DOCSLIB.ORG

“Hoedown” from Rodeo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“Hoedown” from Rodeo What makes music, music? 2016/17 Made possible by NORTH CAROLINA SYMPHONY EDUCATION SUPPORTERS These concerts are made possible by a generous grant-in-aid from the State of North Carolina, the Honorable Pat McCrory, Governor; the Honorable Susan Kluttz, Secretary, North Carolina Table of Contents Department of Natural and Cultural Resources Letter from Sarah Baron, Director of Education, North Carolina Symphony ................................2 Education Sustainer Information about the 2016/17 Education Concert Program ............................................................3 ($100,000+) Education Programs of the North Carolina Symphony ........................................................................4 Education Benefactors ($50,000+) Author Biographies ............................................................................................................................................6 Jules Massenet (1842–1912) ...........................................................................................................................7 Education Patrons ($10,000+) “Navarraise” from Le Cid The Bastian Family Charitable Foundation; Big Rock Foundation; Ann and Gordon Getty Foundation; Robert P. Holding Foundation, Inc.; The McLean Foundation; John William Pope Foundation; Edvard Grieg (1843–1907) ............................................................................................................................ 12 Simple Gifts Fund; Youths’ Friends Association “In the Hall of the Mountain King” from Peer Gynt Education Partners ($1,000+) The Kyser Foundation Music Education Endowment Funds Florence Price (1887–1953) .......................................................................................................................... 22 Alamance County The Landfall Foundation, Inc. The Ruby and Raymond A. Bryan Symphony No. 1, III. “Juba Dance” The Harold H. Bate Foundation Gloria Miner Charitable Music Fund Foundation Fund Bell Family Foundation Mission Hospital The Mary Whiting Ewing Charitable Foundation Fund Johann Strauss Sr. (1804–1849) .................................................................................................................. 27 The Borden Fund, Inc. Moore County Community Foundation The Hulka Ensemble and Chamber Music Radetzky March R. A. Bryan Foundation, Inc. Orange County Arts Commission Programs Fund CaptiveAire, Inc. Poole Family Foundation The Janirve Foundation Fund Franz Joseph Haydn (1732–1809) .............................................................................................................. 34 The Cole Foundation George Smedes Poyner Foundation The Ina Mae and Rex G. Powell Symphony No. 88, IV. Finale: Allegro con spirito Craven County Community Foundation The Florence Rogers Charitable Trust Wake County Music Education Fund Edna Williams Curl & Myron R. Curl The Rolander Family Foundation The Elaine Tayloe Kirkland Fund Ludwig van Beethoven (1770–1827) ........................................................................................................ 42 Charitable Fund of the Cumberland E. T. Rollins, Jr. and Frances P. Rollins County Community Foundation Foundation Symphony No. 7, II. Allegretto School System Supporters Dr. Albert Joseph Diab Foundation Roth Family Foundation Chapel Hill-Carrboro Schools Woody Guthrie/arr. Jim Bates (1912–1967)............................................................................................ 49 The Dickson Foundation, Inc. The Norman and Rose S. Shamberg Cumberland County Schools Entegra Bank Foundation “This Land” Edgecombe County Schools Enterprise Holdings Foundation Silverback Foundation Inc. Harnett County Schools William C. Ethridge Foundation, Inc. The Eddie and Jo Allison Smith Family Aaron Copland (1900–1990)........................................................................................................................ 54 Lee County Schools The T. H. Maren and S. K. Fellner Fund Foundation, Inc. “Hoedown” from Rodeo of the Triangle Community Foundation Smith Family Foundation Lenoir County Schools George Foundation Southern Bank Foundation New Hanover County Schools Frequently Asked Questions ....................................................................................................................... 61 Gipson Family Foundation SunTrust Foundation Orange County Schools The Hellendall Family Foundation Swearingen Foundation Wake County Public Schools Additional Classroom Resources ............................................................................................................... 62 Iredell County Community Foundation Woman’s Club of Raleigh Community Grant “Your Elephant, The Orchestra,” ................................................................................................................. 