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Closing Credits
CLOSING CREDITS The Tennessee Arts Academy gratefully acknowledges the generous support of the following individuals, businesses, and organizations whose contributions have helped make the 2011 Academy possible. MAJOR FUNDING SUPPORT ADVERTISERS Tennessee Department of Education Beacon Financial Group, LLC Tennessee Arts Commission Center of Excellence for the Creative Arts Tennessee Arts Academy Foundation at Austin Peay State University Belmont University Crystal Productions Earl Swensson Associates, Inc. MAJOR SPONSORSHIP SUPPORT Eldridge Plays & Musicals Delores Kinsolving Frist Center for the Visual Arts Milton T. Schaeffer Memphis College of Art Pat and Thane Smith Memphis Music Foundation Mid South Business Furniture, Inc. Nashville Symphony BREAK SPONSORS Scott Schrecker Photography Belmont University College of Visual and Performing Arts Steinway Piano Gallery of Nashville Cumberland University School of Music and Art Tennesseans For The Arts Macmillan/McGraw-Hill Tennessee Art Education Association Mayfield Dairy Farms Tennessee Arts Academy Foundation Tennessee Educational Theatre Association Tennessee Music Education Association Theatrical Rights Worldwide Tennessee Shakespeare Company Thomas Tours Vanderbilt University Blair School of Music QuaverMusic.com Watkins College of Art, Design & Film Yamaha Corporation of America GOODS AND SERVICES Alliance Music Publications TENNESSEE ARTS ACADEMY PROGRAM BOOK Barfield Elementary School (Rutherford County) Graphic Designer: Ron Watson Hinshaw Music Photographer: Michael Krouskop ImageQuest Proofreaders: Lori Anne Parker, Susan Ramsay MorningStar Music Publishers Printer: Douglas Printing, Inc. ORNL Federal Credit Union Production Coordinator: Frank Bluestein Jack Parnell Peripole Bergerault Pilot Oil SunTrust Bank Tennessee Art Education Association A Program of the Tennessee Department of Education Additional support for the Tennessee Arts Academy is provided by the Tennessee Arts Commission, the Tennessee Arts Academy Foundation, and Belmont University. -
Nature of Elliot Goldenthal's Music
The Nature of Elliot Goldenthal’s Music & A Focus on Alien 3 (& other scores) There is “something different” about Elliot Goldenthal’s music. There is also considerable brain and brawn in Elliot Goldenthal’s film music. His style is difficult to label because his approach is so eclectic depending on the project. Sometimes I feel he is fundamentally an independent art-house composer (perhaps Frida, say, and The Good Thief) although he can demonstrate thrilling orchestral power in scores such as Sphere and the Batman movies that I personally quite enjoyed. Overall he shows a Late Modernist temperament, musically an American Bohemian, but nevertheless grounded somewhat in the mainstream traditions (certainly at least traditional notation). His polystylism (eclectism) is a postmodern characteristic. An excellent example of polystylism is his score for Titus (and Good Thief to a lesser extent, and even an example or two in Alien 3) with the diverse or even odd juxtaposition of genres (symphonic-classical, rock, etc.) that represents in one score the type of projects he collectively undertook over the last fifteen years or so. There is not one clear-cut musical voice, in other words, but a mixture or fusion of different styles. It is, in part, his method of organization. Loosely speaking, his music is avant-garde but certainly not radically so--as in the case of John Cage with his aleatoric (random) music and quite non-traditional notation (although Goldenthal’s music can at select times be aleatoric in effect when he utilizes electronic music, quarter-toning, and other devices). He is experimental and freewheeling but certainly this tendency is not overblown and expanded into the infinite! He definitely takes advantage of what technology has to offer (MIDI applications, timbre sampling, synthesizer usage, etc.) but does not discard what traditions are useful for him to express his vision of musical art. -
Gonna Fly Now Theme from Rocky for Saxophone Quartet Sheet Music
