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American Music Research Center Journal
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
Bruce Walker Musical Theater Recording Collection
Bruce Walker Musical Theater Recording Collection Bruce Walker Musical Theater Recording Collection Recordings are on vinyl unless marked otherwise marked (* = Cassette or # = Compact Disc) KEY OC - Original Cast TV - Television Soundtrack OBC - Original Broadway Cast ST - Film Soundtrack OLC - Original London Cast SC - Studio Cast RC - Revival Cast ## 2 (OC) 3 GUYS NAKED FROM THE WAIST DOWN (OC) 4 TO THE BAR 13 DAUGHTERS 20'S AND ALL THAT JAZZ, THE 40 YEARS ON (OC) 42ND STREET (OC) 70, GIRLS, 70 (OC) 81 PROOF 110 IN THE SHADE (OC) 1776 (OC) A A5678 - A MUSICAL FABLE ABSENT-MINDED DRAGON, THE ACE OF CLUBS (SEE NOEL COWARD) ACROSS AMERICA ACT, THE (OC) ADVENTURES OF BARON MUNCHHAUSEN, THE ADVENTURES OF COLORED MAN ADVENTURES OF MARCO POLO (TV) AFTER THE BALL (OLC) AIDA AIN'T MISBEHAVIN' (OC) AIN'T SUPPOSED TO DIE A NATURAL DEATH ALADD/THE DRAGON (BAG-A-TALE) Bruce Walker Musical Theater Recording Collection ALADDIN (OLC) ALADDIN (OC Wilson) ALI BABBA & THE FORTY THIEVES ALICE IN WONDERLAND (JANE POWELL) ALICE IN WONDERLAND (ANN STEPHENS) ALIVE AND WELL (EARL ROBINSON) ALLADIN AND HIS WONDERFUL LAMP ALL ABOUT LIFE ALL AMERICAN (OC) ALL FACES WEST (10") THE ALL NIGHT STRUT! ALICE THROUGH THE LOOKING GLASS (TV) ALL IN LOVE (OC) ALLEGRO (0C) THE AMAZING SPIDER-MAN AMBASSADOR AMERICAN HEROES AN AMERICAN POEM AMERICANS OR LAST TANGO IN HUAHUATENANGO .....................(SF MIME TROUPE) (See FACTWINO) AMY THE ANASTASIA AFFAIRE (CD) AND SO TO BED (SEE VIVIAN ELLIS) AND THE WORLD GOES 'ROUND (CD) AND THEN WE WROTE... (FLANDERS & SWANN) AMERICAN -
Teen's Musical Theatre Songfinder
TEEN’S MUSICAL THEATRE SONGFINDER Alphabetically by Song Alphabetically by Show MUSICAL THEATRE SONGS FOR TEENS - COMPLETE LIST (Alphabetical by SONG Title) SHOW TITLE SONG TITLE PUBLICATION TITLE ITEM NUMBER 21 Guns American Idiot Broadway Presents! Audition Musical Theatre Anthology - Young Male Edition 00322356 Book/2-CDs Pack A La Volonté du Peuple Les Misérables Songs of Boublil & Schönberg, The - Men’s Edition 00001193 Men’s Edition Ad-dressing of Cats, The Cats Andrew Lloyd Webber For Singers - Men’s Edition 00001185 Men’s Edition Adelaide’s Lament Guys and Dolls Broadway Junior Songbook - Young Women’s Edition 00740327 Book/CD Pack Adelaide’s Lament Guys and Dolls Musical Theatre Anthology For Teens - Young Women’s Edition 00740157 Book only Adelaide’s Lament Guys and Dolls Musical Theatre Anthology For Teens - Young Women’s Edition 00740189 Book/CD Pack Ah, But Underneath Follies Complete Follies Collection, The 00313306 Book only Ah, Paris Follies Complete Follies Collection, The 00313306 Book only Ain’t Misbehavin’ Ain’t Misbehavin’ Broadway For Teens - Young Women’s Edition 00000402 Book/CD Pack All for You Seussical the Musical Broadway Presents! Audition Musical Theatre Anthology - Young Female Edition 00322304 Book/2-CDs Pack All for You Seussical the Musical Broadway Presents! Teens' Musical Theatre Anthology - Female Edition 00322200 Book/2-CDs Pack All Good Gifts Godspell Broadway Junior Songbook - Young Men’s Edition 00740328 Book/CD Pack All Good Gifts Godspell Musical Theatre Anthology For Teens - Young Men’s Edition -
Relive the Romantic Classics of Rodgers and Hart Written by Ashley H Pollock