66 Supporters are current as of July 2016 A story by Jackson Parkhurst, to be read before your concert Authors: Barina Bailey, Lindsay Byers, Brenda Kris, Laura Martin Designer: Jennifer Blackman, Graphic Designer, North Carolina Symphony Student Evaluation Resource (please return to us!) ............................................................................ 68 Editors: Sarah Baron, Director of Education, North Carolina Symphony Samantha Gallup, Education Intern, North Carolina Symphony Bibliography and Selected Sources .......................................................................................................... 70 North Carolina Symphony, 3700 Glenwood Avenue, Suite 130, Raleigh, NC 27612, 919.733.2750, or toll free 877.627.6724 www.ncsymphony.org/educationprograms Printed Material Order Form ....................................................................................................................... 72 Sarah Baron, Director of Education: [email protected] or 919.789.5461 Selections are listed in Program order. North Carolina Symphony Student and Teacher Handbook © 2016 by North Carolina Symphony Society, Inc. Reproduction of this book in its entirety is strictly prohibited. 2016/17 TEACHER WORKBOOK • 1 Information about the 2016/17 Education Concert Program Dear Friends and Colleagues, Teacher Workshop Playing on Recorders Welcome to the 2016/17 North Carolina Symphony teacher workbook! Thank you to the authors of this year’s materials, The best way to prepare for your concert is to attend the At your concert, you may notice other groups playing the who contributed their expertise and countless hours of their time in order to make these curriculum materials such a Teacher Workshop each August. This six-hour workshop song on recorders. Playing the song “This Land” on valuable resource to teachers statewide: Barina Bailey, Lindsay Byers, Brenda Kris and Laura Martin of the Wake County features presentations by the authors of the student and recorders is an opportunity we extend to all school Public Schools. teacher handbooks. There you will see each activity and groups that attend and is completely optional. However, This year’s concert program has been designed to serve as inspiration for your students as many attend their first live lesson plan from the books presented by the authors, if you are planning to have a student group perform on orchestra concert and continue to develop a lifelong love of music. Works by Massenet, Grieg, Strauss, Haydn, Beethoven, their students and other participating educators. For your instruments, here are a few things to know: Copland and Woody Guthrie will be featured as students learn “What Makes Music…Music?” Of special note is a registration fee of $30, you will receive a copy of both • North Carolina Symphony Education staff members movement of a symphony composed by Florence Price, the first African-American woman to be recognized as a handbooks, a CD of the concert program and printouts of need to know that you plan to perform on recorders symphonic composer and the first to have a composition played by a major orchestra (the Chicago Symphony in 1933). all PowerPoint presentations, in addition to free access to before your concert. Please contact Sarah Baron, Director The resources in the following pages have been crafted to help teach the concepts of texture, dynamics, tempo, form, the online workshop. You will also be treated to lunch of Education, at [email protected] or rhythm and melody as they relate to these pieces and are in alignment with the North Carolina Essential Standards. and entered to win prizes from North Carolina Symphony 919.789.5461 or ask whoever is coordinating your sponsors. All who participate will also receive a certificate Each year, the North Carolina Symphony strives to educate, engage, and inspire students who will one day lead the concert trip to do so. Performing groups will be seated in that they can use to obtain 0.5 CEU credit from their cultural development of North Carolina. In order to ensure that we are continually reaching the highest standards, we ask a special section and acknowledged from the stage, so it district. This year’s workshop takes place on Tuesday, that you and your students provide us with feedback. Please take a moment to locate the (fun!) evaluation on page 68. is critical that we know you are preparing to play. August 9, 2016, from 9:00 am–3:00 pm at Fletcher Have your students fill it out, and either mail or scan/email it back so that we can continue to improve our programs and Opera Theater at the Duke Energy Center for the • Schools will play on their own, unless you make continue to meet the needs of you and your students.
