Lyrics for Songs of Our World
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Lyric Provinces in the English Renaissance
Lyric Provinces in the English Renaissance Harold Toliver LYRIC PROVINCES IN THE ENGLISH RENAISSANCE Harold Toliver Poets are by no means alone in being pre pared to see new places in settled ways and to describe them in received images. Outer regions will be assimilated into dynasties, never mind the hostility of the natives. The ancient wilderness of the Mediterranean and certain biblical expectations of what burning bushes, gods, and shepherds shall exist every where encroach upon the deserts of Utah and California. Those who travel there see them and other new landscapes in terms of old myths of place and descriptive topoi; and their descriptions take on the structure, to nality, and nomenclature of the past, their language as much recollection as greeting. In Professor Toliver's view, the concern of the literary historian is with, in part, that ever renewed past as it is introduced under the new conditions that poets confront, and is, therefore, with the parallel movement of liter ary and social history. Literature, he reminds us, is inseparable from the rest of discourse (as the study of signs in the past decade has made clearer), but is, nevertheless, distinct from social history in that poets look less to common discourse for their models than to specific literary predecessors. Careful observ ers of place, they seek to bring what is distinct and valuable in it within some sort of verbal compass and relationship with the speaker. They bring with them, however, formulas and tf > w if a loyalty to a cultural heritage that both com plicate and confound the lyric address to place. -
Canada Needs You Volume One
Canada Needs You Volume One A Study Guide Based on the Works of Mike Ford Written By Oise/Ut Intern Mandy Lau Content Canada Needs You The CD and the Guide …2 Mike Ford: A Biography…2 Connections to the Ontario Ministry of Education Curriculum…3 Related Works…4 General Lesson Ideas and Resources…5 Theme One: Canada’s Fur Trade Songs: Lyrics and Description Track 2: Thanadelthur…6 Track 3: Les Voyageurs…7 Key Terms, People and Places…10 Specific Ministry Expectations…12 Activities…12 Resources…13 Theme Two: The 1837 Rebellion Songs: Lyrics and Description Track 5: La Patriote…14 Track 6: Turn Them Ooot…15 Key Terms, People and Places…18 Specific Ministry Expectations…21 Activities…21 Resources…22 Theme Three: Canadian Confederation Songs: Lyrics and Description Track 7: Sir John A (You’re OK)…23 Track 8: D’Arcy McGee…25 Key Terms, People and Places…28 Specific Ministry Expectations…30 Activities…30 Resources…31 Theme Four: Building the Wild, Wild West Songs: Lyrics and Description Track 9: Louis & Gabriel…32 Track 10: Canada Needs You…35 Track 11: Woman Works Twice As Hard…36 Key Terms, People and Places…39 Specific Ministry Expectations…42 Activities…42 Resources…43 1 Canada Needs You The CD and The Guide This study guide was written to accompany the CD “Canada Needs You – Volume 1” by Mike Ford. The guide is written for both teachers and students alike, containing excerpts of information and activity ideas aimed at the grade 7 and 8 level of Canadian history. The CD is divided into four themes, and within each, lyrics and information pertaining to the topic are included. -
Song Lyrics of the 1950S
Song Lyrics of the 1950s 1951 C’mon a my house by Rosemary Clooney Because of you by Tony Bennett Come on-a my house my house, I’m gonna give Because of you you candy Because of you, Come on-a my house, my house, I’m gonna give a There's a song in my heart. you Apple a plum and apricot-a too eh Because of you, Come on-a my house, my house a come on My romance had its start. Come on-a my house, my house a come on Come on-a my house, my house I’m gonna give a Because of you, you The sun will shine. Figs and dates and grapes and cakes eh The moon and stars will say you're Come on-a my house, my house a come on mine, Come on-a my house, my house a come on Come on-a my house, my house, I’m gonna give Forever and never to part. you candy Come on-a my house, my house, I’m gonna give I only live for your love and your kiss. you everything It's paradise to be near you like this. Because of you, (instrumental interlude) My life is now worthwhile, And I can smile, Come on-a my house my house, I’m gonna give you Christmas tree Because of you. Come on-a my house, my house, I’m gonna give you Because of you, Marriage ring and a pomegranate too ah There's a song in my heart. -
![Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels](https://docslib.b-cdn.net/cover/8862/archons-commanders-notice-they-are-not-anlien-parasites-and-then-in-a-mirror-image-of-the-great-emanations-of-the-pleroma-hundreds-of-lesser-angels-438862.webp)
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
A-HA Air Anderson .Paak Angelo Badalamenti, David Lynch Aretha Franklin Basement Beth Hart Boy George & Culture Club Chic
Catalogue Barcode Artist Title Format Info Alternate Mixes of a-ha’s debut album “Hunting High and Low”, first released in the 30th Anniversary deluxe box set, in 2015. It will be the first time these demos appear on vinyl. Limited to 6000 copies worldwide Tracklisting: 1. Take On Me (Video Version) [2015 Remastered], 2. Train Of Thought (Early Mix) [2015 Hunting High And Low / The Early Remastered], 3. Hunting High And Low (Early Mix) [2015 Remastered], 4. The Blue 0349785342 0603497853427 A-HA Alternate Mixes (Vinyl) (Record Store LP Sky (Alternate Long Mix) [2015 Remastered], 5. Living A Boy's Adventure Tale (Early Day 2019) Mix) [2015 Remastered], 6. The Sun Always Shines On T.V. (Alternate Early Mix) [2015 Remastered], 7. And You Tell Me (Early Mix) [2015 Remastered], 8. Love Is Reason (Early Mix) [2015 Remastered], 9. Dream Myself Alive (Early "NYC" Mix) [2015 Remastered], 10. Here I Stand And Face The Rain (Early Mix) [2015 Remastered]. Surfing On A Rocket Limited edition Picture disc from Air. Tracklisting: A1- Surfing Surfing On A Rocket (Vinyl) (Record On A Rocket (Album Version) [3:42], A2 - Surfing On A Rocket (To The Smiling Sun 9029551502 0190295515027 Air 12" Single Remix) Remix – Joakim [6:31], B1 - Surfing On A Rocket (Remixed By Juan MacLean) Store Day 2019) Remix – The Juan MacLean [7:01], B2 - Surfing On A Rocket (Tel Aviv Rocket Surfing Remake) Remix – Nomo Heroes [05:21] Limited to 4000 copies worldwide. Anderson .Paak’s Grammy-nominated “Bubblin” is now available in an exclusive, Bubblin (7" Single) (Record Store Day never-before-seen vinyl colorway made especially for Record Store Day 2019. -
Copyright Matters
Copyright Matters The copyright clearance statement is included on the competition entry form. By completing and submitting the entry form, the quartet or the president/ team leader, on behalf of the chorus, is stating that to the best of their knowledge the arrangements the group is performing are legal arrangements; either they have been cleared through the copyright process, are original works, or are songs in the public domain. Generally, when you purchase music you can assume that appropriate permissions have been obtained. However, if you are not certain, it is acceptable to ask the music provider to verify that the arrangement has cleared the copyright approval process. Please be aware that lyrics, like the music itself, are copyright protected. Legal issues typically occur only when a performer makes musical or lyrical changes to a published arrangement without permission. Altering a few words to personalize the song for the performer is usually permissible; however, if the lyrical changes involve a parody, with very few exceptions a performer must obtain permission from the copyright holder to make such changes. Parody lyrics are defined by Jay Althouse in his book, Copyright: The Complete Guide for Music Educators, as follows: “Parody lyrics are lyrics which replace the original lyrics of a vocal work or are added to an instrumental work. In general, any parody lyric or the revision of a lyric that changes the integrity (character) of the work requires authorization from the copyright owner.” Copyright holders have the right to say “no” to any particular arrangement of their music, and they exercise that right frequently when it comes to parodies. -
Money for Something: Music Licensing in the 21St Century