FOR IMMEDIATE RELEASE: 03/09/2017 Ashley H Pollock, Public Relations & Information Coordinator Office: (435) 865-8667 College of Performing and Visual Arts Cell: (435) 590-0961 Southern Utah University [email protected] Relive the Romantic Classics of Rodgers and Hart Written by Ashley H Pollock Southern Utah University, Cedar City, Utah: The Department of Music at Southern Utah University completes this year’s Great American Songbook Series with their final performance on Tuesday, March 21st. Ticket prices are $10 for adults and $5 for students. The concert will be in the Southern Utah Museum of Art at 7:30 p.m. with students and faculty featuring the music of Rodgers and Hart. Richard Rodgers and Lorenzo Hart wrote many Broadway musicals together including A Connecticut Yankee, Babes In Arms, I’d Rather Be Right, Too Many Girls, Higher and Higher, and By Jupiter. Hart passed away in 1943, leaving Rodgers to then work with Oscar Hammerstein II on many classic Broadway hits that we still enjoy today. Classic pop songs from Rodgers and Hart are I Wish I Were In Love Again, My Funny Valentine, The Lady Is A Tramp, Falling In Love With Love, Bewitched, Bothered and Bewildered, My Romance, I’ll Take Manhattan, Johnny One Note and Wait Till You See Her. With these catchy tunes, you might find yourself singing and dancing along. Carol Ann Modesitt, founder of the Great American Songbook Series, said, “I chose to feature Rodgers and Hart because they wrote so many songs that stood the test of time. Rodgers and Hart proved to be a great song writing team.” The proceeds from this concert series will be used as a fund to assist students with instrument repair and contribute to student travel for conferences throughout the year. -
Preface to the First Edition 1
NOTES Preface to the First Edition 1. The Rodgers and Hammerstein Song Book (New York: Simon & Schuster and Williamson Music, 1956); Six Plays by Rodgers and Hammerstein (New York: Modern Library Association, 1959). 2. Like other Broadway-loving families, especially those residing on the west side of the coun- try, it took the release of the West Side Story movie with Natalie Wood for us to become fully cognizant of this show. 3. “The World of Stephen Sondheim,” interview, “Previn and the Pittsburgh,” channel 26 tele- vision broadcast, March 13, 1977. 4. A chronological survey of Broadway texts from the 1950s to the 1980s might include the fol- lowing: Cecil Smith, Musical Comedy in America; Lehman Engel, The American Musical Theater; David Ewen, New Complete Book of the American Musical Theatre; Ethan Mordden, Better Foot Forward; Abe Laufe, Broadway’s Greatest Musicals (New York: Funk & Wagnalls, 1977); Martin Gottfried, Broadway Musicals; Stanley Green, The World of Musical Comedy; Richard Kislan, The Musical (Englewood Cliffs, N.J.: Prentice-Hall, 1980); Gerald Bordman, American Musical Comedy, American Musical Theatre, American Musical Revue, and American Operetta; Alan Jay Lerner, The Musical Theatre: A Celebration; and Gerald Mast, Can’t Help Singin.’ 5. See Gerald Bordman, American Musical Comedy, American Musical Revue, and American Oper- etta, and Lehman Engel, The American Musical Theater. 6. Miles Kreuger, “Show Boat”: The Story of a Classic American Musical; Hollis Alpert, The Life and Times of “Porgy and Bess.” The literature on Porgy and Bess contains a particularly impres- sive collection of worthwhile analytical and historical essays by Richard Crawford, Charles Hamm, Wayne Shirley, and Lawrence Starr (see the Selected Bibliography). -
Review of a Ship Without a Sail: the Life of Lorenz Hart by Gary Marmorstein
