DOCSLIB.ORG

AN -2 /9/8 No.7

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

AN -2 /9/8 VoL X January, 1918 No.7 to cen .. per copy Co..,.LlOltT Itl l .,. C ••CIIMDO ru •. Co. $1.00 per rear AU rt.hyl'eMl"Nd "~TQM" "" 811tOOWII C ...... M"''M''Ka J UN .. I. lICIt, ,toT Til" "on' O",ICt! AT no.Tolf, ....... UNOO Acr 0 ,. M ....c ll I. 1819. Th_ CRESCENDO 1I=1=lu BRILLIANT MANDOLIN ORCHESTRA MUSIC SINGLE PARTS CO .. BINATIONS Eaeh numbe:rl.aLtoetf«th'et,. ~ ~ _rratl..-d 'w aa,..mal.. eclat- blnaOoa. Banjo ~ In both i .a H t 1 1 AaadCNoutioa < i~ ~ < I" ~ iI ; U i~ ~o DISCOUNT ON&.IIALF OPF ! ! a ~~ i~ 00 S .. ~ ~1 :: J ! l 0 i ~ il ~ EACIf ~ Gay Chauffeur. The. March .80 .20 .20 .20 .20 .20 .20 .20 .60 .60 .40 .60 G. L. Lansing and H. F. Odell la l,",ooolaDd. Intermezzo .80 .20 .20 .20 .20 .20 .20 .20 .60 .60 .40 .60 H. A. Peck Arr. B. F. Odell La T:r.I ••ue. Muurka Hongroile .40 .80 .80 .80 .20 .80 .20 .60 .80 1.00 .60 .80 0 L. GanDe Arr. H. F. Odell Love'. Golden &Jemoriea .80 .20 .20 .20 .20 .20 .20 .20 .60 .60 .40 .60 0 ~ H. F. Odell MandoU"e . .SO .20 .20 .20 .20 .20 .20 .40 .60 .60 .40 .60 Fr. Thome Arr. B. F. Odell 11 ••qu er.der•• Tltl!. .80 .20 .20 .20 .20 .20 .20 .40 .60 .60 .'0 .60 Dorothy Wbite Pri!?i.~ · ~ ~:~~~~.nc. .80 .20 .20 .20 .20 .20 .20 .40 .60 .60 .40 .60 J . T. Clark Arr. H. F. Odell Our Co".",.'- Catalot/ of Man.dolu.. Guitar. BGlfjo Mu.ic, Elc., Sellt Free to A nlto,.. WHITE· SMITH MUSIC PUBLISHING CO. bBOSTON. 82 St...... 8.. NBW YOBK. IS B ••• 17'h S.. CHICAGO. 318 S •• W.b•• h A"~ "C. ~==I(g)[§u nCOl F2 New Ones by ~~dell for'::::lin Orchestra 2§~ READY JA.N. 1 to 16 SOLDIERS OF FREEDOM-March " A snappy, catchy, vigorous march, full of "pep" and martial in character. A real foot-mover. Immense trio in the song atyle. Great pacta for all inltrumenu. You need this march ; you'll like it, your playere will like it, Rnd your audiences will like it. BEAUTIFUL RAINBOW - Waltz A short., pr~~8'h,~~!:pre~~;IT.I~~, ~~j~~~L::~~~8~0?a~~&i~dg~! w~~t; :::~::~ii~:~:d;~r~he:y~hey hear it : PBRO!OT~EBS {~~~ ~*~·i~~;~ H :ji Dj.~~.,g~~~~ ~;~ :/· it tWJ.~TI:~·'.:· :ii N.. • _ ........... .25N., B •• io Ob"l. I.• bot. A .n. C ••• H ••• ol •••• M .....C.U.I .• Tr_• ..-••••• N •••Tr.n ....... DISCOUNT " OFF Mandolin Duo . .... )UtnoneUe . .. .. ....... Od,ll.... .50 Very pretty ALS Guitar Solo .. ... ...... Dream of SpaIn....... ...... Burke. .<10 Charming O Ukulele Solo .......... Cheel' Up .... ............ ... .. Burke .. .40 Very easy NEW Steel Guitar Solo . ..... Dri.ftinfl on IIUo ntl)'. .. • . •••• BKrlu... Solo .40 S. G. acc . • 20 Banjo Solo . .. .. .... J ..per·. Golden Weddiot ..... Bedford. , . .40 A dandy SOMEWHERE IN DIXIE ~~S~~'S :tlJ8 ~ca~ :::40e. ea. ~ off ~ck~he~-:!fcr:n~~~ :~gli~~:d ~~ ARLING SHAEFFER ~~~~d~:ek~li;:!n~;:~~h~e~:~ew~:::~ SEND FOR NEW CATALOG. and Your Ord.ra to U,. D1.eountl •• U,Ual Libonati,et.c. Washburn.nd EliteMethodl 300 8am:~:r~::OaDp~;!.an::ai':!:~:rIl~C!!t!i-:;a.