Wee Deoch-And-Doris (1911)
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The Cambridge Companion to Gershwin Edited by Anna Harwell Celenza Index More Information
Cambridge University Press 978-1-108-42353-3 — The Cambridge Companion to Gershwin Edited by Anna Harwell Celenza Index More Information Index Aarons, Alex, 7 Barkleys of Broadway (1949) film, 206, 214 Ager, Cecelia, 294 Bartók, Bela, 119 Ager, Milton, 294 “Battle Hymn of the Republic,” 36 Albee, Edward, 67 Bauer, Marion, 222 Alberts, Charles S., 138 “Beale Street Blues,” 238 Alda, Robert, 134 Beethoven, Ludwig van, 9, 35, 76, 225 Alexander III, Czar of Russia, 5 Rondo a Cappricio, Op. 129, 37 Allen, Gracie, 207, 212, 213 Sonata in F Minor, Op. 57 (“Appassionata”), Americana (1928) musical, 10 37 An American in Paris (1951) film, 214, 240, 262 Sonata Op. 110, 37 An American in Paris (2015) musical, 262, 264, Sonata Op. 81, 37 265, 266, 267, 269, 270 String Quartet, Op. 18, No. 4, 37 Anchors Aweigh (1945) film, 254 “ ” Anderson, Marian, 191 Symphony No. 3 ( Eroica ), 37 Antheil, George, 155–56, 229 Symphony No. 5, 248 Ballet mécanique, 155, 156 Symphony No. 7, 37 Jazz Symphony, 156 Bennett, Robert Russell, 47, 199, 201, 211, 212, Anything Goes (1936) film, 200 214, 216 Arcadelt, Jacques, 36 Bennett, Tony, 238 Arden, Victor, 93, 97, 268 Benton, Thomas Hart, 162 Arlen, Harold, 9, 47, 49, 199, 276, 277 Berg, Alban, 162, 225, 229 “Stormy Weather,” 277 Lyric Suite, 33, 162 Arlen, Michael, 154 Wozzeck, 231 Armitage, Merle, 48, 53, 291 Bergere, Valerie, 72 Armstrong, Louis, 244, 277 Berkeley, Busby, 45 Arvey, Verna, 25 Berlin, 161 Asian American Jazz Orchestra, 256 Berlin, Irving, 44, 48, 53, 61, 64, 68, 69, 93, 154, Askins, Harry, 132 225, 239, 244, -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
The Wife of Manoah, the Mother of Samson
546 THE WIFE OF MANOAH, THE MOTHER OF SAMSON Magdel le Roux University of South Africa P O Box 392, UNISA 0003 E-mail: [email protected] (Received 21/04/2016; accepted 06/07/2016) ABSTRACT The last account of the judges is that of Samson (Judges 13–16). This account has all the elements of a blockbuster. All the indications are that Samson would be an extraordinary person. And yet, even though Samson may be regarded as some sort of hero, the story suggests that Samson was also the weakest or most ineffective of the judges. Tension is created through the juxtaposition of “ideal” and “non-ideal” bodies. An alternative ideology, as a hidden polemic, is concealed in the account. As in the case of Achsah (Judges 1:11–15) and Deborah (Judges 4–5), the nameless wife of Manoah (the mother of Samson) serves as an illustration of “countercultural rhetoric” as a hidden polemic. INTRODUCTION In the dominant cultural ideology of the Israelite tribes, ideal, whole bodies were those of male Israelite soldiers without any defects. This is the image that comes to mind when one first reads about the strong man, Samson, although in time one becomes more aware of his weaknesses than his strengths. These accounts (Judges 14–16) are full of violence and of Samson’s personal revenge, but they also describe his weakness for women. In the case of Samson, an ideal male body develops into an “unwhole body” in that an aesthetic element is added to the story: God favours Samson despite his disobedience (Chs 14–16). -
AC;T I - SCENE 1 No.1 Overture Seep
7 AC;T I - SCENE 1 No.1 Overture Seep. 85 IOrchestra) Music seg11es as one. No. 2 Sweet And Lowdown 5-.:e p. 85 (Jimmy, Jeannie, Cirls & Cuys) Lights Up: A speakeasy in New York Cih;. JEANNIE leads a gaggle of CHORUS GIRLS. The surrounding tables are full of handsome YOUNG MEN. We are at a society bachelor party - rich boys having fun. JEANNIE & GIRLS. Grab a cab and go down To where the band is playing; Where milk and honey flow down Where ev'ry one is saying "Blow that sweet and low-down!" Busy as a beaver, You'll dance until you totter; You're sure to get the fever For nothing could be hotter Oh, that sweet and low-down! JEANNIE. (Over music) All right, peoples, peoples - listen up! Now this is a very sad occasion, 'cause tomorrow morning, our own Jimmy Winter is gettin' married for the third time! JIMMY. (Stands up) Fourth time! EVERYBODY cheers. JlMMY. (Continued) But this time, I'm not marrying some cheap chorus girl! JEANNIE & GIRLS. Awww. JIMMY. Sorry, cheap chorus girls. EVERYBODY cheers. JIMMY. (sung) There's a cabaret in this city I can recommend to you; Peps you up like electricity When the band is blowing blue. \:IC - l'rompt Book 8 .. I (JJ MY. They play nothing classic, Oh no• Down there, They crave nothing e se Bu he low-down there I you need a on·c nd he need is chron c If you're in a crisis. my advice is }EA lE & L Grab a cab and go down Grab a cab and go down To where the band 1s playin : Where he band i playing; Where milk and honey flow down Where ev'ry one is sayin' E IR Blow Blow that eet and low-d wnl" Low low down t Busy as a beaver, Busy as a beaver. -
