DOCSLIB.ORG

With a Song in My Heart

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
With a Song in My Heart Mississippi State University Scholars Junction Sheet Music Collection Charles H. Templeton, Sr. Music Collection 1924 With A Song In My Heart Richard Rodgers Follow this and additional works at: https://scholarsjunction.msstate.edu/cht-sheet-music Preferred Citation [Physical ID#]: [Title], Charles H. Templeton, Sr. sheet music collection. Special Collections, Mississippi State University Libraries. This Sheet Music is brought to you for free and open access by the Charles H. Templeton, Sr. Music Collection at Scholars Junction. It has been accepted for inclusion in Sheet Music Collection by an authorized administrator of Scholars Junction. For more information, please contact [email protected]. ,,v l ..f l-1 J-\ S O~I G I ~I J'J\ Y l-1 EJ-\ R..f I n C, (b to d) In E~ ,!dto f ) Duet in E~ Soprano (d t o f ) Alto or Baritone (b~ to d~) FROM THE MUSICAL COMEDY "SPRING IS HERE" WORDS BY LORENZ HART MUSIC BY RICHARD RODGERS PUBLISHED IN THE ~OLLOWING ARRANGEMENTS Vocal Solo, 2 Keys, C-Eb .. ... ... .. each .60 Accordion Solo IB .C.l. .50 Vocal Duet, Eb . • . • • • .60 Bb Trumpet and Piano . .60 2 Part Treble (SA) ..... ...... : . .18 Violin and Piano . • . • .75 3 Part Treble (SSA ) . .18 2 Pianos - 4 Hands . • • • • . • . 1.00 4 Part Mixed ISATB). .20 Vocal ·Orchestration, Eb . 1.25 4 Part Male (TTBB) . .1 8 Dance Orchestration (Fox Trot) . ..... •. .. .• 1.00 Piano Solo (Gotham Classics No. 56) . .SO Dance Orchestration (Ork ate Serles) . .60 Piano Solo (Concert Paraphrase) . • . .75 Symphonic Band - "B" Set . • . • . 3 .00 Piano Duet . • . • . .75 " C" Set . • . • . 2 .00 WHEN PERFORMING THIS COMPOSITION KINDL Y GIVE ALL PROGRAM CREDITS TO HARMS INCORPORATED NEW YORK PRINTED IN U . 5. A . "Spring Is Here" 2 vVith A Song In My Heart Words by Music by LORENZ HART RICHARD RODGERS Allegretto moderato VOICE Piano Geori Gerst Soi All 11 Bi: INCLU The Ma, Fasci, Rhy That C Fee AND D El. E\, mm mm $1. sight. ________ it's you and it's the years. _________ the morn - ing de - > ru • Diagrams for Guitar, Symbols for Ukulele and Banjo 8318-4 Copyright MCMXXIX by HARKS Inc., N.Y. Publisher member of A. S. C. A. P. International Copyright Secured. Made in U. S. A. ALL RIGHTS RESERVED INCLUDING PUBLIC PERFORMANCE FOR PROFIT The making of any unauthorized adaptation, arrangement or copy of this publication, or any part thereof, is an infringement of copyright and subjects the infringer to severe penalties under the Copyright Act. B~m7 3 Ev-'ry meet - ing's a mar - vel - ous pas - time You're in - Not a note of our mu - sic is played out, It will E7 B~7 n A~ E~ ffltl B_!Z +5 mm mm mm rat,mm mm meet greet you peat: Refrain Rather slow