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"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
Musical Women and Identity-Building in Early Independent Mexico (1821-1854)
Musical Women and Identity-Building in Early Independent Mexico (1821-1854) Yael Bitrán Goren Thesis submitted for the degree of PhD Music Department, Royal Holloway, University of London 2012 1 Declaration of Authorship I, Yael Bitrán Goren, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: 13 April 2012 Abstract This thesis investigates music in Mexico City, with an emphasis on women's relationship to Romanticism, education, consumption, domestic music-making and public performance. During the first decades after independence in 1821, Mexicans began the process of constructing an identity, which musically speaking meant an expansion of the secular musical world. Such construction involved the development of internal activity alongside a conditional receptivity to external influence in the form of the visits of Italian opera companies such as those of Manuel García and Max Maretzek, and travelling virtuosi such as pianist virtuoso Henri Herz, who brought new repertoire and performance practices to Mexican theatres and homes. As consumers and as musicians, women were at the centre of such developments. In Mexico, both European music and that of local musicians was disseminated by means of ladies’ journals and imported and locally-printed sheet music by foreign and Mexican composers, in order to supply a growing home market for amateurs. Abundant surviving repertoire for the home, the widespread availability of musical instruction as revealed through advertisements, and witness accounts of soirées and concerts in the theatre reveal a budding musical world that has hitherto been overlooked and which occurred during a period generally deemed of little importance in Mexican musical history. -
The Secularization of the Repertoire of the Mormon Tabernacle Choir, 1949-1992
THE SECULARIZATION OF THE REPERTOIRE OF THE MORMON TABERNACLE CHOIR, 1949-1992 Mark David Porcaro A dissertation submitted to the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music (Musicology) Chapel Hill 2006 Approved by Advisor: Thomas Warburton Reader: Severine Neff Reader: Philip Vandermeer Reader: Laurie Maffly-Kipp Reader: Jocelyn Neal © 2006 Mark David Porcaro ALL RIGHTS RESERVED ii ABSTRACT MARK PORCARO: The Secularization of the Repertoire of the Mormon Tabernacle Choir, 1949-1992 (Under the direction of Thomas Warburton) In 1997 in the New Yorker, Sidney Harris published a cartoon depicting the “Ethel Mormon Tabernacle Choir” singing “There’s NO business like SHOW business...” Besides the obvious play on the names of Ethel Merman and the Mormon Tabernacle Choir, the cartoon, in an odd way, is a true-to-life commentary on the image of the Salt Lake Mormon Tabernacle Choir (MTC) in the mid-1990s; at this time the Choir was seen as an entertainment ensemble, not just a church choir. This leads us to the central question of this dissertation, what changes took place in the latter part of the twentieth century to secularize the repertoire of the primary choir for the Church of Jesus Christ of Latter-day Saints (LDS)? In the 1860s, when the MTC began, its sole purpose was to perform for various church meetings, in particular for General Conference of the LDS church which was held in the Tabernacle at Temple Square in Salt Lake City. From the beginning of the twentieth century and escalating during the late 1950s to the early 1960s, the Choir’s role changed from an in-house choir for the LDS church to a choir that also fulfilled a cultural and entertainment function, not only for the LDS church but also for the American public at large. -
Title Artist Gangnam Style Psy Thunderstruck AC /DC Crazy In
