The ASCAP Foundation Annual Report 2020
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Rona & Her Sketchy Friends
VISION RESIDENCY RONA & HER SKETCHY FRIENDS FEBRUARY 19 @ 7PM ET Featuring & Curated by Vision Resident RONA SIDDIQUI With the talents of MANIK CHOKSI, raja feather kelly, SADE NAMEI & ASSAL GHAWAMI RONA & HER SKETCHY FRIENDS FEBRUARY 19 @ 7PM ET Featuring & Curated by Vision Resident RONA SIDDIQUI HOODIE TRILOGY Created & Performed by RONA SIDDIQUI "FOLLOW A FOLLICLE" FROM SALAAM MEDINA: TALES OF A HALFGHAN Book, Music & Lyrics by RONA SIDDIQUI Animation by MANIK CHOKSI Directed by raja feather kelly Featuring SHERZ ALETAHA, MEETU CHILANA, JAMEN NANTHAKUMAR, JONATHAN RAVIV, LOUIS SALLAN, SHARONE SAYEGH IRAN MUSTACHE CRISIS Written, Directed, Edited & Performed by SADE NAMEI & ASSAL GHAWAMI THE ARTISTS WOULD LIKE TO THANK Sherz Aletaha, Thomas Dolan, Devanand Janki, Jonathan Raviv, Sharone Sayegh & Nandita Shenoy. Ars Nova operates on the unceded land of the Lenape peoples on the island of Manhahtaan (Mannahatta) in Lenapehoking, the Lenape Homeland. We acknowledge the brutal history of this stolen land and the displacement and dispossession of its Indigenous people. We also acknowledge that after there were stolen lands, there were stolen people. We honor the generations of displaced and enslaved people that built, and continue to build, the country that we occupy today. We gathered together in virtual space to watch this performance. We encourage you to consider the legacies of colonization embedded within the technology and structures we use and to acknowledge its disproportionate impact on communities of color and Indigenous peoples worldwide. We invite you to join us in acknowledging all of this as well as our shared responsibility: to consider our way forward in reconciliation, decolonization, anti-racism and allyship. -
Establish Your Own Named Program
THE ASCAP FOUNDATION LEGACY SOCIETY NAMED PROGRAMS The ASCAP Foundation offers naming opportunities for those interested in establishing a custom program named after themselves or a loved one. We are proud of the musical greats who have chosen to establish programs in their name and the many families that have memorialized loved ones’ achievements by creating and funding a named program. ASCAP Foundation Legacy Society Named Programs include those of: Harold Adamson, Robert Allen, Chein Garcia Alonso, Herb Alpert, Harold Arlen, Louis Armstrong, Nick Ashford, Irving Berlin, Leonard Bernstein, Freddy Bienstock, Irving Caesar, Sammy Cahn, Harry Chapin, Desmond Child, George M. Cohan, Cy Coleman, Aaron Copland, Hal David, George and Ira Gershwin, Jay Gorney, Morton Gould, W.C. Handy, Jerry Herman, Fred Ho, Bart Howard, Molly Hyman, Billy Joel, Quincy Jones, Leo Kaplan, Steve Kaplan, Dean Kay, Leiber & Stoller, Frederick Loewe, John LoFrumento, Henry Mancini, Johnny Mandel, Michael Masser, Joseph Meyer, Vic Mizzy, Jack Norworth, Cole Porter, Louis Prima, Didier Lean Rachou, Joe Raposo, Irwin Robinson, Richard Rodgers, Betty Rose, David Rose, Mark Snow, Stephen Sondheim, Deems Taylor, Virgil Thomson, Jimmy Van Heusen, Paul Williams, Lucille and Jack Yellen, and others. ESTABLISH A NAMED PROGRAM OF YOUR OWN Keep alive your name and legacy or honor that of a loved one, for today's music community and for those of the next generation. The named program can be tailored to your wishes as encompassed within the mission of The ASCAP Foundation. When you establish a Named Program at The ASCAP Foundation, you become part of The ASCAP Foundation Legacy Society in recognition of your generosity and commitment (unless you choose to remain anonymous). -
Read Book Just for the Record
JUST FOR THE RECORD PDF, EPUB, EBOOK Geri Halliwell | 320 pages | 01 Nov 2003 | Ebury Publishing | 9780091888046 | English | London, United Kingdom Just For The Record PDF Book Jeff Randall Kenneth Cope When the Sun Comes Out. Pargiter Olivia Hamnett Ager Arlen Koehler Yellen. Barbra Streisand feat: Don Rickles. The Barbra Streisand Album , Marty Hopkirk Annette Andre Stoney End , Movies I have seen. Liner notes. Energetic Happy Hypnotic. DeSylva Lew Brown. Andre Mallot James Forrest Back to Broadway Halloween Movies for the Whole Family. Miss Marmelstein Harold Rome. Browne ultimately awarded the collection a grade of A- and called it a good representation of the singer's ability to "chang[e the] definition of pop" and "make mainstream adult pop that was strong, elegant, [and] even passionate". Another common usage of the idiom involves clarifying a person's motivation for saying something or engaging in a particular action. Rainy Day Relaxation Road Trip. Barbra Streisand feat: Judy Garland. The Broadway Album , Don't Rain on My Parade. Title: Just for the Record 15 Jan The Best Horror Movies on Netflix. Alternately, someone may use it to explain why he did something that appeared particularly unintelligent. I Can Do It. Other tracks were compiled from various live performances, TV specials, and previous albums from her back catalog. Warm All Over Frank Loesser. Lost Inside of You. My Honey's Lovin' Arms. Lorenz Hart Richard Rodgers. It includes 24 of the songs from Just for the Record The Moon and I. You're the Top Cole Porter. Cryin' Time. Add the first question. -
