Get There • I Got Plenty O’ Nuttin’ • Semper Tyrannis! (Underscore) • The Ballad of Booth (Part Buzzard Song • and many more. I, II, III) • Saloon (Underscore) • Break It (Underscore) • Vocal Score ...................$100.00 00-VF1544____ UPC: 723188615445 How I Saved Roosevelt • Emma Goldman (Underscore) • Vocal Score ...................$100.00 00-VF1958____ UPC: 723188619580 Everybody’s Got the Right (Finale). A Little Night Music Scores Vocal Vocal Score .....................$75.00 00-VF1765____ Music and lyrics by Stephen Sondheim Ragtime the Musical: Vocal Score (Complete) UPC: 723188617654 Titles: Night Waltz • Now • Later • Soon • The Glamorous Lyrics by Lynn Ahrens, music by Stephen Flaherty Babes in Toyland Life • A Little Night Music • Remember? • You Must Meet Celebrate the wonderful music of the 1998 musical My Wife • Liaisons • Every Day a Little Death • Send in the Ragtime with Ragtime the Musical: Vocal Score Music by Victor Herbert, lyrics by MacDonough, Clowns • The Miller’s Son • A Weekend in the Country • It (Complete) . -
10656.Ch01.Pdf
© 2006 UC Regents Buy this book University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more informa- tion, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2006 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Pollack, Howard. George Gershwin : his life and work / Howard Pollack. p. cm. Includes bibliographical references (p. ) and index. isbn-13: 978-0-520-24864-9 (cloth : alk. paper) isbn-10: 0-520-24864-3 (cloth : alk. paper) 1. Gershwin, George, 1898–1937. 2. Composers— United States—Biography. I. Title. ml410.g288p65 2007 780.92—dc22 [B] 2006017926 Manufactured in the United States of America 15 14 13 12 11 10 09 08 07 06 10987654321 This book is printed on Natures Book, which contains 50% post-consumer waste and meets the minimum requirements of ansi/niso z39.48–1992 (r 1997) (Permanence of Paper).8 Contents Preface xiii PartOne: Life 1. Gershwin and His Family 3 2. Gershwin’s Musical Education to the Rhapsody in Blue (1924) 22 3. Gershwin and the New Popular Music 41 4. The Popular Pianist 61 5. Toward a Career in the Theater 81 6. Gershwin among His Friends 96 7. Later Studies 118 8. Gershwin and the Great Tradition 136 9. -
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera
Guide to the Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera NMAH.AC.1211 Franklin A. Robinson, Jr. 2019 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..................................................................................................................... 2 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Stage Musicals and Vaudeville, 1866-2007, undated............................... 4 Series 2: Motion Pictures, 1912-2007, undated................................................... 327 Series 3: Television, 1933-2003, undated............................................................ 783 Series 4: Big Bands and Radio, 1925-1998,