Load more

Recommended publications
  • Music 354.2 Contemporary Music After 1945 Spring '12 MW 4Th Period L
    Music 354.2 Contemporary Music after 1945 Spring '12 MW 4th period L. Lipkis Text: Morgan, Twentieth Century Music Office hours TBA Week Date Chapter Topic Listening (journal entries in bold) 1 Jan. 16, 18 Music of the Klein: String Trio, (ii) Holocaust Krása: Brundibár, (Act I, sc. i-ii, viii; Act II, sc. vii) Ullmann: The Emperor of Atlantis (Finale) Schoenberg: Survivor from Warsaw 2 Jan. 23, 25 12 England after Walton: Façade (i, Fanfare, ii, Hornpipe); WW I. Cello Concerto (iii, Theme and Improvisations) Tippett: A Child of Our Time (Part II, 9-16) Britten: Peter Grimes, (end of Prologue; Act II, sc. 1; Serenade for Tenor, Horn, and Strings (“Dirge”) 3 Jan. 30, 13 Music in the U.S.: Copland: Music for the Theatre (iii. Interlude, Feb. 1 The iv. Burlesque); Piano Variations (Theme and Traditionalists first three variations); Rodeo (iii. Saturday Night Waltz; iv. Hoe-Down); Appalachian Spring (Doppio movimento to end) Barber: Adagio for Strings 4 Feb. 6, 8 13 More Music in Cowell: “The Banshee” [add: the U.S.: The Partch: Barstow #1-3 (to 3:25) you tube Experimentalists Varèse: Density 21.5; Intégrales 5 Feb. 13, 14 Latin America Villa-Lobos: Choros no. 10; 15 and Jazz Bachianas Brasileiras no. 5 (i) Chavez: Xochipilli Listening and Ginastera: Panambí (iii, Ronda de las Short Answer doncellas; iv, Danza de los guerreros; xiii, Quizzes no. 1 Danza del Hechicero) (weeks 1-5) Parker/Gillespie: “Shaw ‘Nuff” Davis: “So What” Coleman: “Lonely Woman” 6 Feb. 20, 15 Historical Golijov: Ainadamar (i, Preludio de Agua y 22* Context; Post- Caballo; ii Balada) Modernism Piazzolla: Tanguedia *Post-Modernism Bernstein: Mass (IV.
    [Show full text]
  • Boogiewoogie.Ru Boogiewoogie.Ru Boogiewoogie.Ru Boogiewoogie.Ru
    BOOGIEWOOGIE.RU BOOGIEWOOGIE.RU BOOGIEWOOGIE.RU BOOGIEWOOGIE.RU Contents ALL THE I-IVELONG DAY (And The Long, Long Night), 141 THE BACK BAY POLKA, 119 BESS YOU IS MY WOMAN, 9 (I've Got) BEGINNER'S LUCK, 66 BY STRAUSS, 131 A FOGGY DAY, 87 FOR YOU, FOR ME, FOR EVERMORE, 123 I CAN'T BE BOTHERED NOW, 91 I GOT PLENTY 0' NUTTIN', 17 I LOVE TO RHYME, 103 I WAS DOING ALL RIGHT, 107 IT AIIV'T NECESSARILY SO, 23 THE JOLLY TAR AND THE MILK MAID, 95 JUST ANOTHER RHUMBA, 53 LET'S CALL THE WHOLE THING OFF, 70 LOVE IS HERE TO STAY, 11 1 LOVE WALKED IN, 11 5 MY MAN'S GONE NOW, 29 NICE WORK IF YOU CAN GET IT, 99 OH BESS, OH WHERE'S MY BESS, 35 PROMENADE (Piano Solo), 74 THE REAL AMERICAN FOLK SONG (Is A Rag), 4 SHALL WE DANCE, 78 SLAP THAT BASS, 61 SOPHIA, 136 SUMMERTIME, 40 THERE'S A BOAT DAT'S LEAVIN' SOON FOR NEW YORK, 44 THEY ALL LAUGHED, 82 THEY CAN'T TAKE THAT AWAY FROM ME, 127 A WOMAN IS A SOMETIME THING, 48 For all works contained herein: International Copyright Secured ALL RIGHTS RESERVED Printed in U.S.A. Unauthorized copying, arranging, adapting, recording or public performance is an infringement of copyright. Infringers are liable under the law. THE REAL AMERICAN FOLK BOOGIEWOOGIE.RUSONG (Is A Ras)* Lyrics by IRA GERSHWN Music by GEORGE GERSH WIN 1 " Near Bar - ce - io - na the Deas - int cioons The old tra - di - tion - a1 I You may dis - like, or you 'may a - dore, The na - tire songs from a A Fm6 C Cmaj7 Am7 C dim Span - ish tunes; The Ne - a - pol - i - tan Street Song sighs, You for - eign shore; They may be songs that you can't for - get,- They I I Written for "Ladies First" (1918) The first George and In Gershwin collaboration used in a Broadway show Copyright @ 1959 by Gershwin Publishing Corporation Assigned to Chappell & Co., Inc.