Review of A Ship Without a Sail: The Life of Lorenz Hart by Gary Marmorstein The hits of the songwriting team of Richard Rodgers (1902-1979) and Lorenz Hart (1895-1943) are numerous. People familiar with what has been called “American Popular Song” since publication of the seminal work by Alec Wilder entitled: American Popular Song: The Great innovators – 1900-1950 in 1972, are fondly aware of the charms of “Manhattan,” “With a Song in My Heart,” “The Blue Room,” “Dancing on the Ceiling,” “Isn’t It Romantic,” “Blue Moon,” “It’s Easy to Remember,” “The Most Beautiful Girl in the World,” “”My Romance,” “Lover,” “There’s a Small Hotel,” “”The Lady is a Tramp,” “Bewitched,” “My Funny Valentine,” “”Where of When,” “Falling in Love with Love,” “This Can’t be Love,” “and “I Didn’t Know What Time it Was.” These Rodgers and Hart songs were ubiquitous in the golden age of American Popular Song, when they were sung from the Broadway stage, in Hollywood films, on network radio, and by singers with the great dance bands that endlessly toured the nation. Consequently, they became embedded in the musical consciousness (and subconscious) of a significant part of the American populace in the years 1925-1950, and beyond. In addition to these hits, all of which have considerable musical merit (thank you Mr. Rodgers) and lyrical merit (thank you Mr. Hart), are many other Rodgers and Hart songs of great worth. These include: “Mountain Greenery,” “This Funny World,” “Thou Swell,” “My Heart Stood Still,” “”You Took Advantage of Me,” “A Ship Without a Sail,” “He Was Too Good to Me,” “Ten Cents a Dance,” “”Spring is Here,” “”You Are Too Beautiful,” “Little Girl Blue,” “Glad to be Unhappy,” “Quiet Night,” “Have You Met Miss Jones?” “My Own,” “It Never Entered My Mind,” “I Could Write a Book,” and Wait ‘Till You See Her.” The songs of Rodgers and Hart have transcended the purposes for which they were created and are now a part of the fabric of American culture. -
0 Performance Treatise for “I Didn't Know What Time It Was” from Too Many Girls by Richard Rodgers and Lorenz Hart Dr
0 Doss-Johnson Doss-Johnson Doss-Johnson Performance Treatise for “I Didn’t Know What Time it Was” from Too Many Girls by Richard Rodgers and Lorenz Hart Dr. Gordon Haramaki Music 203 Performance Styles and Practices Brigitte Doss-Johnson 1 I. BACKGROUND The song “I Didn’t Know What Time It Was” entered the American radio sound waves on September 13, 1939, charting on October 28 for thirteen weeks with a top spot of number six. Columbia released a studio version of Benny Goodman’s orchestration with vocals by Louise Tobin a month before theDoss-Johnson premiere of Too Many Girls, the musical which the song belonged to.1 Richard Rodgers’ and Lorenz Hart’s musical premiered on October 18, 1939 at the Imperial Theatre,Doss-Johnson playing there until April 21, 1940 and transferring to the Broadway Theatre the next day, playing until May 18, 1940, for a healthy total of 249 performances.2 Meanwhile, Rodgers and Hart prepared the show for a full feature movie to be produced by RKO Radio Pictures. The Doss-Johnsonmovie premiered in the U.S. on October 8, 1940 and Europe and South America the following year.3 The story came from a book by George Marion Jr. who for twenty-seven years wrote books and screenplays that were brought to the screen such as The Gay Divorcee. Marion wrote a feel-good story in Too Many Girls, one that didn’t intend to make any statements. It centers around the problem of a young, wild heiress, Consuelo Casey, only child of a business tycoon, Harvey Casey. -
Abstract I Love Ricky: How Desi Arnaz Challenged
ABSTRACT I LOVE RICKY: HOW DESI ARNAZ CHALLENGED AMERICAN POPULAR CULTURE by Vanessa de los Reyes Conformity is often associated with television shows during the 1950s. This idea of conformity is conveyed by images of a white middle class family living in the suburbs with Mom as the happy homemaker and Dad as the breadwinner. There is a television show that strayed from that image: I Love Lucy. Desi Arnaz, who played Ricky Ricardo on the wildly successful television show, gave America a taste of the tropics. He created a Cuban persona suitable for American consumption. Ricky’s Cuban culture was a large aspect of the show. He is constantly resisting assimilation. A close examination of the popular television show reveals both Cuban-American