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Capitol Theatre (New York, NY) Collection of Silent Film Music Ca
http://oac.cdlib.org/findaid/ark:/13030/tf4j49n9vt No online items Finding Aid for the Capitol Theatre (New York, NY) Collection of Silent Film Music ca. 1910-1930 Processed by . UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm ©2006 The Regents of the University of California. All rights reserved. 87 1 Descriptive Summary Title: Capitol Theatre (New York, NY) Collection of Silent Film Music, Date (inclusive): ca. 1910-1930 Collection number: 87 Creator: Capitol Theatre Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Abstract: The collection consists of published scores, mostly for piano, of music to accompany the showing of silent films. Includes some manuscript parts of music arranged for chamber ensembles. Access The collection is open for research. Publication Rights Property rights in the physical objects belong to the UCLA Performing Arts Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish if the Performing Arts Special Collectionsdoes not hold the copyright. Preferred Citation [Identification of item], Capitol Theatre (New York, NY) Collection of Silent Film Music, 87, Performing Arts Special Collections, University of California, Los Angeles. -
Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music. -
Sweet Georgia Brown Presents Arranged by Marty Paich
Jazz Lines Publications sweet georgia brown Presents Arranged by marty paich Prepared for Publication by dylan canterbury, Rob duboff, and Jeffrey Sultanof full score jlp-9747 Music by Ben Bernie and Maceo Pinkard Words by Kenneth Casey © 2021 The Jazz Lines Foundation Inc. This Arrangement Has Been Published with the Authorization of the Ella Fitzgerald Estate. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA ella fitzgerald series sweet georgia brown (1966) Ella Fitzgerald Biography: Truly the First Lady of Song, Ella Fitzgerald was one of the greatest singers in American history. As her official website perfectly states, “Her voice was flexible, wide-ranging, accurate, and ageless. She could sing sultry ballads, sweet jazz, and imitate every instrument in an orchestra.” She enthralled audiences all over the world for decades, worked with everyone from Duke, Dizzy, and Count Basie to Nat King Cole and Sinatra, and left a recorded legacy that is second to none. Born Ella Jane Fitzgerald on April 25, 1917 in Newport News, Virginia, Ella endured some rough times as a child. Following the split of her parents, she moved with her mother to Yonkers, NY, and sadly lost her mother at age 15. Fighting poverty, Ella eventually used these difficult times as motiva- tion in life, and continued to harbor dreams of being an entertainer. She made her public singing debut at the Apollo Theater in Harlem on November 21, 1934 at age 17. -
Ampico Popular NEW MIDI and E-Roll Files Composer
Total files = 536 Ampico Popular NEW MIDI and e-roll files AA = Ampico A, AB = Ampico B Composer (Writer) order Roll issue Title Writer(s) Composer details Pianist time midi file name No. date Stephen Adams (Michael Holy City, The Adams Brockway as Kmita 56824 1919 4:52 Holy City, Brockway AA Maybrick) Crazy Words - Crazy Tune Ager Milton Ager (1893-1979) Grofe 208611 05 1927 2:48 Crazy Words, Crazy Tune, Grofe AA I Wonder What's Become of Sally? Ager Fairchild 205191 09 1924 4:28 I Wonder What's Become of Sally AA I'll Get By Ahlert Fred E. Ahlert (1892-1953) Rainger 211171 02 1929 2:42 I'll Get By, Rainger AB I'll Tell The World Ahlert Wright & Johnston 211541 05 1929 3:14 I'll Tell The World (Ahlert) AB Marianne "Marianne" Ahlert Rainger 212191 12 1929 2:44 Marianne, Rainger AB Love Me (Deja) waltz Aivaz Morse-T. Aivaz (only item) Shipman 212241 12 1929 3:20 Love Me (Aivaz), Carroll AB Am I Blue? from "On With The Show" Akst Harry Akst (1894-1963) Arden & Carroll 212031 10 1929 3:37 Am I Blue AB Away Down South Akst Clair 203051 11 1922 2:37 Away Down South (Akst), Clair AA If I'd Only Believed In You Akst Lane 208383 02 1927 5:14 If I'd Only Believed In You AA In My Bouquet Of Memories Akst Arden 210233 07 1928 4:58 In My Bouquet of Memories AB Nobody Loves You Like I Do Akst Lopez (asst) 205531 01 1925 2:38 Nobody Loves You (Akst), Lopez AA Shanghai Dream Man Akst Grofe 208621 05 1927 3:48 Shanghai Dream Man, Grofe AA Gotta Feelin' For You "Hollywood Revue" Alter Carroll 212351 01 1930 2:49 Gotta Feelin' For You, Carroll AB Hugs and -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Charles Mcpherson Leader Entry by Michael Fitzgerald