    [Show full text]
  • 005-Ives-And-Copland-Piano-Sonatas
    DDD Absolutely Digital CDR 90000 005 PIANO SONATAS BY CHARLES IVES (1874-1954) AND AARON COPLAND (1900-1990) 1-4 Ives: Piano Sonata No. 2 “Concord, Mass., 1840-1860” (44:51) 1 I. “Emerson” (16:04) 2 II. “Hawthorne” (11:08) 3 III. “The Alcotts” (6:04) 4 IV. “Thoreau”* (11:16) 5-7 Copland: Piano Sonata (21:12) 5 I. Molto moderato (8:25) 6 II. Vivace (4:42) 7 III. Andante sostenuto (8:04) Easley Blackwood, piano *Richard Graef, flute TT: (66:19) Recorded January 10-12, 1991 at WFMT Chicago Producer: James Ginsburg. Engineer: Bill Maylone Digital Editing: Classic Digital, Inc. Steinway Piano. Piano Technician: Brian Mott Front Cover: New England Scenery (Frederic Church, 1851) George Walter Vincent Smith Art Museum, Springfield, Massachusetts & © 1991 Cedille Records Printed in USA by Thiessen Printing Corporation American Voices: Piano Sonatas by Charles Ives and Aaron Copland The Second Piano Sonata of Charles E. Ives (1874-1954), subtitled “Concord, Mass., 1840-60,” sprawls over four movements filled with gestures of tremendous complexity and density, and exhibits an unprecedented scope of ideas. The more spare Piano Sonata by Aaron Copland (1900-1990), on the other hand, articulates its three movements in half the time of the Ives, with characteristic economy and restraint throughout. Yet both works are products of composers considered typically American; the biographies of both men resonate with an almost mythical ring: Ives, the Yale-edu- cated businessman who, in his spare time, composed music many at first considered incomprehensible, and Copland, the son of Jewish immigrants, whose music melds the sounds of folk song and dance into what became accepted as a national American music.
    [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]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • The Dale Warland Singers Presents GLORIOUS GERSHWIN MUSIC by GEORGE GERSHWIN LYRICS by IRA GERSHWIN
    The Dale Warland Singers presents GLORIOUS GERSHWIN MUSIC BY GEORGE GERSHWIN LYRICS BY IRA GERSHWIN FRIDAY, MAY 13, 1988 ORCHESTRA HALL 8:00 P.M. THE DALE WARLAND SINGERS Dale Warland, Music Director Sigrid Johnson, Assistant Conductor "jerry Rubino, Pianist and Cabaret Singers Conductor GUEST ARTISTS MOORE BY FOUR Sanford Moore, director/piano Ginger Commodore, soprano Yolande Bruce-Crim, mezzo-soprano Connie Evingson, alto Dennis Spears, baritone Soli Hughes, guitar Jay Young, bass Robert Commodore, drums Paul Oakley, piano Don Stille, synthesizer Tom Hubbard, bass Gordy Knudtson; drums Randy Winkler, production SPECIAL MUSICAL ARRANGEMENTS Steve Barnett Jerry Rubino •This evening's concert is the result of the creative collaboration of many in- dividuals. Particular recognition is extended toJerry Rubino of the DWS ar- tistic staff for his leadership in providing the program conception and musical direction to this event as well as his outstanding musical arrangements. Glorious Gershwin is sponsored by IDS Financial Services Inc. and WAYL Radio . AM 980-FM94 (Special thanks to jefferson Transporunton Group for providing hus servic-e••for (he: pre-concert gala dinner; All musical arrangements are byJerry Rubino unless otherwise noted. I. Strike Up the Band I Got Rhythm Fascinating Rhythm (Mattson) Cabaret Singers By Strauss (Gershwin) Sigrid Johnson, soprano Strike Up the Band (King) II. He Loves and She Loves Nice Work If}fJu Can Get It Soon Ruth Spiegel, soprano; David Benson, bass Looking for a Boy Melissa O'Neill, soprano The Man I Love Lynette johnson, alto Oh, Lady Be Good Tim Sawyer, tenor; Gary Kortemeier, tenor; Michael Dailey, baritone; Brad Bak, bass Somebody Loves Me (Lyrics by B.G.