but with rhythm E~ B~7 p-mj' mffl a tf'mpo . fflt G7 mi start, ___________ 8a:i8-4 With A Song In My Heart . r THE GRANVILLE VOCAL STUDY PLAN A new and practical method of Voice Training THE GRANVILLE Work Book . ... .. .. S2.S0 for individual or classroom use. Five unbreak- THE GRANVILLE VOCAL STUDY PLAN able double faced records, comprising voice VOCAL STUDY PLAN Album of Record• .... S7.S0 exercises and accompaniments, are employed By Dr . CHARLES NORMAN GRANVILLE REMICK MUSIC CORP. as an integral part of the system. • • • 4 Cm Cm Cm7 Cm6 * fflffl D7 I mm I 3 mm rrP..,.c. 1 a ..'\ " - - I r ., ... ... -- --- - - -- - - - . I I-- - Im toueh- ing your hand; ' It tells that you're r ,, I f'i I - I I I I I - ., . - r - - I - ,, ., ,, - - -- --- - -·., ---- ,__ - - T • - -- - . - r r r - TT~ • - r .,,. -r -r- #- cresc. 1.._ __ r t L. ,.. .,,_ ..___ - ., - - .. .. I - • • I -· r 'I I > - IJ \ - - - - C,, - ... 4- "U" ' C7 0 Fm D7 G7 - ----- mm Fm •1 mf ,.,,. I., fflff mt d dim. mm ... ... IJ - . ., I • - . •-- •• ... ..... -, - . - J - -- I I - - ' r tJ stand - 1ng near, and lt the sound of your Ii I., ---......... I I I I - ... - - . .... .... ..... - --'~ - ... " T - ,_ ...... --- - ........ - - - - TT ""' - ' - •- -• - - .,- - - ... - . - $· - t ~r l t r t , -; r f .. '11if p I dim. .... L. ,.. _, .. .. .. • •.. • I I " - • - • ...• -, - - -- . - ... - -· -r " - - - - - - - I~- - • "11- -- -- 7 • 11-- ---"11 me. * Open stri'ngs saas-4 With A Song In My Heart G7 Cm 5 fflffl * song such as Cm Cm6 G7 0 0 F7 m mm lffl re ' • IWID 1g ,um : Hits F7 E~ Fm7 B~7- )ING mm mi mm I Love ating With a in my heart for hm ertain mg HERS Ii. E~ E~dim E~ I I 2. E~ ma7 E~6 E~ I 00 E7 B~7 +5 mm mm mm mm mm mm mm --- mm mm mm -t,. Open Bt'T'fngs 8338-4 With A Song In My Heart WARNING: Any pe~son who shall willfully and for profit copy the words or music of this song,or any portion thereof, shall be liable to criminal prosecution under the United Statu Copyright Law. (p,He~ 'P1e0~titue4 RICHARD LORENZ 4 llll O JD G JIE Ill S 4#14 JIHl[Alllllr A CONNECTICUT YANKEE POOR LITTLE RITZ GIRL CAN'T YOU DO A FRIEND A FAVOR LOVE'S INTENSE IN TENTS Price 60c eoch I BlUSH LOVE Will CALL I FEEL AT HOME WITH YOU YOU CAN 'T FOOL YOUR DREAMS LUNCH TIME FOLLIES MY HEART STOOD STILL ON A DESERT ISLAND WITH THEE PRESENT ARMS AMERICA'S SWEETHEART SOMEONE SHOULD TELL THEM BLUE OCEAN BLUES HOW ABOUT IT SOMETHING CRAZY ELBOWS 1· vE GOT FIVE DOLLARS Tt<IS IS MY NIGHT TO HOWL DO I HEAR YOU SAYING "I LOVE YOU" I WANT A MAN THC '.J SWELL DOWN IY THE SEA LADY MUST LIVE, A TO KEEP MY LOVE ALIVE l'M A FOOL LITTLE ONE KISS FOR CINDERELLA THERE ·s SO MUCH MORE YOU ALWAYS LOVE THE SAME GIRL WE'LL BE THE SAME YOU TOOK ADVANTAGE Of ME GIRL FRIEND BETSY BLUE ROOM COME AND TELL ME GIRL FR