The Enduring Art of Ella Fitzgerald's Most Ambitious Album
MASTERPIECE The Enduring Art of Ella Fitzgerald’s Most Ambitious Album ‘Ella Fitzgerald Sings the George and Ira Gershwin Song Books,’ which was inducted into the Grammy Hall of Fame at the end of January, remains a matchless treasure. By John Edward Hasse Published originally in The Wall Street Journal, Feb. 5, 2019 Nothing did more to crystallize the idea of the Great American Songbook than a series of recordings Fitzgerald made between 1956 and 1964. By showcasing eight different songwriters and songwriting teams, these albums esteemed each writer’s output as a body of work, canonized many of the songs, and raised respect for the repertory. The most celebrated of these albums, Ella Fitzgerald Sings the George and Ira Gershwin Song Books, unprecedented in scope, offers 59 tracks, more than three hours, broadly exploring one of America’s foremost song catalogs. It was recorded between January and August 1959 and issued originally in a lavish six-disc set. And with the Grammy’s this week, it’s worth reconsidering one of the singular recordings of the 20th century, which itself was inducted into the Grammy Hall of Fame at the end of January. The album resulted from a kind of collaboration among four living figures and one deceased, playing five different roles. George Gershwin, who died prematurely in 1937, composed the music, rich with jazzy, bluesy, Jewish and classical influences. His brother Ira matched George’s melodies with witty, memorable words that reveled in American vernacular speech. For the album, Ira wrote some new lyrics. The other three collaborators were each at their creative peak. -
El Mustang, November 30, 1962
ixuiuvk. FIRST CAMPUS MUSICAL Production Cast Of 60 To Premier 6Girl CALIFORNIA STATE POLYTECHNIC COLLEGE* Tonight In Little Theatre Vol. X X V No. 13 SAN LUIS OBISPO. CALIFORNIA FRIDAY, NOY. 80,1962 By JIM M sLAIN A milestone in the history FIRST PRESIDENTIAL CONFERENCE >f Cal Poly’s Music and Schubert Drama .departments will be passed . fomght in the Little rheater as the curtain goes IsNational ■ip on the premier performance of the college’s first musical comedy, College Union, Boxing, Retirement George and Ira Gershwin’s “Girl Crazy." A IA P rexy "The musical comedy, which is to begin Sit 8:30 p.m., is the Carl SchubfeiH, junior archi •>roducY' of moren than eight weeka tecture student, was elected >f continuous rehearsing, More Questions Answered By McPhee :han 60 people have been involved president of the associated n its production. student .chapter of the Ameri Updated some from its original By BETSY KINGM AN a decent, moral manner, under how much will he needed before can Institute of Architects at flapper era version, “ Girl. CrazyCrazy" A collegiate press must be the criticism and suggestions of the building ran be started? iz the story of an ex-hero of TV the faculty advisors.” Also, .other than the monetary the national forum held recently resixmsible and must report westerns who owns a dude ranch ones, what stipulations must be in Washington, D.C. — near the small town of Cuaterville, all student activities accur Following the introduction Pres met on tjie building? The Cal Poly architecture Aril. Played by Hassell Lee, -the ately and fairly, and be sen ident McPhee presented a framed fduque listing the criteria of a President McPhee: Planning is partment was also represented at sx-star of "Cowpoke" is in love sitive to the welfare of the with the local postmistress, who good newspaper to G rural man, El presently underway. -
KINGDOMS Family Guide