Title Artist Gangnam Style Psy Thunderstruck AC /DC Crazy In Love Beyonce BoomBoom Pow Black Eyed Peas Uptown Funk Bruno Mars Old Time Rock n Roll Bob Seger Forever Chris Brown All I do is win DJ Keo Im shipping up to Boston Dropkick Murphy Now that we found love Heavy D and the Boyz Bang Bang Jessie J, Ariana Grande and Nicki Manaj Let's get loud J Lo Celebration Kool and the gang Turn Down For What Lil Jon I'm Sexy & I Know It LMFAO Party rock anthem LMFAO Sugar Maroon 5 Animals Martin Garrix Stolen Dance Micky Chance Say Hey (I Love You) Michael Franti and Spearhead Lean On Major Lazer & DJ Snake This will be (an everlasting love) Natalie Cole OMI Cheerleader (Felix Jaehn Remix) Usher OMG Good Life One Republic Tonight is the night OUTASIGHT Don't Stop The Party Pitbull & TJR Time of Our Lives Pitbull and Ne-Yo Get The Party Started Pink Never Gonna give you up Rick Astley Watch Me Silento We Are Family Sister Sledge Bring Em Out T.I. I gotta feeling The Black Eyed Peas Glad you Came The Wanted Beautiful day U2 Viva la vida Coldplay Friends in low places Garth Brooks One more time Daft Punk We found Love Rihanna Where have you been Rihanna Let's go Calvin Harris ft Ne-yo Shut Up And Dance Walk The Moon Blame Calvin Harris Feat John Newman Rather Be Clean Bandit Feat Jess Glynne All About That Bass Megan Trainor Dear Future Husband Megan Trainor Happy Pharrel Williams Can't Feel My Face The Weeknd Work Rihanna My House Flo-Rida Adventure Of A Lifetime Coldplay Cake By The Ocean DNCE Real Love Clean Bandit & Jess Glynne Be Right There Diplo & Sleepy Tom Where Are You Now Justin Bieber & Jack Ü Walking On A Dream Empire Of The Sun Renegades X Ambassadors Hotline Bling Drake Summer Calvin Harris Feel So Close Calvin Harris Love Never Felt So Good Michael Jackson & Justin Timberlake Counting Stars One Republic Can’t Hold Us Macklemore & Ryan Lewis Ft. -
Vögel Verkehr Vere C
INHALTSVERZEICHNIS AMERIKA Alphabetisches Verzeichnis NORDAMERIKA ..1 Kanada ..2 Mexiko ..3 Vereinigte Staaten von Amerika. mit Alaska (3a) SÜDAMERIKA ...1 Argentinien ...2 Bolivien ...3 Brasilien ...4 Chile ...5 Ecuador. ...6 Guyana ...7 Kolumbien. ...8 Paraguay. ...9 Peru.. .10 Suriname.. .11 Uruguay. .12 Venezuela .13 Frz. Guyana ZENRALAMERIKA ..1 Belize.... ..5 Honduras ..2 Costa Rica ..6 Nicaragua ..3 El Salvador ..7 Panama ..4 Guatemala KARIBIK ..1 Bahamas ..2 Dominikanische Republik ..3 Haiti ..4 Jamaika ..6 GB Turks & Caicosinseln ..5 Kuba ..7 GB Kaimanninseln ...1 USA US Virgin Islands ...2 GB British Virgin Islands ...3 GB Anguilla .4 + FR/ NL St.Martin, Sint Maarten ...5 FR St.Barthelemy ...6 NL St.Eustatius ...7 St.Kitts & Nevis ...8 Antigua & Barbuda ...9 GB Montserrat .10 FR Guadeloupe .11 Dominica .12 FR Martinique .13 St.Lucia .14 Barbados .15 St.Vincent & The Grenadines .16 Grenada .17 Trinidad & Tobago .18 USA Puerto Rico .19 NL Aruba .20 NL Curacao .21 NL Bonaire Alphabetische Reihung der Länder Antigua Paraguay Argentinien Peru Bahamas St. Kitts and Nevis Barbados St. Lucia Belize St. Vincent und Bolivien Grenadinen Brasilien Suriname Chile Trinidad und Tobago Costa Rica Uruguay Dominica Venezuela Dominik. Republik Vereinigte Staaten von Ecuador Amerika El Salvador Grenada Guatemala Guyana Haiti Honduras Jamaika Kanada Kolumbien Kuba Mexiko Nicaragua Panama ANTIGUA und BARBUDA Antigua and Barbuda Hauptstadt Saint John’s Staatsform Konstitutionell-parlamentarische Monarchie Währung 1 Ostkaribischer Dollar = 100 Cent 1€ = 3,29 XCD Fläche 281 (Antigua), 161 km² (Barbuda) - 442 km² Einwohner 85.632 Unabhängig seit 1981 von Großbritannien Nat.Hymne Fair Antigua, We Salute Thee (Schönes Antigua, wir grüßen dich) Zeit UTC -4 MEZ -5 Kfz AG Tel +1 268 TLD .ag Geographie Inselstaat zwischen Nordatlantik und Karibik, südöstlich von Puerto Rico, Insel Redonda unbewohnt Inseln über dem Winde, vulkanisch Barbuda ist die Oberfläche eines großen Korallenriffs Höchste Erhebung Mount Obama (ehem. -
SOCIOGÉNESIS DEL HIMNO NACIONAL MEXICANO Diferenciación Funcional En La Emergencia De Una Música De Estado