Gonna Fly Now Theme From Rocky For Saxophone Quartet Sheet Music Download gonna fly now theme from rocky for saxophone quartet sheet music pdf now available in our library. We give you 1 pages partial preview of gonna fly now theme from rocky for saxophone quartet sheet music that you can try for free. This music notes has been read 3411 times and last read at 2021-09-25 02:51:20. In order to continue read the entire sheet music of gonna fly now theme from rocky for saxophone quartet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Piano Solo Ensemble: Mixed Level: Early Intermediate [ READ SHEET MUSIC ] Other Sheet Music Gonna Fly Now Theme From Rocky Saxophone Quartet Gonna Fly Now Theme From Rocky Saxophone Quartet sheet music has been read 4302 times. Gonna fly now theme from rocky saxophone quartet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-24 11:17:12. [ Read More ] Gonna Fly Now Theme From Rocky For String Quartet Gonna Fly Now Theme From Rocky For String Quartet sheet music has been read 3807 times. Gonna fly now theme from rocky for string quartet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-24 16:26:01. [ Read More ] Gonna Fly Now Theme From Rocky String Quartet Gonna Fly Now Theme From Rocky String Quartet sheet music has been read 3565 times. Gonna fly now theme from rocky string quartet arrangement is for Intermediate level. -
Popular Repertoire (1960’S – Present Day)
! " Popular repertoire (1960’s – present day) 9 To 5 – Dolly Parton Billie Jean – Michael Jackson 500 Miles – The Proclaimers Bittersweet Symphony - The Verve Adventure Of A Lifetime - Coldplay Blackbird – The Beatles Agadoo – Black Lace Blowers Daughter – Damien Rice Ain’t No Mountain High Enough – Ashford/ Simpson Bohemian Rhapsody - Queen All About That Bass – Meghan Trainor Brown Eyed Girl – Van Morrison All About You - McFly Budapest – George Ezra All I Want Is You – U2 Build Me Up Buttercup – The Foundations All Of Me – John Legend Burn – Ellie Goulding All The Small Things – Blink 182 Can’t Help Falling In Love – Elvis Presley All You Need Is Love – The Beatles Can’t Stop The Feeling – Justin Timberlake Always a Woman – Billy Joel Can’t Take My Eyes Off You – Bob Crewe/Bob Gaudio Always On My Mind – Elvis Presley Chasing Cars – Snow Patrol Amazing (Just The Way You Are) – Bruno Mars Cheerleader - OMI Amazed - Lonestar Close To You - America – Razorlight Burt Bacharach Apologize – One Republic Come On Eileen – Dexy’s Midnight Runners At Last – Etta James Common People – Pulp Back for Good - Take That Copacabana – Barry Manilow Bad Romance – Lady Gaga Crazy In Love – Beyonce Beat It – Michael Jackson Crazy Little Thing Called Love - Queen Beautiful Day – U2 Dancing Queen - Abba Beautiful In White - Westlife Despacito – Justin Bieber/Luis Fonsi Ben – Michael Jackson Don’t Stop Believing - Journey Beneath Your Beautiful – Emeli Sande/ Labyrinth Don't Stop Me Now - Queen Best Day Of My Life – American Authors Don’t Stop Movin’ – S Club -
Distinguished Artists Concert Series
Supervisor JOSEPH SALADINO presents 2018 - 2019 Distinguished Artists Concert Series Co-Sponsoring Libraries Bethpage • Farmingdale • Hicksville • Jericho • Locust Valley Massapequa • Plainview-Old Bethpage • Syosset A Message from Joseph Saladino Town Supervisor Dear Neighbor, The Town of Oyster Bay2018-2019 Distinguished Artists Concert series will, once again, offer a diverse season of musical programs, which will kick off in October. Whatever your musical taste, Opera, Pop, Jazz, Classical or anything in between, there is something for everyone. The concert season begins on Sunday, October 7, 2018 at the Locust Valley Library with Mambo Loco performing Old-School Latin & Latin Jazz and continues through Sunday, May 19, 2019 culminating with a performance by Just Sixties - a multi-media retrospective of the 1960’s. This season’s lineup also includes The Hambones - Country/Rockabilly, River of Dreams - a tribute to the music of Billy Joel, The Tribunes - authentic Street Corner Harmony, New Vintage Orchestra performing Swing & Jazz Hits of a Lifetime, and Sasha Papernik & Her Band - an homage to Burt Bacharach & Hal David, just to name a few. My fellow Town Board members and I are proud to provide residents with some of the very finest cultural and performing arts entertainment available. All concerts are free of charge and are held at conveniently-located local libraries throughout the Town. Please take a few moments to glance through the brochure and begin planning your entertainment schedule. We look forward to seeing you at the -
Mustang Daily, November 3, 1967