~dDl:e~ :~O~~f I~~~~· :n;b~~~~~~e~:lDl FREE H. F. ODELL & CO. ... 165 Tremont Street, Boston, Mass. ~~~c~RI::~~::;;::~~~~I~~U;;;;;;;;~q~I~=~~~~~~~~~~~~~~~UW pu.ua ID:NTION' Hr.aJC8C&NDO" WHBN WJlITINQ TO ADVBaTUER8 - Th. CRESCENDO U@h Mr. Theodore Schwab is an artist of the first rank. His work on the lenor banjo and mandolin banjo has met with great Bueeeu iD leading the8tres throughout the United Statcs and Canada. For the past year he hal been located in Detroit and has appeared 8a soloist at many of the leading clUbs and 80cia1 events. We are pleased to present the pholo of this splendid artiat who Mr. Percy Guest of Grinnell Bros. nys is one of the best players at the tenor banjo he has ever hurd. The Vega is the instrument which meets Mr. Schwab'. cri tical demands. Mr. Wm. L. Russe ll of Tacoma. Washington, i8 making a great hit with his Tu-be-phone Tenor Banjo in orchestra work. In a late letter he saYI: "We are making a g reat hit with our dance orches­ tra here this .ea.on. I would have had a good many more engage- [§] menta if I had not been 110 .Iow in taking up the tenor banjo. We ~~ have a Commercial Club, Country Club and Elks' Club dance. and are 10 much in demand that. we are engaged mont.hs ahend. Our live-piece combination consist. of Tenor Banjo, Violin, Saxophone, ~~ THEODORE SCHWA8, Detroit, Mich. Pinno and Drums." ~ At the right we ahowthe Banjo Quintette of the celebratt d ~ Pettine Dance Orchestra oC twenty. two mU IJiciamt. The ~ . t t" nor·banjo playeu ,hown double on other ins truments, l!:!J When th;, nanjo B."..e ;, ;n nel;on the,. ;, ,ometh;n. ~ doing and your feet have to move whether you can dance or not. §~~ @ Perhaps you have often thought of a "Vega." Many players already are satis fi ed owners. The trade mark "Vega" guarantees quality. IF IT I" A DANJO. MANDOLIN OR GU ITAR YOU WISH, WE CAN SUIT YO U VrR(' In.trunumt. Vega In. tJ'Knt.nt. For Sale at .sPECIAL OFFER For Safe at JOHN WANAMAKER, N T Ban' Itt' Bo k 68 E. F . DROOP &: SONS CO .. J6~; ~~kN~~AKER , Jg~~ar r!!~f". JO .n~:la~Co!~~.q o~ .r C v:~~~n:::n ·B~·~ .. Philadelphia, Pa. 1' !lubur.. l'a. D~~~=';:,;rIERot.DANIELS. LET US MAIL YOU CATALOGS FREE lI Ci~(I!~a:~~~':. SON CO.. LYON" HEA I. Y, Banjoa, Mandolin •• Tenor. Guitar and 'Cello Banjos, COLDSMITIl'S MUSIC STORE, ChLuJrO, III . Vega M.ndolina and Ve~a Guitart, a lao Columbua, Ohio SOUTHERN CALI FOIlNIA . "Vol« of the Ve...... CRi-::SSEY II ALLEN. MUSIC CO., t.o. An~les. Cal. PortJ ...d , .... GRJNNELL unoll.. KOfll.ER It CHASE. DoITOlt. Mich. THE VEGA CO. San FTanciaco. Cal. McDOUGALL WUS IC CO.. LEVIS MUSIC STORE. C;:~~a:D~';;'ON CO. (Lute.) 155ColumbusAve.,BostoD,Mas8.,U.S.A. C~:;~U:'CYCo . New York ell,. SyracUte, N. Y. ~~~Uh~~~~~~~Mill~I~'~~~~I~~CJ~iI~~~,llil~~iI~~~~~'I§~!I~~~~~~~I!~~ PL&£BB IISNTION " cauCSNDO" WIl&N WaiTING TO ADV£JlTI8BRB 2 The CRESCENDO Arrived With a Bang!