tensions and the ways Lucille Ball and Desi Arnaz helped smooth them and make the United States in the 1950s a more inclusive place. It also reveals the struggle over an immigrant’s identity. I Love Lucy questions the common perception of a mid-century homogenous culture. I LOVE RICKY: HOW DESI ARNAZ CHALLENGED AMERICAN POPULAR CULTURE A Thesis Submitted to the Faculty of Miami University In partial fulfillment of The requirements for the degree of Master of Arts Department of History By Vanessa de los Reyes Miami University Oxford, Ohio 2008 Advisor_______________________________ Dr. Allan M. Winkler Reader________________________________ Dr. Kevin Armitage Reader________________________________ Dr. Stephen Norris © Vanessa de los Reyes 2008 Table of Contents Acknowledgements………………………………………………………………………iv -
Discography and Filmography
DISCOGRAPHY AND FILMOGRAPHY Selected Original, Revival, Film, and Studio Casts Anything Goes Composer and original cast (1934, 1935, and 1947): Cole Porter’s “Anything Goes” in New York and London with the composer and members of the original 1934 cast. Ethel Merman, Jack Whiting, The Foursome, Jeanne Aubert, Sidney Howard, Porter (vocals and piano). Smithsonian American Musical The- ater Series DPM1–0284 R 007. Contents: “I Get a Kick Out of You,” “You’re the Top,” “Blow, Gabriel, Blow” (Merman), “All Through the Night” (Whiting), “Blow, Gabriel, Blow” (Aubert), “You’re the Top” (Whiting and Aubert), “Sailor’s Chanty,” “Gypsy in Me” (The Foursome), “You’re the Top,” “ Anything Goes,” “Be Like the Bluebird” (Porter), and “Be Like the Bluebird” (Howard). Porter’s rendition of “You’re the Top” (October 26, 1934) was reissued on the compact disc Showstoppers: Historic Victor Record- ings BMG 9590–2-R.* Revival cast (1962): Hal Linden, Eileen Rodgers, Kenneth Mars, Ted Simons (conductor)†. Epic Footlight Series FLS 15100 (S); reissued on Time-Life * By the late 1980s all shows were issued in compact disc (the numbers given in this Discogra- phy) or tape formats. Many older long-playing cast recordings have also been reissued on CDs in recent years. † Throughout, no attempt is made to honor the distinctions between conductor, musical direc- tor, or musical supervisor. The term “conductor” is used exclusively. W11 Discography and Filmography P 15602 (S), set STL AM02 with Kiss Me, Kate and Can-Can (set title, Cole Porter). Missing: “Where Are the Men?” Revival cast (1987): Patti LuPone, Howard McGillin, Bill McCutcheon, Edward Strauss (conductor). -
Rodgers and Hart and Cole Porter : a Study of Pal Joey And
/.RODGERS AND HART AND COLE PORTER^ A STUDY OF PAL JOEY AND KISS ME, KATE by Glenn Dale Guhr B.A., Tabor College, 1984 A MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC Department of Music KANSAS STATE UNIVERSITY Manhattan, Kansas 1987 Approved by: Major Professor A11207 303133 x . R'V . V^Tl Table of Contents Section Page Introduction 1 Historical Background 3 Richard Rodgers and Lorenz Hart 11 Lives and careers 11 Writing habits 23 The writing of Pal Joey 24 Cole Porter 28 Life and career 28 Working habits 40 The writing of Kiss Me, Kate 42 An Introduction to the Analyses 46 Limitations 46 General definitions 47 Analysis of the show as a whole 49 Phrase structure and analysis 51 Pal Joey 57 The musical program 61 Analysis 62 Kiss Me, Kate 84 The musical program 91 Analysis 92 Appendices A: Shows by Richard Rodgers and Lorenz Hart 123 B: Shows by Cole Porter 125 C: Pal Joey Production Information 128 D: Kiss Me, Kate Production Information 130 Bibliography 131 Introduction In recent years serious scholarly interest in the music of the Tin Pan Alley era has been on an increase. The American musical comedy as modern American opera has been a strong part of this interest. Despite this interest, very little research is yet available. Most of the books on musicals are only basic histories, out- lines of famous shows, or discussions of dramatic style. None offers any analysis of the scores. As for the songs of the era, from or separate from the theater, only one scholarly study of them has been published so far, Alec Wilder's American Popular Song: The Great Innovators, 1900-1950 . -