Money for Something: Music Licensing in the 21st Century Updated February 23, 2021 Congressional Research Service https://crsreports.congress.gov R43984 SUMMARY R43984 Money for Something: Music Licensing in the February 23, 2021 21st Century Dana A. Scherer Songwriters and recording artists are generally entitled to receive compensation for Specialist in (1) reproductions, distributions, and public performances of the notes and lyrics they create (the Telecommunications musical works), as well as (2) reproductions, distributions, and certain digital public Policy performances of the recorded sound of their voices combined with instruments (the sound recordings). The amount they receive, as well as their control over their music, depends on market forces, contracts between a variety of private-sector entities, and laws governing copyright and competition policy. Who pays whom, as well as who can sue whom for copyright infringement, depends in part on the mode of listening to music. Congress enacted several major updates to copyright laws in 2018 in the Orrin G. Hatch-Bob Goodlatte Music Modernization Act (MMA; P.L. 115-264). The MMA modified copyright laws related to the process of granting and receiving statutory licenses for the reproduction and distribution of musical works (known as “mechanical licenses”). The law set forth terms for the creation of a nonprofit “mechanical licensing collective” through which owners of copyrights in musical works could collect royalties from online music services. The law also changed the standards used by a group of federal administrative law judges, the Copyright Royalty Board, to set royalty rates for some statutory copyright licenses, as well as the standards used by a federal court to set rates for licenses to publicly perform musical works offered by two organizations representing publishers and composers, ASCAP and BMI. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Strange Houses A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTORATE OF PHILOSOPHY (Ph.D.) in the department of English and Comparative Literature of the College of Arts and Sciences 2006 by Joseph Alex DeBonis B.A. Indiana University, 1996 M.A. Illinois State University, 2001 Committee Chair: Professor Michael Griffith Joseph Alex DeBonis Dissertation Abstract This dissertation, Strange Houses, is a collection of original short stories by the author, Joseph Alex DeBonis. The stories engage notions about home, family, estrangement, and alienation. Since many of the stories deal with family and marital relations, homes feature prominently in the action and as settings. Often characters are estranged or exiled, and their obsessions with having normal families and/or stable lives drive them to construct elaborate fantasies in which they are included, loved, and part of something enduring that is larger than themselves. The dissertation also includes a critical paper, “A Butterfly, a Cannonball, and a Sneeze: Notions of Chaos Theory in Cormac McCarthy’s All The Pretty Horses and Thomas Pynchon’s The Crying of Lot 49.” In this essay, I argue that the novel All The Pretty Horses grapples with a sense of freedom that is rife with ambiguity and demonstrates McCarthy’s engagement with chaos theory. -
Songs of the Classical Age
Cedille Records CDR 90000 049 SONGS OF THE CLASSICAL AGE Patrice Michaels Bedi soprano David Schrader fortepiano 2 DDD Absolutely Digital™ CDR 90000 049 S ONGS OF THE C LASSICAL A GE FRANZ JOSEF HAYDN MARIA THERESIA VON PARADIES 1 She Never Told Her Love.................. (3:10) br Morgenlied eines armen Mannes...........(2:47) 2 Fidelity.................................................... (4:04) WOLFGANG AMADEUS MOZART 3 Pleasing Pain......................................... (2:18) bs Cantata, K. 619 4 Piercing Eyes......................................... (1:44) “Die ihr des unermesslichen Weltalls”....... (7:32) 5 Sailor’s Song.......................................... (2:25) LUDWIG VAN BEETHOVEN VINCENZO RIGHINI bt Wonne der Wehmut, Op. 83, No. 1...... (2:11) 6 Placido zeffiretto.................................. (2:26) 7 SOPHIE WESTENHOLZ T’intendo, si, mio cor......................... (1:59) ck Morgenlied............................................. (3:24) 8 Mi lagnerò tacendo..............................(1:37) 9 Or che il cielo a me ti rende............... (3:07) FRANZ SCHUBERT bk Vorrei di te fidarmi.............................. (1:27) cl Frülingssehnsucht from Schwanengesang, D. 957..................... (4:06) CHEVALIER DE SAINT-GEORGES bl L’autre jour à l’ombrage..................... (2:46) PAULINE DUCHAMBGE cm La jalouse................................................ (2:22) NICOLA DALAYRAC FELICE BLANGINI bm Quand le bien-aimé reviendra............ (2:50) cn Il est parti!.............................................. (2:57) -
Music Lyrics