SOCIOGÉNESIS DEL HIMNO NACIONAL MEXICANO Diferenciación funcional en la emergencia de una música de estado Idónea Comunicación de Resultados de la Maestría en Ciencias Sociales y Humanidades Presenta: José Omar Pérez Baños Director: Dr. Alejandro Estrella González Comité Tutoral: Dr. Alejandro Araujo Pardo Dr. Jorge Lionel Galindo Monteagudo Sinodales: Dr. Héctor Alfonso Vera Martínez Dr. Luis de Pablo Hammeken Primavera 2018 Agradecimientos Ha sido una fortuna poder reingresar a una institución de educación superior para realizar un posgrado después de haber estado alejado de la actividad académica por un largo periodo de tiempo. Esto fue posible gracias al visto bueno que la UAM Cuajimalpa, atravésdelcomitédelPosgradodeCienciasSocialesyHumanidades,dioamiproyecto de investigación. Agradezco a los miembros de mi comité tutoral: Al doctor Alejandro Estrella, director de la presente investigación, por la enseñanza yacompañamientodurantelosdosañosqueduróelprogramadeposgrado.Eltrabajo dentro y fuera de clases derivó en un aprendizaje del oficio de historiador sin el cual no se hubiera podido desarrollar buena parte del argumento que aquí sostengo. Gracias a su consejo sé que de nada sirve conocer un martillo (la teoría) si nunca se va a golpear con él (investigar). Aquí entrego mis primeros martillazos. Al doctor Jorge Galindo por su oficio sociológico y su disposición a mantener es- pacios de reflexión teórica y exploración temática. La teoría social se puede discutir en muchos espacios, pero no con la seriedad y el compromiso que caracteriza sus clases. Esta apertura y disposición me permitieron ahondar en mi interés por la diferenciación funcional (mi martillo sociológico), ahora a partir de un problema histórico. Al doctor Alejandro Araujo por compartir su conocimiento sobre el México decimo- nónico y sus reflexiones metodológicas sobre el quehacer histórico. -
And Others Presentaciones Escolares. Serie De Programas Para Conmemorar Acontecimientos De Valor Culture P
DOCUMENT RESUME ED 108 489 95 FL 006 952 AUTHOR Villarreal, Abelardo; And Others TITLE Presentaciones escolares. Serie de programas para conmemOrar acontecimientos de valor culture para el mexico americano (School Assembly Presentations. Series of Programs to Commemorate Events of Cultu-ral Value to the Mexican erican). INSTITUTION Curriculum Adaptatio N twork for Bilingual/Bicu tural Education, San Antonio, Tex. Southwest Regio 1 daptation Center.; Dissemination Center for Bilingua Bicultural Education, Austin, Tex. SPONS AGENCY Office of Education (DHE Washington, D.C.; William Randolph Hearst Foundation Los Angeles, Calif. PUB DATE Apr 74 NOTE 74p.; In Spanish AVAILABLE FROMDissemination Center for Bilingual Biculoiral Education, 6504 Tracor Lane, Austin, Texas 78721 ($2.25) EDRS PRICE MF-$0.76 HC-$3.32 PLUS POSTAGE DESCRIPTORS *Assembly Programs; *Biculturalism; *Bilingual Education; Cultural Awareness; Cultural Enrichment; Curriculum Guides; Elementary Education; *Enrichment Activities; Latin American Culture; Mexican American History; *Mexican Americans; Spanish; Spanish Speaking 1 ABSTRACT This material consists of a series of cultural presentations design0 for elementary school assemblies or special programs. The activities are intended to strengthen Mexican-American children's awareness of their cultural heritage. Program scripts, poems, songs, histbiical narratives and skits are included to illustrate and celOrate Mexican and American holidays such as Mexican Independence Day, Columbus Day, Thanksgiving, Christmas and the New Year, the 5th of May and Mother's Day. (CK) \ I , *********************************************************************** * Documents acquired by ERIC include many informal unpublished * *materials not available from other sources. ERIC makes every effort* *to obtain the best copy available. nevertheless, items of marginal * *reproducibility are often encountered and this affects the quality * *of the microfiche and hardcopy reproductions ERIC makes available * *via the ERIC Document Reproduction Service (EDRS). -