=TheJazz Band! When America makes a move­ menta I And wliat • great bl, pUlh .JAZZ! musical or military - that move, like He pland, I think, a clarinet, ,for the Plectralln.trumenta I the firat ahot .t the BatUe of BWlker Or eomethinc t!'" that J foreet ; BANJO.M.ANDOIJNS, too, and .. Hill, is heard 'round the world. But anyway leaulrhthlaeyt!, Guitara and Harp-GuJtars. and the Uncle Sam sent the Ukulele 1 aaked him wouJd he teU me why whole Mandolin family, from Tenor Hta band w .. Jau. and how It eame round the world recenUy - and the To ha,.e ao curioua a nama 1 Mandolin down to Mando-Baa­ Banjo.Mandolin. And now, in the He looked a Uttle hurt and pained. they'll .U ao in the I.teat world· ..teat American mUllical furore­ And eo I haaUly uplalned ace - the Juz Band . the J aa Band-the Banjo cornea Thlt 1. of cou ..... couJd underetand TEACHERS - DEALBRS - WhyonewouldcllIabandaband ; into it a ownl "But what," 1 ..ld. "a Jau may ba. The cabaret, cafe. dance and Thet la the point thatpualN mel ~~~~;hl~~=:-:I:t::! concert·hall public demand the Jazz And furthermore, I want to aay. and dauical publication.; Sample Band. The musical publishers are You'd baUer tell mericht away !" Copie. of Methods. Join the I pulled hll hllr, and jerked hll nOM. Stahl live·wire organization ofthe B. liLG. puttina out special orchestrations. I .IM ,tepped upon hta toe.. And the BanjOil head the bUll And then. to huten hll repb'. fratemity - the Stahl oraanization. STAHL WOOD-RIM BANJOS­ I poked my fineer In hla en. Cuh in on JauBand popularity they pia,. the role of real music in Said he, "I he,.. en lunt.ofat-" -and on the buaineu from our boy. "Come. com.... I aaid. " WI'U ,kip ,II th.t, the Jazz Band, while the trombones in khaki. Join the ''Bie PuahH and Jut tell m. why your band '- Jau. and bruaes lenerally, and even the Wh,t•• er feuon that it h ..... .end American Plectral Jrwtrumenta piano,8upply the comedy. What a HI cocked hil h ..d end ,milked at me. round the world. fall for the "recognized" if\ltru- "Why. J,n1 Oh, Jus beeauae," ,aid he. Write right now. W.M. C. STAHL, Send Full PtirHeultlr8 Reeardinl1 Your Monthly Mandolin New I •• ue JUST SAY .'ropo"itioll. with Com),lete Cntnlol! anti Sample Part. Free of CharQ;e TIIUi MONTU'S NEW ISSCES W·I-8,S·I·S·8·I·P·P·I, Fo. Trot MANDOLIN CLUB PUBLICATIONS TIlH'oey·Toc:abcn .... A All Pari. Wrlll." ,,, Bo,1I NotoU.". A Little 811 0' Honly PRICE SCHEDULE 01" fIIAND. CLUB MUSIC-L.lter.nertlUe\odk:atNprke: ABC l.tM.ndolln ......................................................................... 310 .40 -'<I W ..hlolrloO Qrlyl, rJ:~~t.·DoLd · OdeU .... A 2odM.ndollo. Qult.t Ace ......... ... .. ..... .. ............................. a .eh .10 .20 .30 Qr.tfuU ..Odell .... A Jrd M.nd , Mlndal •• Mlndo-Cello. Maodo-Ba... ,.Iule, Cello,t8.njoObbl,10 Odell .n. ooly) ......... ................................................... E ..:.h. .1$ .2S .SS Rell:u l.r Orchutra Patte publl$hed to oumb.".
Recommended publications
  • Marquetry on Drawer-Model Marionette Duo-Art

