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Dalton Rjchland Farm
% .WSLETTER OF THE HOWARD COUNTY HISTORICAL SOCIETY ;,,r4 very year at this time, the Howard DALTON County Historical Society searches Built circa 1925 on a brick and stone through the inventory of historic homes foundation that may date to 1770, Dalton in our commuaity and selects a handful stands on the remains of a house owned of extraordinary properties to be included by Alien Thomas and later by Samuel on our annual Holiday House Tour- K. George. The current house was built 'This year's tour, generously spon- by J. Lawrence Cl'ark and his wik Alice sored Ey The Creig Northrop Team of and combines the elegance and formality Long & Foster Real Estate, will be held of an earlier era with the practicality of Sunday December 15, 2013 from 1:00 a modern floor plan. D'alton is currently P.M. to approximately 6:30 P.M. as part owned by Richard Voelker, who invites of this annual fundraiser and raember- you to be his guest at this lovely home. ship drive and will feature four of the county's loveliest homes as well as The RJCHLAND FARM Shrine of St Anthony. Listed on the National Register ofHis- toric Places in 2008, the original 1781 log IMPORrL4NrFNOm -House Tour buses house, its additions and other outbuild- will be leaving 'from Frederick Road in front ings sit on part of a land grant surveyed of the Miller -Branch Library at located at by Thomas Worthington in 1719. Over 9421 Fredenck Road, ElHcott Ciiy, MD the centuries, the property was passed 2^042. -
Ravel & Rachmaninoff
NOTES ON THE PROGRAM BY LAURIE SHULMAN, ©2017 2018 Winter Festival America, Inspiring: Ravel & Rachmaninoff ONE-MINUTE NOTES Martinů: Thunderbolt P-47. A World War II American fighter jet was the inspiration for this orchestral scherzo. Martinů pays homage to technology, the machine age and the brave pilots who risked death, flying these bombers to win the war. Ravel: Piano Concerto in G Major. Ravel was enthralled by American jazz, whose influence is apparent in this jazzy concerto. The pristine slow movement concerto evokes Mozart’s spirit in its clarity and elegance. Ravel’s wit sparkles in the finale, proving that he often had a twinkle in his eye. Rachmaninoff: Symphonic Dances. Rachmaninoff’s final orchestral work, a commission from the Philadelphia Orchestra, brings together Russian dance and Eastern European mystery. Listen for the “Dies irae” at the thrilling close. MARTINŮ: Thunderbolt P-47, Scherzo for Orchestra, H. 309 BOHUSLAV MARTINŮ Born: December 8, 1890, in Polička, Czechoslovakia Died: August 28, 1959, in Liestal, nr. Basel, Switzerland Composed: 1945 World Premiere: December 19, 1945, in Washington, DC. Hans Kindler conducted the National Symphony. NJSO Premiere: These are the NJSO premiere performances. Duration: 11 minutes Between 1941 and 1945, Republic Aviation built 15,636 P-47 Thunderbolt fighter planes. Introduced in November 1942, the aircraft was a bomber equipped with machine guns. British, French and American air forces used them for the last three years of the war. Early in 1945, the Dutch émigré conductor Hans Kindler commissioned Bohuslav Martinů—himself an émigré from Czechoslovakia who had resided in the United States since March 1941—to write a piece for the National Symphony Orchestra. -
United States Securities and Exchange Commission Form
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10−K (Mark One) ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended March 1, 2003 OR TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File Number: 1−9595 BEST BUY CO., INC. (Exact name of Registrant as specified in its charter) Minnesota 41−0907483 (State or other jurisdiction of incorporation or organization) (I.R.S. Employer Identification No.) 7601 Penn Avenue South Richfield, Minnesota 55423 (Address of principal executive offices) (Zip Code) Registrant’s telephone number, including area code: 612−291−1000 Securities registered pursuant to Section 12(b) of the Act: Title of each class Name of each exchange on which registered Common Stock, par value $.10 per share New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark whether the Registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or such shorter period that the Registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. Yes No Indicate by check mark if disclosure of delinquent filers pursuant to Item 405 of Regulation S−K is not contained herein, and will not be contained, to the best of Registrant’s knowledge, in definitive proxy or information statements incorporated by reference in Part III of this Form 10−K or any amendment to this Form 10−K. -
Ázz /Hi-Fi Notes