Maria Isabel Mayo-Harp B.A
NATIONAL ANTHEMS AND IDENTITIES: THE ROLE OF NATIONAL ANTHEMS IN THE FORMATION PROCESS OF NATIONAL IDENTITIES Maria Isabel Mayo-Harp B.A. (Hom.) Instituto Tecnologico Authorno de México, 1994 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUTREMENTS FOR THE DEGREE OF MASTER OF ARTS In the Department of Political Science O Maria Isabel Mayo-Harp 2001 SMON FRASER UNIVERSITY July 200 1 Al1 rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON KIA ON4 ûttawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Librq of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microforrn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract The issue of how nations came to being has been extensively covered by social scientists. -
La Bandera Y El Himno Nacional Como Símbolos De Identidad En El Continente Americano", México, Senado De La República, 2 De Julio De 2018
LA BANDERA Y EL HIMNO NACIONAL COMO SÍMBOLOS DE IDENTIDAD EN EL CONTINENTE AMERICANO 2 DE JULIO DE 2018 NOTA INFORMATIVA Fuente: Elaboración propia ANÁLISIS E INVESTIGACIÓN A través del tiempo se ha recurrido a símbolos que ayuden a identificar a los individuos como miembros de una sociedad. El medio más usual para adoptar una identidad durante el transcurso de la historia ha sido mediante el establecimiento de algún emblema idiosincrático (estandarte, escudo, bandera, entre otros) que agrupe los principales elementos asociados a la conformación del Estado (historia, tradiciones, costumbres, lenguas, leyes, gobierno, etcétera). El continente americano ha vivido una singular historia de conquistas, colonias y posteriores independencias y la construcción de estados independientes en entornos complejos por lo que la presente Nota Informativa presenta una compilación de las banderas e himnos nacionales del continente como símbolos de identidad; analizando su significado y el contexto en el que fueron establecidos. The flag and national anthem’s as symbols of identity in the American continent Through time, symbols have been used to help identify individuals as members of a society. The most common way to adopt an identity during the course of history has been through the establishment of some idiosyncratic emblem (banner, coat of arms, flag, among others) that assembles the main elements associated with the conformation of a State (history, traditions, customs, languages, laws, government, etc.). The American continent has lived a singular history of conquests, colonies and subsequent independence, and the construction of independent states in complex environments, therefore, this Note presents a compilation of the flags and national anthems of the continent as symbols of identity; analyzing their meaning and the context in which they were established. -
How to Use This Songfinder
as of 3.14.2014 How To Use This Songfinder: We’ve indexed all the songs from 23 volumes of Real Books. Simply find the song title you’d like to play, then cross-reference the numbers in parentheses with the Key. For instance, the song “Ac-cent-tchu-ate the Positive” can be found in both The Real Book Volume III and The Real Vocal Book Volume II. KEY Unless otherwise marked, books are for C instruments. For more product details, please visit www.halleonard.com/realbook. 