Rodgers and Hart Songbook Pdf
Rodgers and hart songbook pdf Continue Rogers and Hart (1936) Rogers and Hart were an American songwriting partnership between composer Richard Rogers (1902-1979) and lyricist Lorenz Hart (1895-1943). They worked together on 28 musicals and more than 500 songs from 1919 until Hart's death in 1943. The story of Richard Rogers and Lorenz Hart was presented in 1919; Rogers was still in high school, while Hart had already graduated from Columbia University. After writing together for several years, they released their first successful Broadway musical, The Garrick Gaieties, in 1925, which presented their hit, Manhattan and led to a series of successful musicals and films. They quickly became one of the most popular songwriters in America, and from 1925 to 1931 there were fifteen points featured on Broadway. In the early 1930s they moved to Hollywood, where they created several popular songs for movies such as Isn't It Romantic? and Lover before returning to Broadway in 1935 with Billy Rose's Jumbo. From 1935 until Hart's death in 1943, they wrote a number of highly regarded Broadway musicals, most of which were hits. Many of their musicals from the late 1930s have been made in films such as On Your Toes (1936) and Babes in Arms (1937), though rarely with their scores intact. Pal Joey (1940), called their masterpiece, has a book by New York writer John O'Hara. O'Hara adapted his own stories for the show, which featured the main character, who is the heel. So unshakable was the portrait that critic Brooks Atkinson famously asked in his review While it's expertly done, how can you make the sweet water out of the foul well? When the show was revived in 1952, viewers learned to accept dark material (largely thanks to Rogers's work with Oscar Hammerstein II). -
Rodgers and Hammerstein Classics
An Evening o dge f Ro rs AND Hammerstein ssics Cla Isaac Theatre Royal 26-28 May 2017 1 dge Ro rs AND odger n R s AND Hamme ei Hammerstein rst Past1958 Oklahoma!Productions 1961 Carousel 1964 South Pacific 1970 The Sound of Music 1974 The King and I 1979 The Sound of Music 1983 The King and I 1983 Oklahoma! 2 By Arrangement with ORiGiN ™ Theatrical On behalf of R&H Theatricals SHOWBIZ CHRISTCHURCH PRESENTS An Eveni dge ng of Ro rs AND odger n R s AND Hamme ei Hammerstein rst lassics In Association C with NASDA Music by Richard Rodgers Lyrics by Oscar Hammerstein II 1958 Oklahoma! 1961 Carousel Orchestrations by Robert Russell Bennett 1964 South Pacific 1970 The Sound of Music 1974 The King and I 26-28 May 2017 1979 The Sound of Music Isaac Theatre Royal 1983 The King and I 1983 Oklahoma! Musical Direction by Richard Marrett 3 Curly (Donald Jack) and Laurey (Hiria Moffat). Oklahoma! 1958, Showbiz’s first Rodgers & Hammerstein production. The OF MayorCHRISTCHURCH s patron of Showbiz Christchurch it gives me great pleasure to welcome you Ato the second production for the 2017 season, An Evening of Rodgers and Hammerstein Classics. Showbiz Christchurch have been entertaining the people of Christchurch with their musical theatre productions for 79 years, yet this will be their first traditional concert in a major theatre in all that time. This concert will be one to enjoy on a grand scale, as befits such an esteemed company. 120 singers and a 30 piece Broadway style orchestra, live on stage, filling the Isaac Theatre Royal with the classic tunes from the Golden Age of the Broadway musical.