    Marquetry on Drawer-Model Marionette Duo-Art

    Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 42, Number
  • Piano Manufacturing an Art and a Craft

    Piano Manufacturing an Art and a Craft

    Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH.
  • Tolono Library CD List

    Tolono Library CD List

    Tolono Library CD List CD# Title of CD Artist Category 1 MUCH AFRAID JARS OF CLAY CG CHRISTIAN/GOSPEL 2 FRESH HORSES GARTH BROOOKS CO COUNTRY 3 MI REFLEJO CHRISTINA AGUILERA PO POP 4 CONGRATULATIONS I'M SORRY GIN BLOSSOMS RO ROCK 5 PRIMARY COLORS SOUNDTRACK SO SOUNDTRACK 6 CHILDREN'S FAVORITES 3 DISNEY RECORDS CH CHILDREN 7 AUTOMATIC FOR THE PEOPLE R.E.M. AL ALTERNATIVE 8 LIVE AT THE ACROPOLIS YANNI IN INSTRUMENTAL 9 ROOTS AND WINGS JAMES BONAMY CO 10 NOTORIOUS CONFEDERATE RAILROAD CO 11 IV DIAMOND RIO CO 12 ALONE IN HIS PRESENCE CECE WINANS CG 13 BROWN SUGAR D'ANGELO RA RAP 14 WILD ANGELS MARTINA MCBRIDE CO 15 CMT PRESENTS MOST WANTED VOLUME 1 VARIOUS CO 16 LOUIS ARMSTRONG LOUIS ARMSTRONG JB JAZZ/BIG BAND 17 LOUIS ARMSTRONG & HIS HOT 5 & HOT 7 LOUIS ARMSTRONG JB 18 MARTINA MARTINA MCBRIDE CO 19 FREE AT LAST DC TALK CG 20 PLACIDO DOMINGO PLACIDO DOMINGO CL CLASSICAL 21 1979 SMASHING PUMPKINS RO ROCK 22 STEADY ON POINT OF GRACE CG 23 NEON BALLROOM SILVERCHAIR RO 24 LOVE LESSONS TRACY BYRD CO 26 YOU GOTTA LOVE THAT NEAL MCCOY CO 27 SHELTER GARY CHAPMAN CG 28 HAVE YOU FORGOTTEN WORLEY, DARRYL CO 29 A THOUSAND MEMORIES RHETT AKINS CO 30 HUNTER JENNIFER WARNES PO 31 UPFRONT DAVID SANBORN IN 32 TWO ROOMS ELTON JOHN & BERNIE TAUPIN RO 33 SEAL SEAL PO 34 FULL MOON FEVER TOM PETTY RO 35 JARS OF CLAY JARS OF CLAY CG 36 FAIRWEATHER JOHNSON HOOTIE AND THE BLOWFISH RO 37 A DAY IN THE LIFE ERIC BENET PO 38 IN THE MOOD FOR X-MAS MULTIPLE MUSICIANS HO HOLIDAY 39 GRUMPIER OLD MEN SOUNDTRACK SO 40 TO THE FAITHFUL DEPARTED CRANBERRIES PO 41 OLIVER AND COMPANY SOUNDTRACK SO 42 DOWN ON THE UPSIDE SOUND GARDEN RO 43 SONGS FOR THE ARISTOCATS DISNEY RECORDS CH 44 WHATCHA LOOKIN 4 KIRK FRANKLIN & THE FAMILY CG 45 PURE ATTRACTION KATHY TROCCOLI CG 46 Tolono Library CD List 47 BOBBY BOBBY BROWN RO 48 UNFORGETTABLE NATALIE COLE PO 49 HOMEBASE D.J.
  • The Sam Eskin Collection, 1939-1969, AFC 1999/004