01. The Real Book – Volume I 08. The Real Blues Book/00240264 C Instruments/00240221 09. Miles Davis Real Book/00240137 B Instruments/00240224 Eb Instruments/00240225 10. The Charlie Parker Real Book/00240358 BCb Instruments/00240226 11. The Duke Ellington Real Book/00240235 Mini C Instruments/00240292 12. The Bud Powell Real Book/00240331 Mini B Instruments/00240339 CD-ROMb C Instruments/00451087 13. The Real Christmas Book C Instruments with Play-Along Tracks C Instruments/00240306 Flash Drive/00110604 B Instruments/00240345 Eb Instruments/00240346 02. The Real Book – Volume II BCb Instruments/00240347 C Instruments/00240222 B Instruments/00240227 14. The Real Rock Book/00240313 Eb Instruments/00240228 15. The Real Rock Book – Volume II/00240323 BCb Instruments/00240229 16. The Real Tab Book – Volume I/00240359 Mini C Instruments/00240293 CD-ROM C Instruments/00451088 17. The Real Bluegrass Book/00310910 03. The Real Book – Volume III 18. The Real Dixieland Book/00240355 C Instruments/00240233 19. The Real Latin Book/00240348 B Instruments/00240284 20. The Real Worship Book/00240317 Eb Instruments/00240285 BCb Instruments/00240286 21. -
Download Booklet
COMPLETE NATIONAL ANTHEMS OF THE WORLD: 2013 EDITION ORCHESTRATED BY PETER BREINER SLOVAK RADIO SYMPHONY ORCHESTRA • SLOVAK STATE PHILHARMONIC, KOŠICE* PETER BREINER, CONDUCTOR When I started arranging and recording national anthems some 17 years ago, nobody expected the project would become so big and popular. In the meantime, it has been an important part of two Summer Olympics and numerous other sporting, cultural and social events. It’s hard to imagine the amount of time and work that has been invested into this endeavour, and it could not have been done without the incredible efforts and expertise of several anthem experts, all the musicians, but mainly without the extraordinary recording team that has been involved in this project from its beginning – sound engineer Otto Nopp and Ladislav Krajcovic. This is an extraordinary project and any other existing anthem collection does not come close, in completeness, quality of the research or the size of the orchestral forces used. Every time this album is updated and released, the reactions are always overwhelming - from uncountable press articles and radio/TV shows all the way to special archbishops’ blessings. I hope this latest version, with its unprecedented number of anthems, will be no less appreciated. Peter Breiner National anthems tell the story of the country, its hopes, its dreams, its goals, its struggles and its history. To learn a country’s national anthem is to get a deeper knowledge of the country, and knowledge of other nations is the first step towards cooperation and understanding between peoples. National anthems, as we know them today, started in Europe as praises to the ruler. -
Culver City City Council Established the Culver City Sister City Commi Ee (CCSCC) for the Cultural Be Erment of the City and Its People
50TH ANNIVERSARY CELEBRATION Culver City Sister City Committee January 12, 2013 Na.onal Anthems in the order of our signing agreements with each city FIRST VERSES AND CHORUS ONLY STAR SPANGELED BANNER—U.S.A. KIMIGAYO—Japan O say can you see by the dawn's early light, Kimigayo wa What so proudly we hailed at the twilight's last gleaming, Chiyo ni yachiyo ni Whose broad stripes and bright stars through the perilous gh t, Sazare-ishi no O'er the ramparts we watched, were so gallantly streaming? Iwao to narite And the rockets' red glare, the bombs bursn g in air, Koke no musu made Gave proof through the night that our a g was s ll there; O say does that star-spangled banner yet wave, O'er the land of the free and the home of the brave? AEGUKGA—South Korea HIMNO NACIONAL MEXICANO—Mexico Donghae mulgwa Baekdusani mareugo daltorok Haneunimi bo-uhasa uri nara manse Mexicanos, al grito de guerra el acero aprestad y el bridón Chorus y ree mble en sus centros la e rra Mugunghwa samcheolli hwaryeo gangsan al sonoro rugir del cañón. Daehan saram Daehan euro giri bojeonhase Ciña ¡oh Patria! tus sienes de oliva de la paz el arcángel divino que en el cielo tu eterno des no O CANADA—Canada por el dedo de Dios se escribió. O Canada! Mas si osare un extraño enemigo Our home and nav e land! profanar con su planta tu suelo True patriot love in all thy sons command. piensa ¡oh Patria querida! que el cielo With glowing hearts we see thee rise, un soldado en cada hijo te dio.