Accentuate the Positive Unit 1 Lesson 1 & 2
Accentuate The Positive: Unit 1: Lessons 1 & 2 Lesson #1: “Accentuate the Positive” (1944) by Johnny Mercer & Harold Arlen Lesson Overview These lessons are an introduction to Johnny Mercer, the Great American Songbook, and lyric writing. Classes will receive the original Accentuate the Positive: Guide to Lyric Writing for Kids programming. Students will be exposed to different subject matters and will have opportunities to learn tools for lyric writing and creating personal lyrics, all while fulfilling national core standards. Have fun! Objectives Upon completion of this lesson students will be able to: Know about songwriter Johnny Mercer Understand the definitions of lyricist and composer Have an understanding of songwriting skills: Rhyme, Personification Write lyrics for a song Standards Nat’l Core Arts - Music: Creating. Students will generate musical ideas, rhythms and will be encouraged to create their own melodies. English/Lang Arts Standards: STRANDS--Reading Foundational & Writing. Students will apply phonics and word recognition as well as writing personal opinionated texts using the figurative language concepts discussed in the lessons. Top of Form Bottom of Form Time Required One class period of at least 45-50 minutes Lesson Preparation Ask students what music they like and have them start to investigate who wrote those songs. Materials: Accentuate the Positive: Guide to Lyric Writing for Kids booklet Whiteboard space for teacher/teaching artist Writing paper and pencils Resources: The Johnny Mercer Foundation: www.johnnymercer.org If needed, refer to the video of the educator workshop on the Accentuate the Positive webpage. Johnny Mercer Collections at Georgia State University: http://library.gsu.edu/mercer -1- Accentuate The Positive: Unit 1: Lessons 1 & 2 (con’t) Lesson Procedure Introduce the program and Johnny Mercer. -
Broadway and Tin Pan Alley Introductory Essay
Broadway and Tin Pan Alley Introductory Essay “Way Down Upon the Hudson River: Tin Pan Alley's New York Triumph” Rachel Rubin, Professor of American Studies, University of Massachusetts Broadway in the 1920s was a showcase for the sweeping changes transforming American culture in the early 20th century, including new roles for women, the mixing of social classes in new settings like Prohibition-era speakeasies and creative innovation by African Americans in jazz clubs and music halls. Sons of immigrants from Europe -- including the Gershwins, Irving Berlin, Jerome Kern and Harold Arlen -- made up a large percentage of the new word and music smiths writing for Tin Pan Alley and Broadway’s musical revues. Their syncopated rhythms borrowed from the jazz craze and their lyrics helped create a vibrant, witty new American argot. Tin Pan Alley and Broadway contributed such classic standards as “Alexander’s Ragtime Band” (Berlin), “I Got Rhythm” (Gershwin and Gershwin), “Ol’Man River,” (Kern and Hammerstein), “Stormy Weather” (Arlen and Koehler), “Ain’t Misbehavin’” (Razaf, Waller, Brooks), “Anything Goes” (Porter) and many more. These songs formed the musical backdrop of an era. The production of these songs also became big business. The first major book written about Tin Pan Alley was published in 1930 by Harvard professor Isaac Goldberg, and it was subtitled “A Chronicle of the American Popular Music Racket.” Goldberg’s humorous use of the word “racket” captured something about the origins of the name “Tin Pan Alley” given to the music composed by poorly-paid songwriters banging away in cubicles in downtown New York City on cheap pianos. -
A Most Average Musical