    The Sam Eskin Collection, 1939-1969, AFC 1999/004

    The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia.
  • Country Airplay Chart Dated Oct

    Country Airplay Chart Dated Oct

    Country Update BILLBOARD.COM/NEWSLETTERS OCTOBER 12, 2020 | PAGE 1 OF 21 INSIDE BILLBOARD COUNTRY UPDATE [email protected] Parton’s Chart Country’s New Kids Are Back On ‘Holly’-Day >page 4 The Block, And Headed To Radio Altadena Tweaks The COVID-19 quarantine for new country artists at radio ap- “Most stations seemed to tighten up, play big hit records Artist Development pears to be over. from the recent past and also uptempo, fun records that were >page 11 When the coronavirus led many Americans to self-isolate and current singles by superstars,” says Universal Music Group change the way they work, the genre’s labels placed an informal Nashville executive vp promotion Royce Risser. “The majority moratorium on introducing brand-new acts to broadcasters. of programmers felt that radio’s best strategy was to be an But the handcuffs are now off. Two of the top three of the titles escape for those who were stuck at home. If they jumped in Quartz Hill’s debuting on the Country Airplay chart dated Oct. 17 — Elvie the car, it was probably a good thing to listen to radio and just, First Hirings Shane’s “My Boy” (No. 56) and for a moment, forget about what >page 11 Larry Fleet’s “Where I Find they were seeing on television God” (No. 58) — are by artists in their homes. In that period of being worked to AM/FM radio time, hearing big hit songs from for the first time. your favorite artists was more CMT Video Finalists Likewise, TikTok phenom important than ever.
  • Sibelius First Tutorials

    Sibelius First Tutorials

    Tutorials Edition 7.1.1 February 2012 Tutorials written by Tom Clarke. See the About Sibelius dialog for a full list of the software development team and other credits. We would like to thank all those (too numerous to list) who have provided helpful comments and suggestions for Sibelius and its documentation. Legal Notices This product is subject to the terms and conditions of a software license agreement. This guide is copyrighted © 2012 by Avid Technology Inc., (hereafter “Avid”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid. Avid, Sibelius and Scorch are registered trademarks of Avid Technology, Inc. in the USA, UK and other countries. ReWire is a trademark of Propellerhead Software and is used under license. VST is a trademark of Steinberg Soft- und Hardware GmbH. All other trademarks are acknowledged as the property of their respective owners. Product features, specifications, system requirements, and availability are subject to change without notice. Document Feedback We are always looking for ways to improve our documentation. If you have comments, corrections, or suggestions regarding our documentation, please email us at [email protected]. Contents Start here . 5 2.3 Clefs, key signatures and tuplets . 54 About the projects . 8 2.4 Marking up a score . 57 Project 1 9 2.5 Layout and formatting . 61 2.6 Exporting . 65 1.1 Opening a score . 11 1.2 Editing and inputting notes . 17 Project 3 67 1.3 Selections and copying music. 23 3.1 Writing for keyboard.
  • Cipc-2021-Program-Notes.Pdf