for You, and Dinah, along with the rela- trouble. Arranger Jack Marshall seems tively dismal Georgia on My Minci and happier when he is reflecting Wilbur De /HI-FI NOTES Bessie Couldn't Help lt. Paris than in trying to revive Crosby ÁZZ Four of these five discs are an invalu- items (Skater's Waltz, Surokey ,\fart). CONTEMPORARY RECORDS, INC. from able supplement to the Columbia set. Gene Bolen plays some pleasant low - For those who do not have the Colum- register clarinet in an orchestration of Producers of Wang Nang Blues based on the De CONTEMPORARV RECORDS bias, any one of the Odeons- starting COOD TIME JAZZ with the Hot Fives and Hot Sevens -be- Paris version of The Pearls. The main CR COMPOSERS SERIES grace of the group, however, is CALIFORNIA RECORDS longs in a balanced iazz collection. saving REM (Society for Forgotten Jackie Coons, who hulls and puffs an Mu.i4) STERRO RECORDS Louis Armstrong and Ella Fitzgerald: elegantly bumptious mellophone. "Porgy and Bess." Verve 4011/12, Barney Kessel has an exciting Wizard of the Rag- new album -music from "SOME $11.96 (two LI'). Eubie Blake: "The and Bess and Louis Armstrong and Piano." 20th- Century Fox 3003, LIKE IT HOT " Prohibition Era Porgy time - Ella Fitzgerald seem to have been made $3.98 (LP). tunes featured in. Billy Wilder's smash film starring Marilyn for each other. For both Armstrong and Blake was one of the great pianists of the Monroe, Tony Curtis and Jack Miss Fitzgerald, the Gershwin score pro- ragtime era; and later, in partnership Lemmon. -
Student Cars Singled
SpC?C _ Coil. LD'129.6 C5 0'75 (Archives) OIHON. 37:3 Tatoo U. They're here Sep 11, Hl96 _ Rece;v(~d on: 09-13-96 Tongue bars' and tatoos UFOs are one MEIUAM UBI~AI~Y'''''CSU, CHICO cover the student body student's reality Dimensions 15 Opinion 12 Wednesday, September 11, 1996 California State University, Chico Volume :rT, Issue 3 AttitUdes adapting to constuction on Student cars Warner Street All Day Blues And Brews TRACI MOON Managing Editor singled out Construction warrants com ,plaints. It's part of the package. Parking changes Chico State's parking proce The Warner Street mess has dures were changed as a result of a upset some people, but nobody's confuse students, parking committee study over the picketing. Everyone's learning summer headed by Bob Sneed, to live with the new landscape. 30 cars towed acting vice president for bw;incss Most students are avoiding the and finance. rough walle-ways and opting to KRISTIN CARMICHAEL The parking changes created a detour through campus. Fewer Sta fI Writer designated zone available for fac bicyclists are braving the adven Oetting horne the second day of ulty and staff, only if the want to ture, and you can be sure people school wasn't as easy as Chico pay $34 a month for the special driving cars will find a way to State University student Cindi treatment. This zone requires a ,.. avoid the experience after Wachtel thought it would be. In decal with the letter "R". All other careening through the banks and stead of driving home safely at 7 parking requires a "GH decal, valleys of what's left of the road. -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
Comparing the Basque Diaspora
COMPARING THE BASQUE DIASPORA: Ethnonationalism, transnationalism and identity maintenance in Argentina, Australia, Belgium, Peru, the United States of America, and Uruguay by Gloria Pilar Totoricagiiena Thesis submitted in partial requirement for Degree of Doctor of Philosophy The London School of Economics and Political Science University of London 2000 1 UMI Number: U145019 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U145019 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Theses, F 7877 7S/^S| Acknowledgments I would like to gratefully acknowledge the supervision of Professor Brendan O’Leary, whose expertise in ethnonationalism attracted me to the LSE and whose careful comments guided me through the writing of this thesis; advising by Dr. Erik Ringmar at the LSE, and my indebtedness to mentor, Professor Gregory A. Raymond, specialist in international relations and conflict resolution at Boise State University, and his nearly twenty years of inspiration and faith in my academic abilities. Fellowships from the American Association of University Women, Euskal Fundazioa, and Eusko Jaurlaritza contributed to the financial requirements of this international travel. -
MGM Records Singles
MGM Records Singles MGM Records first burst onto the music scene on March 1, 1947. While their soundtrack (original cast) albums have been their best‐selling LP’s, their popular and country singles competed well with everything that the other labels had to offer. MGM47 This label featured a yellow backdrop with a black horizontal bar across it. M‐G‐M and the lion’s head logo were located at the top center. In October, 1949, all MGM singles came to be pressed through their “Metrolite” process, which allowed for singles that weighed less and might last longer than the earlier, heavier records. When MGM issued its first 45 RPM singles on May 1, 1950 (around single 10680), they created a complementary design for the new format. The lion’s head logo was at the left and M‐G‐M was at the top of the yellow label. The first few singles carried numbers in an 8000 series, but right away MGM began using the prefix of K‐ to designate a 45 RPM record (as opposed to a 78). The matrix numbers were added to the labels beginning at the very end of 1952. The last 78 RPM singles were released in June, 1958, so that Sheb Wooley’s classic, “The Purple People Eater,” was one of the last to be released in the format. Singles that were released during the week of November 16, 1959 marked the last use of this (original) label style. MGM59 The first incarnation of the classic black label began in November, 1959. The rim print indicates that MGM is part of “LOEW’S INCORPORATED.” MGM59m In October, 1960, the rim print was fixed to read that the company was "a division of Metro‐Goldwyn‐Meyer." From that point on, the label backdrop remained untouched until 1968. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