    [Show full text]
  • Appalachian Spring Aaron Copland (1900–1990) Written: 1942-44 Movements: One Style: Contemporary American Duration: 23 Minutes
    Appalachian Spring Aaron Copland (1900–1990) Written: 1942-44 Movements: One Style: Contemporary American Duration: 23 minutes Much of Aaron Copland’s fame as a composer rests on his three brilliant scores for ballet: Rodeo, Billy the Kid, and Appalachian Spring. He didn’t start out writing in the style found in those three ballets. As a young man, he was allied with the modernist movement in America. However, in the 1930's he began to feel an increasing dissatisfaction with the relations of the music-loving public and the living composer . It seemed to me that we composers were in danger of working in a vacuum. Moreover, an entirely new public for music had grown up around the radio and phonograph. It made no sense to ignore them and to continue writing as if they did not exist. I felt that it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms. The success of El Salon Mexico (1936), Billy the Kid (1938), A Lincoln Portrait (1942) and Rodeo (1942) proved that Copland’s newfound populism was the right course. When Copland accepted a commission from the Elizabeth Sprague Coolidge Foundation to write a ballet for Martha Graham in 1942, the only restrictions that he knew of were that it had to be for a small enough orchestra to fit in the Coolidge Auditorium at the Library of Congress—only 13 players—and be about thirty minutes long. He knew that the general subject of the ballet had to do “with the pioneer American spirit, with youth and spring, with optimism and hope.” As Martha Graham worked on the choreography with the music, the ballet grew into a .
    [Show full text]
  • Download Program Notes
    Hoe-Down, from Rodeo Aaron Copland classical-music lover asked to describe pastorale, a lyric joke … . There are never A what constitutes “the American sound” more than a very few people on the stage has some tough deciding to do. For two- at a time … one must be always conscious and-a-quarter centuries, American com- of the enormous land on which these peo- posers have been producing music that is ple live and of their proud loneliness. so distinctive in its character that it simply couldn’t come from anywhere else. Fuging The ballet was received with enthusiasm. tunes by William Billings and his colleagues In the Chicago Tribune, the much-feared in Colonial New England, antebellum bal- critic Claudia Cassidy wrote: “Rodeo is a lads by Stephen Foster, irresistible marches smash hit. What Miss de Mille has turned out by John Philip Sousa, fearless experiments in this brilliant skirmish with Americana is a by Charles Ives, boundary-breaking synthe- shining little masterpiece.” ses by George Gershwin and Leonard Bern- To capture the profoundly national spirit stein, rhythmically vibrant effusions by of the subject, Copland drew directly from William Bolcom and John Adams — they all the well of American folk song, which was play irreplaceable parts in what makes our an obsession of composers at the time. nation’s “classical” music unique. And yet, Folk tunes (or melodies that mimic them) boiling it down to just one composer, many appear in quite a few Copland scores, but music lovers would agree that the seminal in Rodeo they play a role almost constant- summation of “the American sound” may be ly, drawn largely from the collections Our found in the scores of Aaron Copland.