Charles McPherson Leader Entry by Michael Fitzgerald Generated on Sun, Oct 02, 2011 Date: November 20, 1964 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Carmell Jones (t), Barry Harris (p), Nelson Boyd (b), Albert 'Tootie' Heath (d) a. a-01 Hot House - 7:43 (Tadd Dameron) Prestige LP 12": PR 7359 — Bebop Revisited! b. a-02 Nostalgia - 5:24 (Theodore 'Fats' Navarro) Prestige LP 12": PR 7359 — Bebop Revisited! c. a-03 Passport [tune Y] - 6:55 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! d. b-01 Wail - 6:04 (Bud Powell) Prestige LP 12": PR 7359 — Bebop Revisited! e. b-02 Embraceable You - 7:39 (George Gershwin, Ira Gershwin) Prestige LP 12": PR 7359 — Bebop Revisited! f. b-03 Si Si - 5:50 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! g. If I Loved You - 6:17 (Richard Rodgers, Oscar Hammerstein II) All titles on: Original Jazz Classics CD: OJCCD 710-2 — Bebop Revisited! (1992) Carmell Jones (t) on a-d, f-g. Passport listed as "Variations On A Blues By Bird". This is the rarer of the two Parker compositions titled "Passport". Date: August 6, 1965 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Clifford Jordan (ts), Barry Harris (p), George Tucker (b), Alan Dawson (d) a. a-01 Eronel - 7:03 (Thelonious Monk, Sadik Hakim, Sahib Shihab) b. a-02 In A Sentimental Mood - 7:57 (Duke Ellington, Manny Kurtz, Irving Mills) c. a-03 Chasin' The Bird - 7:08 (Charlie Parker) d. -
Title Composer Lyricist Arranger Cover Artist Publisher Date Notes Sabbath Chimes (Reverie) F
Title Composer Lyricist Arranger Cover artist Publisher Date Notes Sabbath Chimes (Reverie) F. Henri Klickmann Harold Rossiter Music Co. 1913 Sack Waltz, The John A. Metcalf Starmer Eclipse Pub. Co. [1924] Sadie O'Brady Billy Lindemann Billy Lindemann Broadway Music Corp. 1924 Sadie, The Princess of Tenement Row Frederick V. Bowers Chas. Horwitz J.B. Eddy Jos. W. Stern & Co. 1903 Sail Along, Silv'ry Moon Percy Wenrich Harry Tobias Joy Music Inc 1942 Sail on to Ceylon Herman Paley Edward Madden Starmer Jerome R. Remick & Co. 1916 Sailin' Away on the Henry Clay Egbert Van Alstyne Gus Kahn Starmer Jerome H. Remick & Co. 1917 Sailin' Away on the Henry Clay Egbert Van Alstyne Gus Kahn Starmer Jerome H. Remick & Co. 1917 Sailing Down the Chesapeake Bay George Botsford Jean C. Havez Starmer Jerome H. Remick & Co. 1913 Sailing Home Walter G. Samuels Walter G. Samuels IM Merman Words and Music Inc. 1937 Saint Louis Blues W.C. Handy W.C. Handy NA Tivick Handy Bros. Music Co. Inc. 1914 Includes ukulele arrangement Saint Louis Blues W.C. Handy W.C. Handy Barbelle Handy Bros. Music Co. Inc. 1942 Sakes Alive (March and Two-Step) Stephen Howard G.L. Lansing M. Witmark & Sons 1903 Banjo solo Sally in our Alley Henry Carey Henry Carey Starmer Armstronf Music Publishing Co. 1902 Sally Lou Hugo Frey Hugo Frey Robbins-Engel Inc. 1924 De Sylva Brown and Henderson Sally of My Dreams William Kernell William Kernell Joseph M. Weiss Inc. 1928 Sally Won't You Come Back? Dave Stamper Gene Buck Harms Inc. -
The Victor Black Label Discography
The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black -
Title Composer Lyricist Arranger Cover Artist Publisher Date Notes Wabash Blues Fred Meinken Dave Ringle Leo Feist Inc
Title Composer Lyricist Arranger Cover artist Publisher Date Notes Wabash Blues Fred Meinken Dave Ringle Leo Feist Inc. 1921 Wabash Cannon Ball Wm Kindt Wm Kindt NPS Calumet Music Co. 1939 High Bass arranged by Bill Burns Wabash Moon Dave Dreyer Dave Dreyer Irving Berlin Inc. 1931 Wagon Wheels Peter DeRose Billy Hill Shapiro, Bernstein & Co. 1934 Wagon Wheels Peter DeRose Billy Hill Geoffrey O'Hara Shapiro, Bernstein & Co., Inc. 1942 Arranged for male voices (T.T.B.B.) Wah-Hoo! Cliff Friend Cliff Friend hbk Crawford Music Corp. 1936 Wait for Me Mary Charlie Tobias Charlie Tobias Harris Remick Music Corp. 1942 Wait Till the Cows Come Home Ivan Caryll Anne Caldwell Chappell & Company Ltd 1917 Wait Till You Get Them Up In The Air, Boys Albert Von Tilzer Lew Brown EEW Broadway Music Corp. 1919 Waitin' for My Dearie Frederick Loewe Alan Jay Lerner Sam Fox Pub. Co. 1947 Waitin' for the Train to Come In Sunny Skylar Sunny Skylar Martin Block Music 1945 Waiting Harold Orlob Harry L. Cort Shapiro, Bernstein & Co. 1918 Waiting at the Church; or, My Wife Won't Let Me Henry E. Pether Fred W. Leigh Starmer Francis, Day & Hunter 1906 Waiting at the End of the Road Irving Berlin Irving Berlin Irving Berlin Inc. 1929 "Waiting for the Robert E. Lee" Lewis F. Muir L. Wolfe Gilbert F.A. Mills 1912 Waiting for the Robert E. Lee Lewis F. Muir L. Wolfe Gilbert Sigmund Spaeth Alfred Music Company 1939 Waiting in the Lobby of Your Heart Hank Thompson Hank Thompson Brenner Music Inc 1952 Wake The Town and Tell The People Jerry Livingston Sammy Gallop Joy Music Inc 1955 Wake Up, America! Jack Glogau George Graff Jr. -
Florenz Ziegfeld Jr
