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An Advanced Songwriting System for Crafting Songs That People Want to Hear
How to Write Songs That Sell _________________________________________________________________________________________________________________________ An Advanced Songwriting System for Crafting Songs That People Want to Hear By Anthony Ceseri This is NOT a free e-book! You have been given one copy to keep on your computer. You may print out one copy only for your use. Printing out more than one copy, or distributing it electronically is prohibited by international and U.S.A. copyright laws and treaties, and would subject the purchaser to expensive penalties. It is illegal to copy, distribute, or create derivative works from this book in whole or in part, or to contribute to the copying, distribution, or creating of derivative works of this book. Furthermore, by reading this book you understand that the information contained within this book is a series of opinions and this book should be used for personal entertainment purposes only. None of what’s presented in this book is to be considered legal or personal advice. Published by: Success For Your Songs Visit us on the web at: http://www.SuccessForYourSongs.com Copyright © 2012 by Success For Your Songs All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. How to Write Songs That Sell 3 Table of Contents Introduction 6 The Methods 8 Special Report 9 Module 1: The Big -
1 the Association for Diplomatic Studies and Training Foreign Affairs
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project ARNOLD DENYS Interviewed by: Self Copyright 1998 ADST TABLE OF CONTENTS Acknowledgements A out the Author Note to the Reader Preface A Crisis in the Life of a Foreign Service Officer My Beginnings (S Citi)enship Return to Civilian Life Panama Assignment Crisis in Panama London Egypt Athens Mexico Canada ,ashington, DC Antwerp ,ashington to Tijuana Tijuana Tijuana to Retirement Conclusion DIARY Son of Flanders The Making of a Consul. Diary of an American Foreign Service Officer In Memory of Emiel Denys 01103411767 8odelieve Maria Denys 01101411117 AC9NO,LED8MENTS 1 I feel deep gratitude to my late parents for their encouragement to write this memoir. The late Mrs. 9atherine McCook 9nox, an art historian from ,ashington, DC, was in great part responsi le for my efforts in compiling letters and notes on the American Foreign Service. My thanks also go to Rhoda Riddell, Ph.D., a writer and teacher, who transcri ed and edited my handwritten account, which was taken from my diary. I also wish to thank Art Drexler, who completed the editing and prepared the book for printing. I wish also to thank the following persons, whom I have known in the long course of my foreign service career, and who have meant so much to me both personally and professionally, and deserve special acknowledgment. Consul 8eneral John D. Barfield Vice Consul 0Ret.7 Frank J. Barrett Miguel Angel 8arcia Charles Stuart 9ennedy, Director of the Association for Diplomatic Studies, who inspired me with his work on the Foreign Affairs Oral History Program. -
CHAN 3094 BOOK.Qxd 11/4/07 3:13 Pm Page 2
CHAN 3094 Book Cover.qxd 11/4/07 3:12 pm Page 1 CHAN 3094(2) CHANDOS O PERA IN ENGLISH PETER MOORES FOUNDATION CHAN 3094 BOOK.qxd 11/4/07 3:13 pm Page 2 Alban Berg (1885–1935) Wozzeck Opera in three acts (fifteen scenes), Op. 7 Libretto by Alban Berg after Georg Büchner’s play Woyzeck Lebrecht Collection Lebrecht English translation by Richard Stokes Wozzeck, a soldier.......................................................................................Andrew Shore baritone Drum Major .................................................................................................Alan Woodrow tenor Andres, a soldier...............................................................................................Peter Bronder tenor Captain ................................................................................................................Stuart Kale tenor Doctor .................................................................................................................Clive Bayley bass First Apprentice................................................................................Leslie John Flanagan baritone Second Apprentice..............................................................................................Iain Paterson bass The Idiot..................................................................................................John Graham-Hall tenor Marie ..........................................................................................Dame Josephine Barstow soprano Margret ..................................................................................................Jean -
Woody Guthrie's Songs for Children
ISSN 2053-8804 Woody Guthrie Annual, 2 (2016): Maloy, Guthrie’s Songs for Children “Why Couldn’t the Wind Blow Backwards?” Woody Guthrie’s Songs for Children ! !Liam Maloy 1 ! Any fool can make something complicated. It takes a genius to make it simple. This essay examines the songs that Woody Guthrie recorded for children and investigates the widely perceived notion that they are simple and particularly childlike. Biographer Joe Klein describes them as “utterly artless … truly children’s songs … written as children might write them.”2 Journalist Steven Stolder finds the songs “as spontaneous and nonsensical as baby babble and almost as delightful,”3 while recording artist Elizabeth Mitchell describes them as “simple yet profound … easy to learn and easy to sing … and just so darned cute.”4 To Mitchell, Guthrie has an “uncanny ability to inhabit both the perspective of a loving, protective parent and the voice of a freewheeling child.”5 His songs, it seems, comprise “seemingly freely-associated words … natural and effortless melodies … fragments of sweetness and mystery” and are “completely unique in their ability to straddle the worlds and views of both caregiver and child.”6 However, rather than simplicity, musical and lyrical analysis of Guthrie’s records for children reveals a relative complexity when compared to the children’s songs of Pete Seeger, Elizabeth Mitchell, Raffi, and other folk artists. In contrast to songs for children that perpetuate Romantic ideas of innocence and simplicity, Guthrie seems to have captured on record some of the unstructured, unresolved, unselfconscious exuberance of real children. Notably, Guthrie’s songs were assisted in a substantial way by his three- year-old daughter Cathy Ann,7 who was not only an inspiration, but also a co-writer, lyricist, collaborator, and muse. -