IEND, THE SHE'S MY BABY IF I WERE YOU GOOD FELLOW OF MINE BABY'S BEST FRIEND, A SING SLEEPY HEAD HOW WAS I TO KNOW? STONEWALL MOSKOWITZ MARCH WHY DO U MORNING IS MIDNIGHT THIS FUNNY WORLD WHEN I GO ON THE STAGE YOU .RE IHE MOTHER TYPE HALLELUJAH l'M A BUM WHOOPSIE HALLELUJAH l'M A BUM YOU'RE WHAT I NEED CHEE, CHEE I'll DO IT AGAIN BETTER BE GOOD TO ME WHAT DO YOU WANT WITH MONEY DEAR OH DEAR YOU ARE TOO BEAUTIFUL SIMPLE SIMON I MUST LOVE YOU DON'T TELL YOUR FOLKS MOON OF MY DELIGHT HEADS UP HE DANCES ON MY CEILING SINGING A LOVE SONG IT MUST BE HEAVEN HE WAS TOO GOOD TO ME TARTAR SONG, THE WHY DO YOU SUPPOSE I CAN DO WONDERS WITH YOU I STILL BELIEVE IN YOU DEAREST ENEMY HOT HEIRESS SEND FOR ME BYE AND BYE LIKE ORDINARY PEOPLE DO SWEETHEART HERE IN MY ARMS YOU .RE THE CATS TEN CENTS A DANCE HERE ·s A KISS SWEET PETER LADY FINGERS SOMETHING GAY I LOVE YOU MORE THAN YESHRDAY YOlJ ARE SO LOVELY AND l 'M SO LONELY EVERGREEN SING DANCING ON THE CEILINC. ME FOR YOU SPRING IS HERE FOOLS FOR SCANDAL ME FOR YOU (Wouldn't You Love It) BABY'S AWAKE NOW HOW CAN YOU FORGEH MY MAN IS ON THE MAKE RICH MAN POOR MAN THERE·s A BOY IN HARLEM SHIP WITHOUT A SAIL, A WHY CAN'T If SKY CITY WITH A SONG IN MY HEART THE GARRICK GAIETIES YOU NEVER SAY YES KE YS TO HEAVEN YOURS SINCERELY LI TTLE SOUVENIR, A PEGGY ANN MOUNTAIN GREENERY LITTLE BIRDIE TOLD ME SO, A MAYBE IT 'S ME QUEEN ELIZABETH THE FIFTH AVE. FOLLIES TREE IN THE PARK, A WHAT·s THE USE OF TALKING WHERE·s THAT LITTLE GIRL WHERE 'S THAT RAINBOW WITH THE LITTLE GREEN HAT ---------•---------VOCAL DUETS MY HEART STOOD STILL .... ........................ ......... $.60 WITH A SONG IN MY HEART . ................................. .................. $.60 RODGERS AND HART SONG ALBUM A collection of ten top songs, never before publi,hed in olbum form . Containing: " Blue Room " , " W i th A Song In My Heart", "My Hearl Stood Still", among others. Price - $1.00 ---------•--------- GOTHAM CLASSICS TWO PIANOS - FOUR HANDS PIANO SERIES - Grade Three Arranged by HENRY LEVIN~ THE BLUE ROOM, Tronscribed by Gregory Stone ...................... $1.00 WITH A SONG IN MY HEART-, Arranged by Stephen Kovacs .. 1.00 THE BLUE ROOM .... .. ....................... ·······.. ...... .... ................. $.50 WITH A SONG IN MY HEART.. ........................................... ...... .. 50 PIANO SELECTIONS Price - $ 1.00 each PIANO SOLO THE BLUE ROOM, stylized in the Modern Idiom by Cy Walter .. $ ,75 A CONNECTICUT YANKEE HEADS UP DEAREST ENEMY PEGGY ANN PIANO DUETS THE GARRICK GAIETIES PRESENT ARMS THE BLUE ROOM, Tran,cribed by Gergory Stone ........................ $.75 THE GIRL FRIEND SIMPLE SIMON WITH A SONG IN MY HEART, Arranged by J. Louis Merkur ...... •75 SPRING IS HERE HARMS INC.-619 WEST 54th ST., NEW YORK 19, N.Y. .