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE ZIEGFELD GIRLS BEAUTY VERSUS TALENT A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Theatre Arts By Cassandra Ristaino May 2012 The thesis of Cassandra Ristaino is approved: ______________________________________ __________________ Leigh Kennicott, Ph.D. Date ______________________________________ __________________ Christine A. Menzies, B.Ed., MFA Date ______________________________________ __________________ Ah-jeong Kim, Ph.D., Chair Date California State University, Northridge ii Dedication This thesis is dedicated to Jeremiah Ahern and my mother, Mary Hanlon for their endless support and encouragement. iii Acknowledgements First and foremost I would like to express my deepest gratitude to my thesis chair and graduate advisor Dr. Ah-Jeong Kim. Her patience, kindness, support and encouragement guided me to completing my degree and thesis with an improved understanding of who I am and what I can accomplish. This thesis would not have been possible without Professor Christine Menzies and Dr. Leigh Kennicott who guided me within the graduate program and served on my thesis committee with enthusiasm and care. Professor Menzies, I would like to thank for her genuine interest in my topic and her insight. Dr. Kennicott, I would like to thank for her expertise in my area of study and for her vigilant revisions. I am indebted to Oakwood Secondary School, particularly Dr. James Astman and Susan Schechtman. Without their support, encouragement and faith I would not have been able to accomplish this degree while maintaining and benefiting from my employment at Oakwood. I would like to thank my family for their continued support in all of my goals. -
Hollywood's Treatment of World War I
Making Meaning from the Images: Hollywood’s Treatment of World War I John Harvey Lesson Purpose The purpose of this lesson is for the student, using the guidelines provided in the unit objective to focus on the importance of World War I not only as an historic event but also as a multi-faceted tool of Hollywood. It is not to say that Hollywood is secretly run by an illuminati bent on shaping our view of the world, but the images Hollywood presents can often be interpreted as representative of certain ideologies that were present during the era of a given film‘s production. History, it is said, repeats itself. Sometimes, history on film tells as much about the time the film was made as about the period it is depicting. The view through cinema shows themes or images that bear repeating. Characteristic of the great movie machine, Hollywood has often used the power of the cinematic medium to persuade audience viewers to view things in a different light. Just as a director or cinematographer will deliberately reposition the lighting setup for a given shot from a film to enhance, de- emphasize, or subtly affect the appearance of a set or a particular actor, directors, producers, and studios have used film as a means of promulgating a virtue, ethos, or value system via narrative structure or a juxtaposition of images. This is commonly accepted as one of the most powerful components of any visual medium, and film is certainly not an exception to the rule. Some have maintained that such use of an art form is propaganda. -
Concert: Jazz Ensemble and Jazz Vocal Ensemble: WHAT IS JAZZ? Ithaca College Jazz Ensemble
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 10-6-2012 Concert: Jazz Ensemble and Jazz Vocal Ensemble: WHAT IS JAZZ? Ithaca College Jazz Ensemble Ithaca College Jazz Vocal Ensemble Mike Titlebaum Catherine Gale Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Jazz Ensemble; Ithaca College Jazz Vocal Ensemble; Titlebaum, Mike; and Gale, Catherine, "Concert: Jazz Ensemble and Jazz Vocal Ensemble: WHAT IS JAZZ?" (2012). All Concert & Recital Programs. 4060. https://digitalcommons.ithaca.edu/music_programs/4060 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. WHAT IS JAZZ? A concert for children and families Jazz Ensemble and Jazz Vocal Ensemble Ford Hall Saturday October 6th, 2012 10:00 am Now in its second century, the Ithaca College School of Music affirms its fundamental belief that music and the arts are essential components of the human experience. The School of Music prepares students to be world-class professionals and the music leaders of tomorrow - ready to transform individuals and communities by advancing the art of music. Program Ko-Ko Duke Ellington T.J. Schaper, trombone Will VanDeMark, alto sax Awful Mean Paul Chambers and Cannonball Adderley Alana Dawes, bass Jack Storer, trumpet Chris Miley, alto saxophone Joshua Condon, piano What Is Jazz? Mike Titlebaum Catherine Gale, vocal Sunny Side of the Street Jimmy McHugh and Dorothy Fields arr.