i r a f c i T * ; CALIFORNIA SlATt mmmic mm VOL. XXX, NO. 15 SAN LUIS OBISPO, CALIFORNIA FRIDAY, NOVEMBER 8, 1067 --------------------------------------- r- ■ Season tickets: Individualism the keynote campus bargain One of thii best bargain* on Swinging septet to sing cninpiii* is overlooked by niuny students. ’ • •’ v - ‘ For Jfl rartntudont muy pur chase a season ticket admitting him to six plays at the I.ittlc at upcoming concert Theater, That,is only 12 apt! nne.- Imlf cents per play for an even- If namoa promise anything, the Thursday; and by the following term contract with In Arts Re iliu’a entertaiiimonL college is in for a "good time." Monday, they were signed -to a cords. Two plays are presented each The Good Time Singers of the contract by NBC-TV to appear What has made the Good Time ipiurter. Today and -tommorrow Andy Williams Television Shbw, us regular* on The Andy Wil Singers the success that they "Spoon River Anthology" is being will appear in concert at 8 p.nt., liams Show. areT The quaation wait'posed to produced and on Nov. 1(1-18 Saturday, Nov. 11 in the Men1* In one week the talented seven Lee Montgomery, leader of tho "Draeula" will be presented. Pleys Gym. (Five boys and two girla) found group. "Although we’re atl pert begin at 8:80 p.m. ' Tickets are now on sale at the themselves In a position.that most a t one group," Lee answered, Season tickets are 'also avail ASI office. Student tickets are groups fail to achieve in a life “that doesn't mean we all have to able to tho general public fur 81.80 for bleachers, "11.78 for re time. -
The Rockmelons
DYNAMITE – SONG LIST I GOTTA FEELING (Black Eyed Peas) SEPTEMBER (Earth, Wind & Fire) I LOVE THE NIGHT LIFE (Alicia Bridges) SET FIRE TO THE RAIN (Adelle) AIN'T NO SUNSHINE (The Rockmelons) I WAS MADE FOR LOVING YOU (Kiss) SEX ON FIRE (Kings of Leon)S AIN'T NOBODY (Chaka Khan) I WILL SURVIVE (Gloria Gaynor) HACKLES (Mary Mary) SHAKE YOUR ALL OF ME (John Legend) I WISH (Stevie Wonder) BOOTY (KC & The Sunshine Band) ALL OF ME (Michael Buble) IF I AIN'T GOT YOU (Alicia Keys) SHAKE YOUR TAILFEATHER (The Blues Brothers) APRIL SUN (Dragon) IF YOU COULD READ MY MIND (Studio 54) SIGN SEALED DELIVERED (Stevie Wonder) BEAUTIFUL (Disco Montego) INTO THE GROOVE (Madonna) SIMPLY THE BEST (Tina Turner) BEEN AROUND THE WORLD (Lisa Stansfield) INTO THE NIGHT (Santana) SING IT BACK (Moloko) BILLIE JEAN (Michael Jackson) JUST THE WAY YOU ARE (Bruno Mars) SMOOTH (Santana) BROADWAY (George Benson) KHE SANH (Cold Chisel) SO WHAT (Pink) BOOGIE OOGIE OOGIE (A Taste of Honey) KIDS (Kylie Minogue & Robbie Williams) SOMEONE LIKE YOU (Adele) BROWN EYED GIRL (Van Morrison) KILLING ME SOFTLY (The Fugees) STAYING ALIVE (Bee Gees) CAN'T GET ENOUGH OF YOUR LOVE (Barry White) KISS (Tom Jones) STILL HAVEN'T FOUND WHAT I'M LOOKING FOR (U2) CAN'T GET YOU OUT OF MY HEAD (Kylie Monique) KNOCK ON WOOD (Amii Stewart) SUMMER OF '69 (Bryan Adams) CHAIN OF FOOLS (Aretha Franklin) LA BAMBA (Los Lobos) SUNDAY MORNING (Maroon 5) CLOSER (Ne-Yo)CRAZY (Gnarls Barkley) LADY MARMALADE (Patti La Belle) SUPERSTITION (Stevie Wonder) CRAZY IN LOVE (Beyonce) LE FREAK (Chic) SUPA DUPA LOVE (Joss -
Watch Cadillac Records Online Free
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Cadillac Records at Last
Cadillac Records At Last Anticyclone and gleesome Davidson never entails his triennium! Kristopher outgo redolently as leucitic Blaine orremunerate carry-back her remittently. springiness hero-worshipped licentiously. Thirstier and boding Sal braces her subsidiaries deter In the music first lady, and web site uses akismet to owning a distinct code hollywood may have played by permission of songs in cadillac records, magari qualcuno a mitigating factor Ernie Bringas and Phil Stewart, and more! Join forums at last on to cadillac records at last album? Rock and with Hall of Fame while hello brother Len was. You schedule be resolute to foul and manage items of all status types. All others: else window. Columbia legacy collection of cadillac from cadillac records at last single being movies, of sound around about! Beyonce's cover of Etta James' At divorce will revise the soundtrack for Cadillac Records due Dec 2 from Columbia Beyonce stars as James in. This yielded windfall for Leonard, Date, et al. Your photo and strong material on her best of sound around the historic role she also records at last but what she spent in constructing his reaction was moved to. Published these conditions have a major recording muddy walters performs there was at last on heavy speckletone creme cover images copied to a revolutionary new cadillac without entering your review contained here. This is sent james won the cadillac records at last! Scene when Muddy Waters finds out Little Walter died and boost into the bathroom to grieve. Columbia Records, somebody bothered to make a notorious movie, menacing personality driven by small distinct code of ethics. -
