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Walter Jurmann Papers, [1910]-1995
http://oac.cdlib.org/findaid/ark:/13030/kt5779q3vh No online items Walter Jurmann papers, [1910]-1995 Finding aid prepared by Juliane Brand, 1989; collection reprocessed by Melissa Haley, 2015; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2004 The Regents of the University of California. All rights reserved. Walter Jurmann papers, 2271 1 [1910]-1995 Title: Walter Jurmann papers Collection number: 2271 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 5.0 linear ft.(6 document boxes, 3 small flat boxes, and 1 large flat box) Date (inclusive): [1910]-1995 Abstract: Collection consists of material related to career of the composer Walter Jurmann, including scores, lyrics, business and personal papers, correspondence, photographs, and biographic items. Language of Materials: The bulk of material is in English, with numerous song scores and other items in German. Several scores are in French, one in Hungarian. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Creator: Jurmann, Walter, 1903-1971 Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. -
Concert: Ithaca College Jazz Ensemble Ithaca College Jazz Ensemble
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 3-5-2012 Concert: Ithaca College Jazz Ensemble Ithaca College Jazz Ensemble Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Jazz Ensemble, "Concert: Ithaca College Jazz Ensemble" (2012). All Concert & Recital Programs. 712. http://digitalcommons.ithaca.edu/music_programs/712 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Digital Commons @ IC All Programs Concert & Recital Programs 3-5-2012 Concert: Ithaca College Jazz Ensemble Ithaca College Jazz Ensemble Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Jazz Ensemble "Head Charts" Ford Hall Monday, March 5, 2012 8:15 p.m. Program Cherokee Ray Noble (1903-1978) Emily Pecoraro, tenor sax Jason Juliano, alto sax Willow Weep For Me Ann Ronnell (1906-1993) Kevin Cope, trumpet Damien Scalise, guitar Embraceable You George Gershwin (1898-1937) Alana Dawes, bass Andrew Horwitz, baritone sax Sam Thurston, trumpet Damien Scalise, guitar Cheek To Cheek Irving Berlin (1888-1989) Christopher Miley, alto sax Josh Condon, piano Chega De Saudade Antonio Carlos Jobim (1927-1994) Joshua Condon, piano Damien Scalise, guitar Round Midnight Thelonious Monk (1917-1982) Jason Juliano, soprano sax T.J. -
The 2009 Lotte Lenya Competition First Round
The 2009 Lotte Lenya Competition Lauren Worsham’s recent credits include Sophie in Master Class (Pa- permill Playhouse), Clara in The Light in the Piazza (Chamber Version - Kilbourn Hall, Eastman School of Music Weston Playhouse), Cunegonde in Candide (New York City Opera), Jerry Springer: The Opera (Carnegie Hall), Olive in The 25th Annual Putnam Saturday, 18 April 2009 County Spelling Bee (First National Tour). New York workshops/readings: Mermaid in a Jar, Le Fou at New Georges, The Chemist's Wife at Tisch, Mir- ror, Mirror at Playwright's Horizons, and Now I Ask You at Provincetown First Round Playhouse. Graduate of Yale University, 2005. Thanks for all the love and support from Bryan and Management 101. Most importantly, I owe it all to my amazing family. Proud member AEA! www.laurenworsham.com The Kurt Weill Foundation for Music, Inc. administers, promotes, and perpetuates the legacies of Kurt Weill and Lotte Lenya. It encourages broad dissemination and appreciation of Weill’s music through support of performances, productions, recordings, and scholarship; it fosters understanding of Weill’s and Lenya’s lives and work within diverse cultural contexts; and, building upon the legacies of both, it nurtures talent, particularly in the creation, performance, and study of musical theater in its various manifestations and media. Established in 1998 by the Kurt Weill Foundation for Music, the Lotte Lenya Competition provides a unique opportunity for talented young singer/actors to show their versatility in musical theater repertoire ranging from opera/operetta to contemporary Broadway, with Competition Administration, for the Kurt Weill Foundation: a focus on the varied works of Kurt Weill. -
Meet George Gershwin at the Keyboard: 16 Song Hits Arranged by the Composer Pdf
FREE MEET GEORGE GERSHWIN AT THE KEYBOARD: 16 SONG HITS ARRANGED BY THE COMPOSER PDF George Gershwin | 44 pages | 20 Jun 2006 | Faber Music Ltd | 9780571526772 | English | London, United Kingdom Meet George Gershwin At The Keyboard by Gershwin. George () | Lyndon Barnes Books View Larger Image. Ask Seller a Question. A Meet George Gershwin at the Keyboard: 16 Song Hits Arranged by the Composer collection of songs by George Gershwin that the composer has arranged as piano solos. Ideal for the intermediate pianist and a great insight into the mind of one America's greatest composers. Visit Seller's Storefront. Visa and Mastercard acceptable but only if ordered with abe who will process the transaction. Please do not send me your credit card details; when ordering please supply abe with your credit card details using their secure service. I will then process your order. If you wish to pay by PayPal please email me first before you order and I will send you an invoice with the correct amount including postage. Thank you. I also accept personal bank cheques made out to Lyndon Barnes to be drawn against a Orders usually ship within 2 business days. Shipping costs are based on books weighing 2. If your book order is heavy or oversize, we may contact you to let you know extra shipping is required. List this Seller's Books. Payment Methods accepted by seller. Home Gershwin. Stock Image. Save for Later. A near fine condition softback. Bookseller Inventory Ask Seller a Question. About this title Synopsis: A terrific collection of songs by George Gershwin that the composer has arranged as piano solos. -