Load more

Recommended publications
  • A Queer Aes- Thetic Is Suggested in the Nostalgia of Orton’S List of 1930S Singers, Many of Whom Were Sex- Ual Nonconformists
    Orton in Deckchair in Tangier. Courtesy: Orton Collection at the University of Leicester, MS237/5/44 © Orton Estate Rebel playwright Joe Orton was part of a ‘cool customer’, Orton shopped for the landscape of the Swinging Sixties. clothes on Carnaby Street, wore ‘hipster Irreverent black comedies that satirised pants’ and looked – in his own words the Establishment, such as Entertaining – ‘way out’. Although he cast himself Mr Sloane (1964), Loot (1965) and as an iconoclast, Emma Parker suggests What the Butler Saw (first performed that Orton’s record collection reveals a in 1969), contributed to a new different side to the ruffian playwright counterculture. Orton’s representation who furiously pitched himself against of same-sex desire on stage, and polite society. The music that Orton candid account of queer life before listened to in private suggests the same decriminalisation in his posthumously queer ear, or homosexual sensibility, that published diaries, also made him a shaped his plays. Yet, stylistically, this gay icon. Part of the zeitgeist, he was music contradicts his cool public persona photographed with Twiggy, smoked and reputation for riotous dissent. marijuana with Paul McCartney and wrote a screenplay for The Beatles. Described by biographer John Lahr as A Q U E E R EAR Joe Orton and Music 44 Music was important to Joe Orton from an early age. His unpublished teenage diary, kept Issue 37 — Spring 2017 sporadically between 1949 and 1951, shows that he saved desperately for records in the face of poverty. He also lovingly designed and constructed a record cabinet out of wood from his gran’s old dresser.
    [Show full text]
  • Inside Facts of Stage and Screen (September 20, 1930)
    — STAGE PRICE 10 RADIO \ CENTS SCREEN Only Theatrical Newspaper on the Pacific Coast MUSIC ESTABLISHED 1924 EDITED BY JACK JOSEPHS Entered as Second Class Matter, April 29, 1927, at Post- Published Every Saturday at 800-801 Warner Bros. Down- Vol. XII office, Los Angeles, Calif., under Act of March 3, 1879. Saturday, September 20, 1930 town Building, 401 West Seventh St., Los Angeles, Calif. No. 12 LOCAL PREVIEWS ‘OUT’ MARATHON UNFINISHED DANCES IN FILMS GET BIG SPURT ‘PAN’ HERE Marathon dances, considered Elimination of previews of dead stuff around here and talking pictures in the vicinity which certain officials in the of Hollywood was a decision city have frowned upon, took a of the movie industry this sudden leap with the long dic- week. tance dance which Bill MeikeB Instead, advance public show- john promoted at the Casino in ings of pictures are to be given Balboa Beach. in San Francisco, San Diego, San Bernardino and other Contest endured for of a period points considerably distant from 1226 hours, and wound up in ex- the movie capital. citement and packed houses that, Too many wise ones in the in- notwithstanding the large overhead dustry, and their friends, have been and slow start, made a big profit for attending the local previews, and the promoters. making smart cracks about films, During last few hours of the not yet cut or actually finished. dance, excited spectators threw As' a result, many good pictures $2200 on the floor for the be- have been given the “black-eye” draggled dancers, which was in from these premature swats.