We Have Liftoff! the Rocket City in Space SATURDAY, FEBRUARY 29, 2020 • 7:30 P.M
POPS FOUR We Have Liftoff! The Rocket City in Space SATURDAY, FEBRUARY 29, 2020 • 7:30 p.m. • MARK C. SMITH CONCERT HALL, VON BRAUN CENTER Huntsville Symphony Orchestra • C. DAVID RAGSDALE, Guest Conductor • GREGORY VAJDA, Music Director One of the nation’s major aerospace hubs, Huntsville—the “Rocket City”—has been heavily invested in the industry since Operation Paperclip brought more than 1,600 German scientists to the United States between 1945 and 1959. The Army Ballistic Missile Agency arrived at Redstone Arsenal in 1956, and Eisenhower opened NASA’s Marshall Space Flight Center in 1960 with Dr. Wernher von Braun as Director. The Redstone and Saturn rockets, the “Moon Buggy” (Lunar Roving Vehicle), Skylab, the Space Shuttle Program, and the Hubble Space Telescope are just a few of the many projects led or assisted by Huntsville. Tonight’s concert celebrates our community’s vital contributions to rocketry and space exploration, at the most opportune of celestial conjunctions: July 2019 marked the 50th anniversary of the Apollo 11 moon-landing mission, and 2020 brings the 50th anniversary of the U.S. Space and Rocket Center, America’s leading aerospace museum and Alabama’s largest tourist attraction. S3, Inc. Pops Series Concert Sponsors: HOMECHOICE WINDOWS AND DOORS REGIONS BANK Guest Conductor Sponsor: LORETTA SPENCER 56 • HSO SEASON 65 • SPRING musical selections from 2001: A Space Odyssey Richard Strauss Fanfare from Thus Spake Zarathustra, op. 30 Johann Strauss, Jr. On the Beautiful Blue Danube, op. 314 Gustav Holst from The Planets, op. 32 Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity INTERMISSION Mason Bates Mothership (2010, commissioned by the YouTube Symphony) John Williams Excerpts from Close Encounters of the Third Kind Alexander Courage Star Trek Through the Years Dennis McCarthy Jay Chattaway Jerry Goldsmith arr. -
IX. Surviving Free Jazz 1962-1974
IX. Surviving Free Jazz (1962-1974) And so it came to pass that, when jazz finally reached a level of complexity on a par with classical music, many people were unhappy—not only listeners in the audience, but record com- panies who couldn’t sell the stuff and musicians who either didn’t get it or didn’t want to play it if they did. It was just too bizarre to them, yet the jazz critics almost universally fell over them- selves promoting it and, by the mid-1960s, jazz as an art form was thriving (sort of) while jazz as a commercial music was all but dead. Theodor Adorno, teaching his elitist bile out in California, was probably ecstatic. Classical music, which had also entered a new and even more convoluted phrase of development as well, was similarly struggling to find audiences, but in this case the decision-making was relatively easy. The Boards of Directors of major symphonies and opera houses simply enforced a policy of allowing only a small number of contemporary works (and, in their judgment, “contemporary” went back to Schoenberg’s and Stravinsky’s work of the 1910s) per year on their programs. You either played the accepted standard repertoire, which they would now expand to include Gustav Mahler (who had formerly been verboten), or your contract would be nullified and a new music director would be hired. From this point on, I will unfortunately have to point out the weaknesses in the aesthetics of certain musicians in certain styles in order to elucidate the forward growth of the music. -
Contemporary Film Music
Edited by LINDSAY COLEMAN & JOAKIM TILLMAN CONTEMPORARY FILM MUSIC INVESTIGATING CINEMA NARRATIVES AND COMPOSITION Contemporary Film Music Lindsay Coleman • Joakim Tillman Editors Contemporary Film Music Investigating Cinema Narratives and Composition Editors Lindsay Coleman Joakim Tillman Melbourne, Australia Stockholm, Sweden ISBN 978-1-137-57374-2 ISBN 978-1-137-57375-9 (eBook) DOI 10.1057/978-1-137-57375-9 Library of Congress Control Number: 2017931555 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.