Southern Comfort
FROM THE NATIONAL ALLIANCE FOR MUSICAL THEAtre’s PresideNT Welcome to our 24th Annual Festival of New Musicals! The Festival is one of the highlights of the NAMT year, bringing together 600+ industry professionals for two days of intense focus on new musical theatre works and the remarkably talented writing teams who create them. This year we are particularly excited not only about the quality, but also about the diversity—in theme, style, period, place and people—represented across the eight shows that were selected from over 150 submissions. We’re visiting 17th-century England and early 20th century New York. We’re spending some time in the world of fairy tales—but not in ways you ever have before. We’re visiting Indiana and Georgia and the world of reality TV. Regardless of setting or stage of development, every one of these shows brings something new—something thought-provoking, funny, poignant or uplifting—to the musical theatre field. This Festival is about helping these shows and writers find their futures. Beyond the Festival, NAMT is active year-round in supporting members in their efforts to develop new works. This year’s Songwriters Showcase features excerpts from just a few of the many shows under development (many with collaboration across multiple members!) to salute the amazing, extraordinarily dedicated, innovative work our members do. A final and heartfelt thank you: our sponsors and donors make this Festival, and all of NAMT’s work, possible. We tremendously appreciate your support! Many thanks, too, to the Festival Committee, NAMT staff and all of you, our audience. -
Starr-Waterman American Popular Music Chapter 4: “I Got Rhythm”: the Golden Age of Tin Pan Alley Song, 1920S and 1930S Student Study Outline
Starr-Waterman American Popular Music Chapter 4: “I Got Rhythm”: The Golden Age of Tin Pan Alley Song, 1920s and 1930s Student Study Outline I. Influential and Commercially Successful Songs a. Irving Berlin (1888‒1989) b. Richard Rodgers (1902‒1979) c. Cole Porter (1891‒1964) d. George Gershwin (1898‒1938) i. Al Jolson (1886‒1950) II. Tin Pan Alley Song Form a. AABA structure and verse-and-chorus forms b. Verse-refrain form i. Verse ii. Refrain III. Box 4.1: Irving Berlin a. Irving Berlin (1888‒1989) IV. Listening Guide: “’Deed I Do” a. Music by Fred Rose, lyrics by Walter Hirsch; performed by Ruth Etting (1926) i. Tin Pan Alley form: Intro (hook) + Verse + AABA Refrain V. What Were Tin Pan Alley Songs About? a. Popular songs and the musical plays and films in which they appear were designed to help people escape the pressures of daily life 1. Middle-class culture 2. Romantic love a. First-person lyrics b. Crooning VI. Listening Guide: “My Blue Heaven” a. Music by Walter Donaldson, lyrics by George Whiting; published 1924; performed by Gene Austin; recorded 1927 i. Crooners VII. Listening Guide: “April Showers” a. Music by Louis Silvers, lyrics by Buddy DeSylva; published 1921; performed by Al Jolson; recorded 1921 b. Music by Louis Silvers, lyrics by Buddy DeSylva; published 1921; performed by Al Jolson; recorded 1932 VIII. Listening Guide: “How Deep Is the Ocean?” a. Lyrics and music by Irving Berlin; performed by Bing Crosby; recorded 1932 b. Bing Crosby (1904‒1977) c. Minor key to major key IX. -
Call Me Madam, P
NEW YORK CITY CENTER EDUCATION INSIDE ENCORES! Your personal guide to the performance. S AR E Y 5 7 TABLE OF CONTENTS CONTEXT Inspiration for Call Me Madam, p. 4-5 Meet the Creators & Artists, p. 6-7 An Interview with Casey Hushion, p. 8-9 Call Me Madam’s Lasting Influence on Encores!, p. 10-12 Glossary, p. 13 RESOURCES & ACTIVITIES Before the Show, p. 15 Intermission Activity, p. 16-17 After the Show, p. 18 Sources p. 19 Up Next for City Center Education p. 20-21 CONTEXT INSPIRATION FOR CALL ME Perle Mesta WHO WAS SHE? Perle Mesta was the first United States Ambassador to MADAM Luxembourg. The original “hostess with the mostest,” Mes- ta was known for hosting lavish parties in Washington D.C for almost 30 years. Born in Oklahoma, her family came into wealth when her father became involved in the oil and real-estate industries. In 1917 she married George Mesta, owner of Mesta Machinery. Mrs. Mesta became interested in politics when her husband introduced her to several high-ranking officials, including President Calvin Coolidge. Following her husband’s death, she became heavily involved in the quest for women’s rights and joined the National Women’s Party as its Congressional chairman and Public Relations specialist. While lobbying for the Equal Rights Amendment, she made a multitude of con- nections with politicians who would later attend her famous social gatherings. A Republican for most of her life, Mesta realigned herself with the Democratic party, opting to give financial support to then Senator Harry Truman. -