KINGDOMS Family Guide Welcome to IMMERSE The Bible Reading Experience Leading a family is arguably one of the most challenging tasks a person can undertake. And since families are the core unit in the church, their growth and development directly impacts the health of the communi- ties where they serve. The Immerse: Kingdoms Family Reading Guide is a resource designed to assist parents, guardians, and other family lead- ers to guide their families in the transformative Immerse experience. Planning Your Family Experience This family guide is essentially an abridged version of Immerse: King- doms. So it’s an excellent way for young readers in your family to par- ticipate in the Immerse experience without becoming overwhelmed. The readings are shorter than the readings in Immerse: Kingdoms and are always drawn from within a single day’s reading. This helps every- one in the family to stay together, whether reading from the family guide or the complete Kingdoms volume. Each daily Bible reading in the family guide is introduced by a short paragraph to orient young readers to what they are about to read. This paragraph will also help to connect the individual daily Scripture pas- sages to the big story revealed in the whole Bible. (This is an excellent tool for helping you guide your family discussions.) The family guide readings end with a feature called Thinking To- gether, created especially for young readers. These provide reflective statements and questions to help them think more deeply about the Scriptures they have read. (Thinking Together is also useful for guiding your family discussions.) The readings in the family guide are intended primarily for children i ii IMMERSE • KINGDOMS in grades 4 to 8. -
8:15 P.M. Greenwall Music Workshop Songs/George Gershwin 4
BENNINGTON COLLEGE MUSIC DIVISION PRESENTS SUE ANN KAHN, flutist and BARBARA ANN MARTIN, soprano with Elizabeth Wright Jacob Glick Jeffrey Levine Joseph Schor Nathaniel Parke Seana Gamel Wednesday, November 17, 1993 8:15 P.M. Greenwall Music Workshop Songs/George Gershwin 4. My Cousin From Milwaukee 1. Foggy Day Once I visited my cousin in Milwaukee U.S.A. She's got boyfriends by the dozen when she sang in a low-down I was a stranger to the city, out of town were the people I knew I had that feeling of self-pity, what to do? wa'f· She was a positive sensation, the songs that she sang would The outlook was decidedly blue ... never miss But as I walked through the foggy streets alone it turned out to be My cousin was my inspiration, that's how I got like this the luckiest day I've known. I've got a cousin in Milwaukee, A foggy day in London town, it had me low, it had me down She's got a voice so squawky, I viewed the morning with such alarm, and though she's tall and kind-a gawky, The British Museum had lost its' charm. Oh, how she gets the men. How long, I wondered, could this thing last? Her singing isn't operatic, it's got a lot of static, But the age of miracles hadn't passed, But makes your heart get acrobatic, nine times out of ten. For suddenly, I saw you standing there, and in When she sings hot, you can't be solemn Foggy London town the sun was shining everywhere. -
Ella Fitzgerald Collection
Ella Fitzgerald Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Revised 2010 December Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu010023 LC Online Catalog record: http://lccn.loc.gov/2006568227 Processed by the Music Division of the Library of Congress Collection Summary Title: Ella Fitzgerald Collection Span Dates: 1956-1992 Bulk Dates: (bulk 1960-1985) Call No.: ML31.F58 Creator: Fitzgerald, Ella Extent: 23,500 items ; 285 containers ; 176 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Ella Fitzgerald (1917-1996) was a popular and highly-respected American jazz and pop vocalist and recording artist. The Ella Fitzgerald Collection chiefly consists of musical arrangements made for her by more than fifty arrangers and orchestrators. Arrangers whose works are found in this collection include: Buddy Bregman, Benny Carter, Frank DeVol, Russ Garcia, Billy May, Marty Paich, Nelson Riddle, and Gerald Wilson. The arrangements consist of a combination of full scores and parts, and are often accompanied by piano-conductor short scores, reduced scores, lead sheets and lyric sheets. Music is found in the form of manuscripts, printed music, photocopies, and ozalids, often in multiple or different versions. In addition, the collection contains repertoire and program lists and other miscellaneous material, including a minimal amount of correspondence and photographs. Note: To find locations of arrangements within this finding aid, consult the Songs Index and Arrangers Index under Index Terms. -
Biblical Names in Amharic