    [Show full text]
  • Guide to Ella Fitzgerald Papers
    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
    [Show full text]
  • Critical Perspectives on American Musical Theatre Thea
    Critical Perspectives on American Musical Theatre Thea. 80200, Spring 2002 David Savran, CUNY Feb 4—Introduction: One Singular Sensation To be read early in the semester: DiMaggio, “Cultural Boundaries and Structural Change: The Extension of the High Culture Model to Theater, Opera, and the Dance, 1900-1940;” Block, “The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal;” Savran, “Middlebrow Anxiety” 11—Kern, Hammerstein, Ferber, Show Boat Mast, “The Tin-Pan-Tithesis of Melody: American Song, American Sound,” “When E’er a Cloud Appears in the Blue,” Can’t Help Singin’; Berlant, “Pax Americana: The Case of Show Boat;” 18—No class 20—G. and I. Gershwin, Bolton, McGowan, Girl Crazy; Rodgers, Hart, Babes in Arms ***Andrea Most class visit*** Most, Chapters 1, 2, and 3 of her manuscript, “We Know We Belong to the Land”: Jews and the American Musical Theatre; Rogin, Chapter 1, “Uncle Sammy and My Mammy” and Chapter 2, “Two Declarations of Independence: The Contaminated Origins of American National Culture,” in Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot; Melnick, “Blackface Jews,” from A Right to Sing the Blues: African Americans, Jews, and American Popular Song 25— G. and I. Gershwin, Kaufman, Ryskind, Of Thee I Sing, Shall We Dance Furia, “‘S’Wonderful: Ira Gershwin,” in his Poets of Tin Pan Alley, Mast, “Pounding on Tin: George and Ira Gershwin;” Roost, “Of Thee I Sing” Mar 4—Porter, Anything Goes, Kiss Me, Kate Furia, “The Tinpantithesis of Poetry: Cole Porter;” Mast, “Do Do That Voodoo That You Do So Well: Cole Porter;” Lawson-Peebles, “Brush Up Your Shakespeare: The Case of Kiss Me Kate,” 11—Rodgers, Hart, Abbott, On Your Toes; Duke, Gershwin, Ziegfeld Follies of 1936 Furia, “Funny Valentine: Lorenz Hart;” Mast, “It Feels Like Neuritis But Nevertheless It’s Love: Richard Rodgers and Lorenz Hart;” Furia, Ira Gershwin: The Art of the Lyricist, pages 125-33 18—Berkeley, Gold Diggers of 1933; Minnelli, The Band Wagon Altman, The American Film Musical, Chaps.
    [Show full text]
  • Rodgers and Hart
    Otterbein University Digital Commons @ Otterbein 1981 Summer Theatre Productions 1981-1990 7-1-1981 Rodgers and Hart Otterbein University Theatre and Dance Department Follow this and additional works at: https://digitalcommons.otterbein.edu/summer_production_1981 Part of the Acting Commons, Dance Commons, and the Theatre History Commons Recommended Citation Otterbein University Theatre and Dance Department, "Rodgers and Hart" (1981). 1981 Summer Theatre. 5. https://digitalcommons.otterbein.edu/summer_production_1981/5 This Book is brought to you for free and open access by the Productions 1981-1990 at Digital Commons @ Otterbein. It has been accepted for inclusion in 1981 Summer Theatre by an authorized administrator of Digital Commons @ Otterbein. For more information, please contact [email protected]. OTTERBEIN SUMMER THEATRE presents 329th Production (72nd Summer Theatre) RODGERS and HART i (A Musical Celebration) # Music by Lyrics by • RICHARD RODGERS LORENZ HART • July 1, 2, 3 and 7, 9, 10, 11, 1981 • Musical Director Lyle Barkhymer 2 Choreographer Joanne VanSant 0 Designer Fred J. Thayer * Costume Design Kathleen Lewicki ^ Rodgers and Hart is presented through special arrangements with The Rodgers and ® Hammerstein Theatre Library, 598 Madison Ave., New York, N.Y. 10022. ® ••••••••••••••••••••••••••••••/ Uk$tervilkRealtyt SINC » l%«l Tncorporakd “77ie Complete Real Estate Service** 16 E. COLLEGE WESTERVILLE. OHIO Phone 882-3641 ^ ______ ___ _/¥ DIRECTORS Lyle Barkhymer is an instructor of clarinet, music history and conducting. He hails from Pennsylvania, and after graduating from Otterbein he returned to Westerville, having completed his graduate studies at Indiana University. He has studied abroad in Vienna and London and is a member of the Columbus Symphony Orchestra.