    Cipc-2021-Program-Notes.Pdf

    PROGRAM NOTES First and Second Rounds Written by musicologists Marissa Glynias Moore, PhD, Executive Director of Piano Cleveland (MGM) and Anna M. O’Connell (AMO) Composer Index BACH 03 LISZT 51 BÁRTOK 07 MESSIAEN 57 BEACH 10 MONK 59 BEETHOVEN 12 MOZART 61 BRAHMS 18 RACHMANINOFF 64 CHOPIN 21 RAMEAU 69 CZERNY 29 RAVEL 71 DEBUSSY 31 PROKOFIEV 74 DOHNÁNYI 34 SAINT-SAËNS 77 FALLA 36 SCARLATTI 79 GRANADOS 38 SCHUBERT 82 GUARNIERI 40 SCRIABIN 84 HAMELIN 42 STRAVINSKY 87 HANDEL 44 TANEYEV 90 HAYDN 46 TCHAIKOVSKY/FEINBERG 92 LIEBERMANN 49 VINE 94 2 2021 CLEVELAND INTERNATIONAL PIANO COMPETITION / PROGRAM NOTES he German composer Johann Sebastian Bach was one of a massive musical family of Bachs whose musical prowess stretched over two Johann Thundred years. J.S. Bach became a musician, earning the coveted role as Thomaskantor (the cantor/music director) for the Lutheran church Sebastian of St. Thomas in Leipzig. At St. Thomas, Bach composed cantatas for just about every major church holiday, featuring a variety of different voice types Bach and instruments, and from which his famed chorales are sung to this day in churches and choral productions. As an organist, he was well known for his ability to improvise extensively on hymn (chorale) tunes, and for reharmonizing (1685-1750) older melodies to fit his Baroque aesthetic. Many of these tunes also remain recognizable in church hymnals. Just as his chorales serve as a basis in composition technique for young musicians today, his collection of keyboard works entitled The Well-Tempered Clavier serves even now as an introduction to preludes and fugues for students of the piano.
  • Freier Download BA 63 Als

    Freier Download BA 63 Als

    BAD 63 ALCHEMY 1 ... Levitation, Levitation! Aufheben den Erdenklumpatsch absolut für einen Augenblick und zwei Personen: die Altersschranken, den Ladenschluß, den Satz vom Widerspruch und alles was da dranhängt, Sie da - ich hier - also alkohologisch gesehen schon sone Art von Utopie, wo der Geist mal für zehn Prozent Chance mehr hat und die Schönheit der Weisheit entgegenfiebert... Peter Rühmkorf: Schnellimbiß 2 INHALT: 4 FREAKSHOW: CHEER-ACCIDENT 6 FRREEEAKSHOW: WALTER - EVANS - HALVORSON 8 w 71: RUPP - PLIAKAS - WERTMÜLLER: ZEN ODER ZENON? 9 MOERS 2009 (von Klaus Grope) 12 w 71: REMPIS PERCUSSION QUARTET 13 SURFING MONKS: SECRET CHIEFS 3 IM NACHTLEBEN 14 NOWJAZZ, PLINK & PLONK: CREATIVE SOURCES 14 - EMANEM 18 - ENGINE STUDIOS 19 - ESP-DISK‘ 20 - FIREHOUSE 12 22 - ALFRED HARTHS LAUBHUETTE 23 - INTAKT 25 - IORRAM 25 - LEO 26 - POTLATCH 27 - RUNE GRAMMOFON 28 - UGEXPLODE 31 - VICTO 32 30 THE THING 45 OVER POP UNDER ROCK OUTER LIMITS: INTERSTELLAR 46 - LAST VISIBLE DOG 47 - MOONJUNE 49 - ReR MEGACORP 51 - TZADIK 57 45 LAND OF KUSH: AGAINST THE DAY 50 NIOBE: AVA GARDNER AT THE SWIMMING POOL 52 HENRY COW - THE ROAD 55 THE REMOTE VIEWERS 56 GHÉDALIA TAZARTÈS 59 VOLCANO THE BEAR / LA STPO 66 DAPHNE ORAM - KOMPONIEREN WIE EINE MALERIN [Teil 2] (von Ingo Techmeier) 66 BEATS, BRUITS, SOUNDS & SCAPES: 12 K 70 - AUF ABWEGEN 71 - CRÓNICA ELECTRONICA 72 - DEKORDER 73 - DOMIZIL74 - HANDS 75 - INTRANSITIVE 76 - LICHT-UNG 77 - MONOTYPE 78 - NV° 79 - TOUCH 80 BAD ALCHEMY # 63 (p) Juli 2009 HERAUSGEBER UND REDAKTION Rigo Dittmann (rbd) (VISDP) REDAKTIONS- UND VERTRIEBSANSCHRIFT R. Dittmann, Franz-Ludwig-Str. 11, D-97072 Würzburg [email protected] – www.badalchemy.de MITARBEITER DIESER AUSGABE: Michael Beck, Klaus Grope, Ingo Techmeier BA sagt allen freiwilligen und unfreiwilligen Mitarbeitern herzlichen Dank Alle nicht näher gekennzeichneten Texte sind von rbd, alle nicht anders bezeichneten Tonträger sind CDs, was nicht ausschließt, dass es sie auch auf Vinyl oder als Digital Download gibt BAD ALCHEMY erscheint ca.
  • Montgomery Gentry Discography Free Download Tattoos and Scars Tattoos & Scars