34 Writers Head to 7Th Annual Johnny Mercer Foundation Writers Colony at Goodspeed Musicals
NEWS RELEASE FOR MORE INFORMATION, CONTACT: Elisa Hale at (860) 873-8664, ext. 323 [email protected] Dan McMahon at (860) 873-8664, ext. 324 [email protected] 34 Writers Head to 7th Annual Johnny Mercer Foundation Writers Colony at Goodspeed Musicals – 21 Brand New Musicals will be part of this exclusive month-long retreat – This year’s participants boast credits as diverse as: Songwriters of India Aire’s “High Above” (T. Rosser, C. Sohne) Music Director for NY branch of Playing For Change (O. Matias) Composer for PBS (M. Medeiros) Author of Muppets Meet the Classic series (E. F. Jackson) Founder of RANGE a capella (R. Baum) Lyricist for Cirque du Soleil’s Paramour (J. Stafford) Member of the Board of Directors for The Lilly Awards Foundation and Founding Director of MAESTRA (G. Stitt) Celebrated Recording Artists MIGHTY KATE (K. Pfaffl) Teaching artist working with NYC Public Charter schools and the Rose M. Singer Center on Riker’s Island (I. Fields Stewart) Broadway Music Director/Arranger for If/Then, American Idiot, The 25th Annual Putnam County Spelling Bee and others (C. Dean) EAST HADDAM, CONN.,JANUARY 8 , 2019: In what has become an annual ritual, a total of 34 established and emerging composers, lyricists, and librettists will converge on the Goodspeed campus from mid-January through mid-February 2019 to participate in the Johnny Mercer Foundation Writers Colony at Goodspeed Musicals. The writing teams, representing 21 new musicals, will populate the campus, creating a truly exciting environment for discovery and inspiration. The Johnny Mercer Writers Colony at Goodspeed is an unparalleled, long-term residency program devoted exclusively to musical theatre writing. -
Value of the Public Domain | Congress | Statutes and Treaties | Legislative Materials | | Other Sites | Opposing Copyright Extension Home Page |
Subverted PD List | About Term Extension | Constitutionality | Media | Letters | Value of the Public Domain | Congress | Statutes and Treaties | Legislative Materials | | Other Sites | Opposing Copyright Extension Home Page | Some Famous Works and Year of First Publication (Subverted Public Domain List) Dennis S. Karjala Professor of Law Arizona State University This list shows a few works of music, literature, and film that, as far as I can tell, were first published in the years shown. The "Subverted Public Domain" begins with the year 1923. Works published in that year would already be in the public domain but are still protected by the legislative swindle known as the Sonny Bono Copyright Term Extension Act of 1998. Any United States work published before 1964 lost its copyright in the 28th year after publication unless the copyright was formally renewed at the Copyright Office. (Congress made renewal automatic for works published after 1963, so most of those works are, and for a very long time will be, under copyright.) To check on the copyright status of works from the 1923-63 era, it is therefore necessary to determine whether the copyright was renewed. See How to Determine Whether a Work is in the Public Domain, and links contained there, for more details. Frances Hodgson Burnett's The Secret Garden was published in 1911, so it went into the public domain on Jan. 1, 1987. Its entrance into the public domain has spawned a huge outpouring of new and creative derivative works, including plays, musicals, video and audio cassettes, annotated and searchable online versions, and even cookbooks. -
June 1-3,2(>(>7
Leonard A. Anderson M. Seth Reines Executive Director Artistic Director June 1-3,2(>(>7 nte Media -I1 I - I , ,, This program is partially supportec grant from the Illinois Arts Council. Named a Partner In Excellence by the Illinois Arts Council. IF IT'S GOT OUR NAME ON IT YOlU'VE GOT OUR WORD ON If. attachments that are tough enough for folks Ib you. And then we put wr gllarantee on m,m, In fact,we ofb the WustryS only 3-year warm&, Visit mgrHd.com. Book By James Goldman Music Lyrics by Stephen Sondheim Produced Originally on Broadway by Harold Prince By special arrangement with Cameron Mackintosh Directed & Staged by Tony Parise Assistant To The Directorr AEA Stage Manager Marie Jagger-Taylor* Tom Reynolds* Lighting Designer Musical Director Sound Designer Joe Spratt P. Jason Yarcho David J. Scobbie The Cast (In Order of Appearance) Dimitri Weismann .............................................................................................Guy S. Little Jr.* Roscoe....................................................................................................................... Tom Bunfill Phyllis Rogers Stone................................................................................... Colleen Zenk Pinter* Benjamin Stone....................................................................................................... Mark Pinter* Sally Durant Plumrner........................................................................................ a McNeely* Buddy Plummer........................................................................................................ -
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans. -
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