    [Show full text]
  • Hart, Lorenz (1895-1943) Lorenz Hart (Standing, by Raymond-Jean Frontain Right) with Richard Rodgers in 1936
    Hart, Lorenz (1895-1943) Lorenz Hart (standing, by Raymond-Jean Frontain right) with Richard Rodgers in 1936. Encyclopedia Copyright © 2015, glbtq, Inc. Library of Congress Prints and Photographs Entry Copyright © 2002, glbtq, Inc. Division. Reprinted from http://www.glbtq.com Barely five feet tall, balding early, and possessing a disproportionately large head, Larry Hart was the first to disparage his own attractiveness. His jokes, however, masked a deeply-rooted inability to accept the possibility of romantic happiness or sexual gratification. Hart impulsively proposed marriage to several women friends, none of whom thought his offer serious. And when he allowed himself to act upon his desire for other men, he seems to have had difficulty performing sexually. (Biographer Frederick Nolan quotes one unidentified male partner's shock at discovering Hart cowering in the bedroom closet after sex, suggesting that the songwriter was unable actively to pursue homosexual pleasure without being overcome by guilt.) The result of such emotional imbroglio is that, despite having written lyrics as witty as any sung on the Broadway stage before or since, Hart is best remembered for his songs of unfulfilled desire and failed romance. Born Lorenz Milton Hart on May 2, 1895, to an immigrant Jewish family, Hart learned from his entrepreneur father that self-assertion allows survival. Never without a business venture, many of which were dishonest, Hart's father provided Larry with a lasting model for the cycles of impulsive free-spending and resulting impecuniosity that characterized Hart's own life. Hart entertained both friends and strangers lavishly, often living far beyond his means, but with a (sometimes unfounded) optimism that something would turn up.
    [Show full text]
  • SMTA Catalog Complete
    The Integrated Broadway Library Index including the complete works from 34 collections: sorted by musical HL The Singer's Musical Theatre Anthology (22 vols) A The Singer's Library of Musical Theatre (8 vols) TMTC The Teen's Musical Theatre Collection (2 vols) MTAT The Musical Theatre Anthology for Teens (2 vols) Publishers: HL = Hal Leonard; A = Alfred *denotes a song absent in the revised edition Pub Voice Vol Page Song Title Musical Title HL S 4 161 He Plays the Violin 1776 HL T 4 198 Mama, Look Sharp 1776 HL B 4 180 Molasses to Rum 1776 HL S 5 246 The Girl in 14G (not from a musical) HL Duet 1 96 A Man and A Woman 110 In The Shade HL B 5 146 Gonna Be Another Hot Day 110 in the Shade HL S 2 156 Is It Really Me? 110 in the Shade A S 1 32 Is It Really Me? 110 in the Shade HL S 4 117 Love, Don't Turn Away 110 in the Shade A S 1 22 Love, Don't Turn Away 110 in the Shade HL S 1 177 Old Maid 110 in the Shade HL S 2 150 Raunchy 110 in the Shade HL S 2 159 Simple Little Things 110 in the Shade A S 1 27 Simple Little Things 110 in the Shade HL S 5 194 Take Care of This House 1600 Pennsylvania Avenue A T 2 41 Dames 42nd Street HL B 5 98 Lullaby of Broadway 42nd Street A B 1 23 Lullaby of Broadway 42nd Street HL T 3 200 Coffee (In a Cardboard Cup) 70, Girls, 70 HL Mezz 1 78 Dance: Ten, Looks: Three A Chorus Line HL T 4 30 I Can Do That A Chorus Line HL YW MTAT 120 Nothing A Chorus Line HL Mezz 3 68 Nothing A Chorus Line HL Mezz 4 70 The Music and the Mirror A Chorus Line HL Mezz 2 64 What I Did for Love A Chorus Line HL T 4 42 One More Beautiful
    [Show full text]
  • Notations Spring 2011