    [Show full text]
  • BHM 2008 Spring.Pdf
    MAGAZINE COMMITTEE OFFICER IN CHARGE Bill Booher CHAIRMAN Lawrence S Levy VICE CHAIRMEN A Message From the Chairman 1 Tracy L. Ruffeno Gina Steere COPY EDITOR Features Kenneth C. Moursund Jr. EDITORIAL BOARD Katrina’s Gift ................................................. 2 Denise Doyle Samantha Fewox Happy 100th, 4-H .......................................... 4 Katie Lyons Marshall R. Smith III Todd Zucker 2008 RODEOHOUSTONTM ................................. 6 PHOTOGRAPHERS page 2 Debbie Porter The Art of Judging Barbecue .......................... 12 Lisa Van Etta Grand Marshals — Lone Stars ...................... 14 REPORTERS Beverly Acock TM Sonya Aston The RITE Stuff — 10 Years of Success ........ 16 Stephanie Earthman Baird Bill R. Bludworth Rodeo Rookies ............................................... 18 Brandy Divin Teresa Ehrman Show News and Updates Susan D. Emfinger Kate Gunn Charlotte Kocian Corral Club Committees Spotlight ................ 19 Brad Levy Melissa Manning Rodeo Roundup ............................................. 21 Nan McCreary page 4 Crystal Bott McKeon Rochell McNutt Marian Perez Boudousquié Ken Scott Sandra Hollingsworth Smith Kristi Van Aken The Cover Hugo Villarreal RODEOHOUSTON pickup men, Clarissa Webb arguably one of the hardest- HOUSTON LIVESTOCK SHOW working cowboys in the arena, AND RODEO MAGAZINE COORDINATION will saddle up for another year MARKETING & PUBLIC RELATIONS in 2008. DIVISION MANAGING DIRECTOR, page 14 COMMUNICATIONS Clint Saunders Houston Livestock Show and Rodeo™ COORDINATOR, COMMUNICATIONS Kate Bradley DESIGN / LAYOUT CHAIRMAN OF THE BOARD: PRESIDENT: CHIEF OPERATING OFFICER: Amy Noorian Paul G. Somerville Skip Wagner Leroy Shafer STAFF PHOTOGRAPHERS VICE PRESIDENTS: Francis M. Martin, D.V. M. C.A. “Bubba” Beasley Danny Boatman Bill Booher Brandon Bridwell Dave Clements Rudy Cano Andrew Dow James C. “Jim” Epps Charlene Floyd Rick Greene Joe Bruce Hancock Darrell N. Hartman Dick Hudgins John Morton John A.
    [Show full text]
  • Do It Again: Sequences in Gershwin and Kern's Popular Songs
    Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 7 Issue 1 Article 4 May 2014 Do It Again: Sequences in Gershwin and Kern’s Popular Songs Maxwell Ramage Indiana University Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Composition Commons, and the Music Theory Commons Recommended Citation Ramage, Maxwell (2014) "Do It Again: Sequences in Gershwin and Kern’s Popular Songs," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 7 : Iss. 1 , Article 4. Available at: https://trace.tennessee.edu/gamut/vol7/iss1/4 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. DO IT AGAIN: SEQUENCES IN GERSHWIN AND KERN’S POPULAR SONGS MAXWELL RAMAGE mericans George Gershwin (1898–1937) and Jerome Kern (1885–1945) both A succeeded as Broadway composers but began as “song pluggers” on New York’s Tin Pan Alley.1 Their popular-song output, however, was far from hackwork; indeed, their chromatically inflected, extended tertian harmonies enriched the expressive palette available to song composers at large.2 Gershwin and Kern seem to have influenced one another: Gershwin idolized the elder composer3 and stated that his early songs “paid [Kern] the tribute of frank imitation.”4 Conversely, Howard Pollack hears in Kern’s song “Whip-Poor-Will,” for example, suggestions of Gershwin’s “From Now On.”5 In view of the special regard in which Gershwin held Kern, I will compare and contrast their popular songs.
    [Show full text]
  • Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star
    Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2020 Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star Caleb Taylor Boyd Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Film and Media Studies Commons, Music Commons, and the Sociology Commons Recommended Citation Boyd, Caleb Taylor, "Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star" (2020). Arts & Sciences Electronic Theses and Dissertations. 2169. https://openscholarship.wustl.edu/art_sci_etds/2169 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Todd Decker, Chair Ben Duane Howard Pollack Alexander Stefaniak Gaylyn Studlar Oscar Levant: Pianist, Gershwinite, Middlebrow Media Star by Caleb T. Boyd A dissertation presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2020 St. Louis, Missouri © 2020, Caleb T. Boyd Table of Contents List of Figures ................................................................................................................................
    [Show full text]