The 10-Minute Musicals Collection LIBRETTO A MOST AVERAGE MUSICAL Book & Lyrics Music Based on a Jonathan Bob Kelly Screenplay by Keebler Talia Berger Licensing Agent Licensing Agent Music Theatre International Music Theatre International 423 West 55th Street, 2nd Floor 423 West 55th Street, 2nd Floor New York, NY 10019 New York, NY 10019 T: +1 (212) 541-4684 T: +1 (212) 541-4684 www.mtishows.com www.mtishows.com A MOST AVERAGE MUSICAL Book & Lyrics by Jonathan Keebler Music by Bob Kelly Based on a screenplay by Talia Berger Copyright © 2020 Theatre Now New York. Licensing Agent All Rights Reserved, Music Theatre International Cover Design: Andre Padayhag 423 West 55th Street, 2nd Floor Layout: Ben Van Buren (Yonkers International Press) New York, NY 10019 T: +1 (212) 541-4684 www.mtishows.com WWAIT!AIT! BEFORE REHEARSING COPYRIGHT WWARNINGARNING (SOME THINGS NEVER CHANGE) All music, lyrics and dialogue from the Play contained in this book are the property of the Authors and are fully protected by copyright. YYourour organization’s perfoormance license prohibits making any changes of any kind to the Play, including: • changes of music, lyrics, dialogue, sequence of songs and/or scenes, time period, setting, characters or characterizations or gender of characters in the Play; • adding new material (such as scenes or framing devices, characters or songs from any other version of the Playy,, including films); • omitting or adding any music, lyrics or dialogue. Any unauthorized changes shall constitute a willful infringement of the authors’ copyright and may subject your organization to civil liabilities and criminal penalties under the United States Copyright Act and other applicable statutes. -
John Frost and Suzanne Jones Present
JOHN FROST AND SUZANNE JONES PRESENT Follow the yellow brick road, over the rainbow, to see the world’s favourite musical… Developed from the ever-popular MGM screenplay, the Andrew Lloyd Webber London Palladium production of The Wizard of Oz contains the beloved Harold Arlen and E.Y. Harburg songs from the Oscar®-winning movie score, all the favourite characters and iconic moments, plus a few surprises along the way. CHARACTER DOROTHY (Female) 18 to 30 years old. The heroine of our story, whose travels through Oz bring her friendship and adventure. Brave, smart, compassionate, selfless and encouraging to others. Must be no less than 160cm and be able to play 16yo. Dog lovers encouraged! MEZZO AUDITION SELF-TAPE REQUIREMENTS Applicants will be required to submit a video self-tape singing ‘Somewhere Over the Rainbow’, preferably accompanied or to a backing track. Please click here to obtain the score. Please note: this is not for distribution. Email submissions to [email protected] which MUST include the following, to be considered: 1. Pro Forma spreadsheet – completed with all talent submissions. 2. Link to Vimeo, YouTube, or any file sharing platform of the required song. 3. Performance CV (including height and DOB) PDF ONLY 4. Headshot (last 6-12mth) PDF/JPG ONLY APPLICATIONS CLOSE: 12 MIDNIGHT – Sunday 11th June 2017 Successful applicants will receive appointment times no later the 7 days prior to the audition AUDITION DATES Monday 26th June – 7th July 2017 - SYDNEY AND MELBOURNE Rehearsals to commence early October 2017 in Sydney followed by a Brisbane Opening and National Tour. -
Oscar Hammerstein II Collection
Oscar Hammerstein II Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2018 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: https://lccn.loc.gov/2014565649 Additional search options available at: https://hdl.loc.gov/loc.music/eadmus.mu018003 Processed by the Music Division of the Library of Congress Finding aid encoded by Library of Congress Music Division, 2018 Collection Summary Title: Oscar Hammerstein II Collection Span Dates: 1847-2000 Bulk Dates: (bulk 1920-1960) Call No.: ML31.H364 Creator: Hammerstein, Oscar, II, 1895-1960 Extent: 35,051 items Extent: 160 containers Extent: 72.65 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/2014565649 Summary: Oscar Hammerstein II was an American librettist, lyricist, theatrical producer and director, and grandson of the impresario Oscar Hammerstein I. The collection, which contains materials relating to Hammerstein's life and career, includes correspondence, lyric sheets and sketches, music, scripts and screenplays, production materials, speeches and writings, photographs, programs, promotional materials, printed matter, scrapbooks, clippings, memorabilia, business and financial papers, awards, and realia. Selected Search Terms The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically. People Brill, Leighton K.--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973. Crouse, Russel, 1893-1966. -
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 -
Capturing That Solid-Gold Nugget