I Am Not Your Negro
Magnolia Pictures and Amazon Studios Velvet Film, Inc., Velvet Film, Artémis Productions, Close Up Films In coproduction with ARTE France, Independent Television Service (ITVS) with funding provided by Corporation for Public Broadcasting (CPB), RTS Radio Télévision Suisse, RTBF (Télévision belge), Shelter Prod With the support of Centre National du Cinéma et de l’Image Animée, MEDIA Programme of the European Union, Sundance Institute Documentary Film Program, National Black Programming Consortium (NBPC), Cinereach, PROCIREP – Société des Producteurs, ANGOA, Taxshelter.be, ING, Tax Shelter Incentive of the Federal Government of Belgium, Cinéforom, Loterie Romande Presents I AM NOT YOUR NEGRO A film by Raoul Peck From the writings of James Baldwin Cast: Samuel L. Jackson 93 minutes Winner Best Documentary – Los Angeles Film Critics Association Winner Best Writing - IDA Creative Recognition Award Four Festival Audience Awards – Toronto, Hamptons, Philadelphia, Chicago Two IDA Documentary Awards Nominations – Including Best Feature Five Cinema Eye Honors Award Nominations – Including Outstanding Achievement in Nonfiction Feature Filmmaking and Direction Best Documentary Nomination – Film Independent Spirit Awards Best Documentary Nomination – Gotham Awards Distributor Contact: Press Contact NY/Nat’l: Press Contact LA/Nat’l: Arianne Ayers Ryan Werner Rene Ridinger George Nicholis Emilie Spiegel Shelby Kimlick Magnolia Pictures Cinetic Media MPRM Communications (212) 924-6701 phone [email protected] [email protected] [email protected] [email protected] [email protected] 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com SYNOPSIS In 1979, James Baldwin wrote a letter to his literary agent describing his next project, Remember This House. -
COPLAND, CHÁVEZ, and PAN-AMERICANISM by Candice
Blurring the Border: Copland, Chávez, and Pan-Americanism Item Type text; Electronic Thesis Authors Sierra, Candice Priscilla Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 23:10:39 Link to Item http://hdl.handle.net/10150/634377 BLURRING THE BORDER: COPLAND, CHÁVEZ, AND PAN-AMERICANISM by Candice Priscilla Sierra ________________________________ Copyright © Candice Priscilla Sierra 2019 A Thesis Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2019 3 TABLE OF CONTENTS List of Musical Examples ……...……………………………………………………………… 4 Abstract………………...……………………………………………………………….……... 5 Introduction……………………………………………………………………………………. 6 Chapter 1: Setting the Stage: Similarities in Upbringing and Early Education……………… 11 Chapter 2: Pan-American Identity and the Departure From European Traditions…………... 22 Chapter 3: A Populist Approach to Politics, Music, and the Working Class……………....… 39 Chapter 4: Latin American Impressions: Folk Song, Mexicanidad, and Copland’s New Career Paths………………………………………………………….…. 53 Chapter 5: Musical Aesthetics and Comparisons…………………………………………...... 64 Conclusion……………………………………………………………………………………. 82 Bibliography………………………………………………………………………………….. 85 4 LIST OF MUSICAL EXAMPLES Example 1. Chávez, Sinfonía India (1935–1936), r17-1 to r18+3……………………………... 69 Example 2. Copland, Three Latin American Sketches: No. 3, Danza de Jalisco (1959–1972), r180+4 to r180+8……………………………………………………………………...... 70 Example 3. Chávez, Sinfonía India (1935–1936), r79-2 to r80+1…………………………….. -
Collective Difference: the Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Collective Difference: The Pan-American Association of Composers and Pan- American Ideology in Music, 1925-1945 Stephanie N. Stallings Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC COLLECTIVE DIFFERENCE: THE PAN-AMERICAN ASSOCIATION OF COMPOSERS AND PAN-AMERICAN IDEOLOGY IN MUSIC, 1925-1945 By STEPHANIE N. STALLINGS A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2009 Copyright © 2009 Stephanie N. Stallings All Rights Reserved The members of the Committee approve the Dissertation of Stephanie N. Stallings defended on April 20, 2009. ______________________________ Denise Von Glahn Professor Directing Dissertation ______________________________ Evan Jones Outside Committee Member ______________________________ Charles Brewer Committee Member ______________________________ Douglass Seaton Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would like to express my warmest thanks to my dissertation advisor, Denise Von Glahn. Without her excellent guidance, steadfast moral support, thoughtfulness, and creativity, this dissertation never would have come to fruition. I am also grateful to the rest of my dissertation committee, Charles Brewer, Evan Jones, and Douglass Seaton, for their wisdom. Similarly, each member of the Musicology faculty at Florida State University has provided me with a different model for scholarly excellence in “capital M Musicology.” The FSU Society for Musicology has been a wonderful support system throughout my tenure at Florida State.