    Montgomery Gentry Discography Free Download Tattoos and Scars Tattoos & Scars

    montgomery gentry discography free download tattoos and scars Tattoos & Scars. With all of the comparisons to Southern rock legends Lynyrd Skynyrd, Marshall Tucker, Charlie Daniels, the Outlaws, and so forth, this solid, hardcore rockin' honky tonk duo and their amazing band is an entity unto themselves. Eddie Montgomery (brother of John Michael) and Troy Gentry are equal parts country music that comes from Merle Haggard, George Jones, Wynn Stewart, Dwight Yoakam, and even Hank Williams. At the same time, they play a scorching brand of rock & roll that has everything to do with the aforementioned heroes of the 1970s and the Allmans too because the blues are at the root of everything they do. This is an auspicious debut album, one that not only shows promise, but delivers the goods in the form of great songs written by a host of Nash Vegas' and Texas' finest -- if unknown new breed -- and absolutely tremendous performances. Check the hard rocking opener, "Hillbilly Shoes," with its flatpicking guitar intro supplanted by overdriven fiddles and screaming dual lead guitars. And "Trying to Survive" with its guitar, pedal steel, and piano fills is reminiscent of the feel, not sound, of Tucker's "Can't You See." It's easy to embrace Tim McGraw and a host of others who use rock & roll as way of framing their country music, but Montgomery Gentry don't use rock; they are a rock band who make country music, real country music. Check the gorgeous chorus on "Lonely and Gone" that is commenced with a heavy metal guitar intro only to become a gorgeous mid-tempo ballad.
  • Music and Mysticism, Rhythm and Form, A

    Music and Mysticism, Rhythm and Form, A

    Chapter 12 327 Chapter 25 Holy Ghost Music and Mysticism, Tim Hodgkinson 191 Rhythm and Form A Blues Romance in 12 Parts 227 Chapter 13 Sigils Adam Rudolph Jerry Hunt Chapter 26 Chapter 14 A Silence that Speaks: Hyakintos and Perdeh The All-Embracing Unification of Space and Mind Jessika Kenney and Eyvind Kang 234 (With Sound Meditation in 3 Parts) 239 Chapter 15 David Chaim Smith 336 Musings on the Hermetic Lyre Chapter 27 William J. Kiesel 344 Harmonie Aphanes Chapter 16 Phaneres Kreitton In the Name of God Trey Spruance the Gracious the Merciful: Chapter 28 Recognition of the Beloved The Dread of the Knock: Yusef A. Lateef 248 A Ceremony of 254 Chapter 17 Auditory Hallucinations Notes (To Whoever is Listening) for the Dead of Night Frank London David Toop 386 Chapter 18 394 Chapter 29 The Sacred Power of Music Horn O’ Plenty Dary John Mizelle 260 Greg Wall 265 Chapter 19 Chapter 30 The Soul’s Messenger The Perspectival Lute Meredith Monk Peter Lamborn Wilson 399 Chapter 20 406 Chapter 31 Death: The Father of Creation Metaphors, Mythos and Metaphonics Tisziji Muñoz 269 z’ev 286 Chapter 21 438 About the Musicians Trash Mark Nauseef Chapter 22 The Collective Intelligence of Improvisation Pauline Oliveros 292 297 Chapter 23 Thee Splinter Test Genesis Breyer P-Orridge Chapter 24 Music-Myth Terry Riley 314 ii iii chapter 25 Riley Music and Mysticism, Rhythm and Form A Blues Romance in 12 Parts Adam Rudolph Mysticism Knowledge is freedom and the study of elements in sound is a path.