Chapter 1 Capturing That Solid-Gold Nugget In This Chapter ▶ Gathering song ideas from anywhere ▶ Organizing and tracking your thoughts and inspirations ▶ Documenting your ideas his book is for everyone who shares the dream of harnessing the song- Twriting power we all have within. You’ve come to the right place if your heart keeps telling you to write a song, but your mind is uncertain as to the process of the craft or what’s required to create a really good song. You bought the right book if you’re wondering how to collect and organize your ideas. You have found the right resource if you have pieces of songs lying in notebooks and on countless cassettes but can’t seem to put the pieces together. This book is for you if you have racks of finished song demos but don’t know what to do next to get them heard. When you know the elements that make up a great song and how the pros go about writing one, you can get on the right path to creating one of your own. Unless you’re lucky enough to have fully finished songs come to you in your deepest dreams, or to somehow take dictation from the ghosts of Tin Pan Alley (the publishing area located in New York City in the 1930s and 1940s), most of us need to summon the forces, sources, reasons, and seasons that give us the necessary motivation to draw a song from our heart of hearts. Given that initial spark, you then need the best means of gathering those ideas, organizing them, putting them into form, and documenting them as they roll COPYRIGHTEDin — before it’s too late and they MATERIAL roll right out again! Have you ever noticed how you can remember a powerful dream just after you’ve awakened only for it to vanish into thin air in the light of day? Song ideas can be just as illusive. -
2020 Broadway in the Park Advertising Tustin Area Council for Fine Arts in Cooperation with Oceanside Theatre Company Presents
Creating Community Through the Arts 2020 Broadway in the Park Advertising Tustin Area Council for Fine Arts in cooperation with Oceanside Theatre Company presents: August 4 - 8, 2020 Peppertree Park, Old Town Tustin Program Advertising Information Music by HAROLD ARLEN ANDREW LLOYD WEBBER HERBERT STOTHART Broadway in the Park will be produced by the award-winninG Lyrics by Book by production company, Oceanside Theatre Company. Annually the E.Y. HARBURG TIM RICE L. FRANK BAUM show attracts 5,000 residents in the Greater Tustin area durinG its five-day run. Attendees receive a glossy 5.5” x 8.5” show program WIZARD OF OZ highlighting musical numbers, cast members’ bios, production staff is presented by arranGement with TAMS-WITMARK. and more. You can support the Tustin Area Council for Fine Arts’ www.tamswitmark.com efforts to brinG the Arts to the community and capture the attention of the Broadway in the Park audience with your ad in the 2020 proGram! (Staff will work with you on personalized advertisinG.) Contact Name_____________________________________ BLACK AND WHITE PROGRAM ADS: Company_________________________________________ Half-page ad @ $330 Phone____________________________________________ Half-page ad/Non-Profit/Art Related @ $300 Address___________________________________________ Half-page OPPORTUNITY Ad @ $200 City_______________________________________________ (Will also provide 5 gift cards with value of $25) State______________________________________________ E-Mail_____________________________________________ Full-page ad @$600 Full-page ad/Non-Profit @ $540 TACFA Contact______________________________________ Half-Page Advertisement in Program Book. Ad size is 5” x 3.5” Full-Page Advertisement in Program Ads and payments must be Book.Full-Page Ad Advertisement size is 5” xin 7 Program.5” received no later than Book. -
Messages of American Popular Song to Women During World War II
“I’m Doin’ It for Defense”: Messages of American Popular Song to Women during World War II A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements of the degree of MASTER OF MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2013 by Amy Brooks BM, Bob Jones University, 2008 Committee Chair: bruce d. mcclung, PhD Abstract World War II presented many new opportunities for American women. In this time of need, they were called upon to take an active part in the war effort, whether by means of working in a factory, growing a victory garden, or serving as a volunteer for wartime organizations. Women made great strides forward in areas such as the workforce and the military. The American popular song industry promoted these new roles for women. I have compiled over 150 songs from 1940 to1945 that relate to women’s roles during the World War II era. Of these songs, I have chosen a select number of songs that best demonstrate popular culture’s attitudes and actions towards women during the war. These songs can be divided into five categories: women in the military, women in the workforce, women’s war effort, women’s responsibilities to men in uniform, and women in the immediate post-war period. I have studied the representative songs by considering their lyrics to identify the objectives supported by the popular song industry. I took into consideration the venues in which they were presented and how these performances influenced their reception.