    The ASCAP Foundation Making music grow since 1975 www.ascapfoundation.org Notations Spring 2011 Tony Bennett & Susan Benedetto Honored at ASCAP Foundation Awards The ASCAP Foundation held its 15th Annual Awards Ceremony at the Allen Room, Frederick P. Rose Hall, Home of Jazz at Lincoln Center, in New York City on December 8, 2010. Hosted by ASCAP Foundation President, Paul Williams, the event honored vocal legend Tony Bennett and his wife, Susan Benedetto, with The ASCAP Foundation Champion Award in recognition of their unique and significant efforts in arts education. ASCAP Foundation Champion Award recipients Susan Benedetto (l) & Tony Bennett with Mary Rodgers (2nd from left), Mary Ellin A wide variety of ASCAP Foundation Scholarship Barrett (2nd from right), and ASCAP Foundation President Paul and Award recipients were also honored at the Williams (r). event, which included special performances by some of the honorees. For more details and photos of the event, please see our website. Bart Howard provides a Musical Gift The ASCAP Foundation is pleased to announce that composer, lyricist, pianist and ASCAP member Bart Howard (1915-2004) named The ASCAP Foundation as a major beneficiary of all royalties and copyrights from his musical compositions. In line with this generous bequest, The ASCAP Foundation has established programs designed to ensure the preservation of Bart Howard’s name and legacy. These efforts include: Songwriters: The Next Generation, presented by The ASCAP Foundation and made possible by the Bart Howard Estate which showcases the work of emerging songwriters and composers who perform on the Kennedy Center’s Millennium Stage. The ASCAP Foundation Bart Howard Songwriting Scholarship at Berklee College recog- nizes talent, professionalism, musical ability and career potential in songwriting.
    [Show full text]
  • 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
    [Show full text]
  • THE SINGER's MUSICAL THEATRE ANTHOLOGY Series ALL SOPRANO VOLUMES
    THE SINGER'S MUSICAL THEATRE ANTHOLOGY series ALL SOPRANO VOLUMES S1 = Volume 1 S2 = Volume 2 S3 = Volume 3 S4 = Volume 4 S5 = Volume 5 S-Teen = Teen's Edition S16 = Soprano "16-Bar" Audition Alphabetically by Song Title SONG SHOW VOLUME Ah! Sweet Mystery of Life Naughty Marietta S3, S16 All Through the Night Anything Goes S2 And This Is My Beloved Kismet S2 Another Suitcase in Another Hall Evita S2, S16 Another Winter in a Summer Town Grey Gardens S5, S16 Anything Can Happen Mary Poppins S5 Around the World Grey Gardens S5 S2, S-Teen, Art Is Calling for Me The Enchantress S16 Barbara Song The Threepenny Opera S1 Baubles, Bangles and Beads Kismet S5 S5, S-Teen, The Beauty Is The Light in the Piazza S16 Before I Gaze at You Again Camelot S3 Begin the Beguine Jubilee S5 Belle (Reprise) Beauty and the Beast S-Teen Bewitched Pal Joey S4, S16 Bill Show Boat S1 Bride's Lament The Drowsy Chaperone S5 A Call from the Vatican Nine S2, S16 Can’t Help Lovin’ Dat Man Show Boat S1, S16 Children of the Wind Rags S4, S16 S4, S-Teen, Children Will Listen Into the Woods S16 Christmas Lullaby Songs for a New World S3 Climb Ev’ry Mountain The Sound of Music S1 Come Home Allegro S1 Cry Like the Wind Do Re Mi S5, S16 Daddy's Girl Grey Gardens S5, S16 Dear Friend She Loves Me S2, S16 Fable The Light in the Piazza S5 Falling in Love with Love The Boys from Syracuse S1, S16 S1, S-Teen, Far from the Home I Love Fiddler on the Roof S16 Fascinating Rhythm Lady, Be Good! S5 Feelings The Apple Tree S3, S16 The Flagmaker, 1775 Songs for a New World S5 Follow Your