Music Music Lyrics This section contains the lyrics of all the songs used in Prevention Dimensions lessons. A Little Bit of Honey From the CD Take a Stand Music and Lyrics by Steve James © 2000 BMI Performed by Steve James Featuring The Basin Street Band Isn’t it funny how a little bit of honey Makes every day worth while A little bit of kindness Making up your mind Just to give a little smile If someone’s unhappy quick and make it snappy Ask if they need help ’Cause a little bit of honey Can make a day so sunny You’ll feel good about yourself (Repeat) Kindergarten page 125 Music Be a Builder From the CD Be a Builder Music by Steve James Lyrics by Steve and Lisa James © 1999, BMI Performed by Nolanda Smauldon (Verse) They call me a builder ’Cause I don’t tear anybody down I like to be a builder Don’t wanna see anybody frown I like to make people feel better Whenever I am around (Chorus) I like to shake someone’s hand Help them understand they’re special And that’s my style I’m part of a team to build self-esteem So I go the extra mile Cause I’m a builder Constructin’ somethin’ worthwhile (Verse) I’m a builder I won’t tear anybody down I’m a builder I won’t see anybody frown I wanna make people feel better Whenever I am around (Repeat Chorus) (Gospel Choir) Build up my neighbor Do the world a favor With every labor Build up my neighbor I’m not gonna tear my neighbor down (Repeat) I’m gonna build up the world I’m gonna be a builder Kindergarten page 126 Music Buckle Up From the CD Take a Stand Music and Lyrics by Steve James © 2000 BMI -
Full Playlist/Lyrics
Boots on the Ground, Skin on the Line A Winter 2021 Singing Playlist Thank you for joining us! We are grateful to have your voice with many of us from around the world, learning these potent songs in service to our resilience, courage, and justice for all. Thank you for respecting the artists and the integrity of this project by not sharing this document or the playlists with others. We will open the songs up widely for public release later in 2021. You now have free access to the full playlist as well as a bonus playlist. Enjoy! A tech-support guide is at the end of this document. A few days after each Zoom call, we’ll post video recordings for you to enjoy here. Meeting links for next Zoom sing can be found here too: https://thebirdsings.com/winter2021playlist-zoom. At the bottom of the page you’ll also find supplemental materials. CLICK HERE FOR THE SOUNDCLOUD PLAYLIST: https://soundcloud.com/thebirdsings/sets/boots/s-xfoBTYpS9nb CLICK HERE FOR THE BONUS PLAYLIST: https://soundcloud.com/thebirdsings/sets/boots-bonus/s-wwmnW8XA1Wh CLICK HERE FOR THE MP3 FILES FOR BOTH PLAYLISTS (IN GOOGLE DRIVE): https://tinyurl.com/winter-playlist2021 Zoom Calls While entirely optional, you will receive email invitations and are encouraged to join us at six Zoom calls. There you’ll have a chance to meet the songwriters, hear more about the background of the songs, imbue them with greater relevance and meaning, learn each and every harmony line, and meet others who are singing these songs alongside you. -
Nick Drake and the Baroque Characteristics of His Music Mckendrick Bearden
Nick Drake and the Baroque Characteristics of His Music McKendrick Bearden This paper was written for Dr. Callaway’s Music History course. Born in the British Colony of Burma in 1948 and brought up in the English countryside of Warwickshire, Nick Drake has become one of the most influential and celebrated folk artists of the twentieth century. Strangely enough, the popularity his music enjoys now was not gained until thirty years after his death in 1974. In his music we find the use of extremely unusual guitar tunings, pastoral and simplistic lyrics, beautiful melodies, and an extraordinary high emotional level that has evoked responses from many who have written about his work. He is now known as one of the most important folk singer/ songwriters to have ever lived, though much of his music sets him apart from the contemporary folk artists the 20th century. Nick Drake has influenced countless musicians and songwriters since his early passing, and the reason for his influence may well lie in the characteristics and influences of his songs that make them so different from other folk artists of era. Trevor Dann discusses his influences as “avant-garde jazz, classical music, especially choral music, what we’d now call ‘world music’, and the blues” (p.13). Many articles and reviews describe his music as having a baroque quality or influence. Whether it is referring to the string arrangements in several of his songs or the sweeping orchestral quality of his guitar, most commentators never fail to observe a Baroque tinge. Nick Drake’s first album Five Leaves Left introduced listeners to his ornate guitar accompaniments and baroque orchestrations that are now synonymous with his work.