  • Social and Visual Rhetorics of Appalachian Identity

    The Responsibility of Forms: Social and Visual Rhetorics of Appalachian Identity A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Carissa A. Massey June 2009 © 2009 Carissa A. Massey. All Rights Reserved. 2 This dissertation titled The Responsibility of Forms: Social and Visual Rhetorics of Appalachian Identity by CARISSA A. MASSEY has been approved for the School of Interdisciplinary Arts and the College of Fine Arts by William F. Condee J. Richard Hamilton/Baker and Hostetler Professor of Humanities Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT MASSEY, CARISSA A., Ph.D., June 2009, Interdisciplinary Arts The Responsibility of Forms: Social and Visual Rhetorics of Appalachian Identity (262 pp.) Director of Dissertation: William F. Condee Appalachians are typically represented in visual culture as homogenized: white and poor. For the rest of the country tuned into to American visual culture, Appalachia is nothing more than America’s backwoods country, crawling with hillbillies, peopled by incestuous families, and stocked with slovenly welfare abusers. In the spirit of recent Appalachian scholarship’s reclamation of Appalachian heterogeneity via challenges to what scholars have referred to as the “Appalachian Myth,” this study examines the rhetoric of Appalachian stereotypes in visual culture, observes scenarios in which they construct external and internal “others,” and theorizes the ways in which images promote prejudice, classism, and gender disparities and deny the existence of richly diverse cultural traditions within the region. The visual ephemera covered in this project are not studied or organized as artifacts in an historical taxonomy.

  • Le Webzine Des Musiques Sombres Et Expérimentales : Rock, Jazz, Progressif, Metal, Electro, Hardcore

    Guts Of Darkness Le webzine des musiques sombres et expérimentales : rock, jazz, progressif, metal, electro, hardcore... avril 2002 Vous pouvez retrouvez nos chroniques et nos articles sur www.gutsofdarkness.com © 2000 - 2016 Un sommaire de ce document est disponible à la fin. Page 2/212 Les interviews Page 3/212 SCARVE - (interview réalisée par Nicko) 1/ Pourriez-vous rappeler brièvement le parcours du groupe depuis sa création ? Le groupe : La formation s'est formée fin 93 - début 94. On a rapidement enregistré une première démo, puis a suivi un premier album autoproduit 6 titres en 96. On a eu pas mal de changements de line-up, encore ces derniers temps. On a fait 2 albums depuis, produits et distribués, le premier chez Furtive Records en 2000, "Translucence", et puis il y a un mois, "Luminiferous", le nouvel album, est sorti chez Listenable Records. 2/ Ce soir, il s'agit du dernier concert de la tournée, comment s'est-elle justement passée ? Le groupe : Super cool, supers rencontres, que ce soit au niveau du public ou au niveau des groupes. On a pu aussi constater que pas mal de personnes qui étaient venues nous voir connaissaient déjà le dernier album, c'était assez sympa. On est content ! Sinon on a bien picolé, on a bien fait la fête ! Et on est complètement mort ! Mais on en redemande, on est prêt à repartir le plus tôt possible. On s'est trop éclaté. 3/ Vous sortez votre deuxième "vrai" album, "Luminiferous", est-ce que vous pouvez nous en parler, et nous énoncer les différences que l'on peut rencontrer par rapport au précédent album ? Le groupe : "Translucence" avait été composé sur une période beaucoup plus longue, donc il y avait plus de différences entre les morceaux, alors que là, "Luminiferous" est plus compact.