    [Show full text]
  • 'Gilding the Guild:' Art Theatre, the Broadway Revue, and Cultural
    KEL/ )!hh&,-Ç.(Afl]dd][lDaeal]\*()+ Klm\a]kafEmka[YdL`]Ylj] Ngdme]/FmeZ]j) *()+Afl]dd][lDl\9jla[d]&=f_dak`dYf_mY_]&\ga2)(&)+0.'kel&/&)&,-W) E9Q9;9FLM QYd]K[`ggdg^<jYeY Ë?ad\af_l`]?mad\Ì29jll`]Ylj]$ l`]:jgY\oYqj]nm]Yf\ [mdlmjYdhYjg\qafL`]?Yjja[c ?Ya]la]k )1*-Ç)1+(! 9:KLJ9;L C=QOGJ<K The legendary Garrick Gaieties revues of the mid-1920s are credited with launch- Broadway revue ing the Broadway careers of Richard Rodgers and Lorenz Hart, with developing the Rodgers and Hart style of the ‘sophisticated revue’ and with establishing Rodgers’ collaboration with Theatre Guild the Theatre Guild, which later produced Oklahoma! (1943) and Carousel (1945). art theatre Beyond these more familiar innovations, The Garrick Gaieties invites closer parody scrutiny for the series’ complex relationship with the Little Theatre and art theatre intertextuality movements of the 1920s, as represented by the Theatre Guild. Through cultural parody satirizing both the Theatre Guild and Broadway commercialism, the creators of The Garrick Gaieties of 1925, 1926 and 1930 not only used the revue form to destabilize cultural hierarchies and address tensions concerning art and commerce, but to bridge the distinct traditions of the Broadway musical and art theatre during the culturally dynamic years of the 1920s. The Garrick Gaieties revues of the mid-1920s are legendary for launching the Broadway careers of Richard Rodgers and Lorenz Hart. Bringing Rodgers and Hart ‘their first major recognition’ as a songwriting partnership (Hischak 2007: 92), these witty revues produced the team’s first nationally popular hits: ,- SMT_7.1_Cantu_45-60.indd 45 5/11/13 9:23:51 PM EYqY;Yflm the urban and bucolic odes ‘Manhattan’ and ‘Mountain Greenery’, respec- tively.
    [Show full text]
  • HOW COPYRIGHT KEEPS WORKS DISAPPEARED Paul J. Heald* a Random Sample of New Books for Sale on Amazon.Com Shows More Books for S
    HOW COPYRIGHT KEEPS WORKS DISAPPEARED Paul J. Heald* A random sample of new books for sale on Amazon.com shows more books for sale from the 1880’s than the 1980’s. Why? This paper presents new data on how copyright stifles the reappearance of works. First, a random sample of more than 2000 new books for sale on Amazon.com is analyzed along with a random sample of almost 2000 songs available on new DVD’s. Copyright status correlates highly with absence from the Amazon shelf. Together with publishing business models, copyright law seems to deter distribution and diminish access. Further analysis of eBook markets, used books on Abebooks.com, and the Chicago Public library collection suggests that no alternative marketplace for out-of-print books has yet developed. Data from iTunes and YouTube, however, tell a different story for older hit songs. The much wider availability of old music in digital form may be explained by the differing holdings in two important cases Boosey & Hawkes v. Disney (music) and Random House v. Rosetta Stone (books). One justification for granting authors a property right in their creations is the assumption that copyright stimulates the production of new works.1 An alternative justification of growing importance claims that after a work is created, it needs to be protected for a significant period of *Herbert Smith Fellow & Affiliated Lecturer, Cambridge University; Professor of Law & Raymond Guy James Faculty Scholar, University of Illinois; Professorial Fellow, Bournemouth University (UK), [email protected].
    [Show full text]