2 ëAņŖŠŸŶ ëŸǬă ųǫĈŖŠŸ ëģǖþƭ Ŧǐë Ĉîė ƻûų ûŸǰĈŘɈ ŃûǘŦŵŖŠŸ ŃINjĔĘ ƐĐĘřĘ ŃǯřŠ ǯŖŠŸ ƐńĐ ĘĀ ŖîĨ ĀĘǮŶŠŸŸ EŶģĐņëŸɅ 3 4 We present our many thanks to Our God-Father and to Our King of Kings, to His Imperial Majesty, HAILE SELLASSIE I’s Kingdome in the Glorious name of Iyesus Kristos, Our Saviour – Our Lord of Lords. AMEN AND AMEN. 5 6 THE BIBLE SOCIETY OF HIS IMPERIAL MAJESTY (BSHIM) PUBLISHED BY: H.H. RAS IADONIS TAFARI, & H.H. WOIZERO TEHETENA GIRMA-ASFAW OF THE LION OF JUDAH SOCIETY (LOJS) IMPERIAL PUBLISHERS TO THE H.I.M. UNIVERSITIES,COLLEGES & CHRISTIAN [TEWAHEDO]CHURCHES 1991-2011 BSHIM-LOJ 7 ©2011 by LION OF JUDAH SOCIETY PUBLISHERS & PRINTING PRESS All rights reserved. No part of this publication may be reproduced or transmitted for commercial purposes, except for brief quotations in printed reviews, without written permission of the publishers’. Churches and other noncommercial interests may reproduce portions of this book without the express written permission of the LOJS PRINTING PRESS, provided that the text does not exceed 500 words and that the text is not material quoted from another publisher. When reproducing text from this book, include the following credit line: “From the Amharic Book of Ruth, A translation & interpretation by Ras Iadonis Tafari, published by the Lion of Judah Society. Used by permission.” All English-language scripture quotations, unless otherwise noted, are taken from the King James Version of the 1611 A.D. Holy Bible [KJV]. All Amharic-language scripture quotations, unless otherwise noted, are taken the Emperor’s Bible, the 1961/2 A.D. -
Judges, Book of I. Hebrew Bible/Old Testament
1001 Judges, Book of 1002 queathed authority, the icons of emperors raised on against the angel while he pushes his finger on his stands behind him and embroidered on the table side of the scale, attempting to tip it in the favor cloth in front of him. His throne is cushioned and and direction of hell. draped in white cloth as he seems to consider his Bibliography: ■ Carboni, S., “The London Qazwini: An advisors around him. Early 14th-Century Copy of the Ajāib al-makhlūqāt,” Is- References to the Christ sitting as judge and the lamic Art 3 (1988/89) 15–31. ■ Dal Santo, M., Debating the Day of Judgment recur in NT several times and the Saints’ Cults in the Age of Gregory the Great (Oxford 2012). scene is vividly described in the Book of Revelation. ■ Hourihane, C., Pontius Pilate, Anti-Semitism, and the Passion In visual art, the most essential component is in Medieval Art (Princeton, N.J. 2009). ■ Kantorowicz, E. H., Christ, usually seated on the throne. In Roman and Laudes Regiae: A Study in Liturgical Acclamations and Medieval ■ Eastern Orthodox art he is flanked by the interces- Ruler Worship (Berkeley, Calif. 1946). Nordhagen, P. J., “S. Maria Antiqua: The Frescoes of the Seventh Century,” Acta sory figures of the Virgin on his right and John the Institutum Romanum Norvegiae 8 (1979) 89–142. ■ Verhey- Baptist on his left in an image called the Deesis (in den, J. (ed.), The Figure of Solomon in Jewish, Christian and Is- the Great Deesis, the apostles and sometimes cho- lamic Tradition: King, Sage and Architect (Leiden 2013). -
Pete Bumgarner Ministries
PETE BUMGARNER MINISTRIES A NON-PROFIT CORPORATION FOUNDED OCTOBER, 1984 JUDGES STUDY GUIDE JUDGES SCRIPTURE READING The Book of Judges THEME For everyone to do right in his own eyes is certain to bring forth the judgment of God, but when repentance is evident, God intervenes in behalf of His people. I. INTRODUCTION A. The book of Judges records the military heroes or deliv- erers who led the nation of Israel against her enemies during the period between the death of Joshua and the establishment of the kingship. B. The book of Judges spans nearly four centuries. It is believed to cover the period of time from about 1380 to 1050 B.C. C. According to Acts 13:20, the time period of the judges spanned 450 years, excluding the prophet Samuel. D. At this time, the government of Israel was a loose confederation of tribes without a God-ordained leader to guide them; consequently, the people tended to rebel and fall into worship of false gods time and time again. E. Without a leader, “everyone did what was right in his own eyes.” 1. This principle describes the spiritual state of Israel during this time period. 2. It also reveals the detrimental effect that comes from lack of leadership. F. The book of Judges records the actions of Israel as they set aside God's law and did what was right in their own eyes. 1 G. The result of abandoning God's law is corruption within and oppression without. H. The book of Judges reveals the repetitious actions of Israel as she sins and incurs the judgment of God, repents and cries out to God, receives a deliverer from God, then reverts to her sinful ways.