Herron: Closing in and Peeling 2 SAGAMORE D,L97d
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INFORMATION to USERS This Manuscript Has Been Reproduced
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. •>- I The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrougb, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. -
Punk Aesthetics in Independent "New Folk", 1990-2008
PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
Pianodisc Music Catalog.Pdf
Welcome Welcome to the latest edition of PianoDisc's Music Catalog. Inside you’ll find thousands of songs in every genre of music. Not only is PianoDisc the leading manufacturer of piano player sys- tems, but our collection of music software is unrivaled in the indus- try. The highlight of our library is the Artist Series, an outstanding collection of music performed by the some of the world's finest pianists. You’ll find recordings by Peter Nero, Floyd Cramer, Steve Allen and dozens of Grammy and Emmy winners, Billboard Top Ten artists and the winners of major international piano competi- tions. Since we're constantly adding new music to our library, the most up-to-date listing of available music is on our website, on the Emusic pages, at www.PianoDisc.com. There you can see each indi- vidual disc with complete song listings and artist biographies (when applicable) and also purchase discs online. You can also order by calling 800-566-DISC. For those who are new to PianoDisc, below is a brief explana- tion of the terms you will find in the catalog: PD/CD/OP: There are three PianoDisc software formats: PD represents the 3.5" floppy disk format; CD represents PianoDisc's specially-formatted CDs; OP represents data disks for the Opus system only. MusiConnect: A Windows software utility that allows Opus7 downloadable music to be burned to CD via iTunes. Acoustic: These are piano-only recordings. Live/Orchestrated: These CD recordings feature live accom- paniment by everything from vocals or a single instrument to a full-symphony orchestra. -
Computational Analysis of Audio Recordings and Music Scores for the Description and Discovery of Ottoman-Turkish Makam Music
Computational Analysis of Audio Recordings and Music Scores for the Description and Discovery of Ottoman-Turkish Makam Music Sertan Şentürk TESI DOCTORAL UPF / 2016 Director de la tesi Dr. Xavier Serra Casals Music Technology Group Department of Information and Communication Technologies Copyright © 2016 by Sertan Şentürk http://compmusic.upf.edu/senturk2016thesis http://www.sertansenturk.com/phd-thesis Dissertation submitted to the Department of Information and Com- munication Technologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA, with the mention of European Doctor. Licensed under Creative Commons Attribution - NonCommercial - NoDerivatives 4.0 You are free to share – to copy and redistribute the material in any medium or format under the following conditions: • Attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • Non-commercial – You may not use the material for com- mercial purposes. • No Derivative Works – If you remix, transform, or build upon the material, you may not distribute the modified ma- terial. Music Technology Group (http://mtg.upf.edu/), Department of Informa- tion and Communication Technologies (http://www.upf.edu/etic), Univer- sitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain The doctoral defense was held on .................. 2017 at Universitat Pompeu Fabra and scored as ........................................................... Dr. Xavier Serra Casals Thesis Supervisor Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Gerhard Widmer Thesis Committee Member Johannes Kepler University, Linz, Austria Dr. -
Recordings by Women Table of Contents
'• ••':.•.• %*__*& -• '*r-f ":# fc** Si* o. •_ V -;r>"".y:'>^. f/i Anniversary Editi Recordings By Women table of contents Ordering Information 2 Reggae * Calypso 44 Order Blank 3 Rock 45 About Ladyslipper 4 Punk * NewWave 47 Musical Month Club 5 Soul * R&B * Rap * Dance 49 Donor Discount Club 5 Gospel 50 Gift Order Blank 6 Country 50 Gift Certificates 6 Folk * Traditional 52 Free Gifts 7 Blues 58 Be A Slipper Supporter 7 Jazz ; 60 Ladyslipper Especially Recommends 8 Classical 62 Women's Spirituality * New Age 9 Spoken 64 Recovery 22 Children's 65 Women's Music * Feminist Music 23 "Mehn's Music". 70 Comedy 35 Videos 71 Holiday 35 Kids'Videos 75 International: African 37 Songbooks, Books, Posters 76 Arabic * Middle Eastern 38 Calendars, Cards, T-shirts, Grab-bag 77 Asian 39 Jewelry 78 European 40 Ladyslipper Mailing List 79 Latin American 40 Ladyslipper's Top 40 79 Native American 42 Resources 80 Jewish 43 Readers' Comments 86 Artist Index 86 MAIL: Ladyslipper, PO Box 3124-R, Durham, NC 27715 ORDERS: 800-634-6044 M-F 9-6 INQUIRIES: 919-683-1570 M-F 9-6 ordering information FAX: 919-682-5601 Anytime! PAYMENT: Orders can be prepaid or charged (we BACK ORDERS AND ALTERNATIVES: If we are tem CATALOG EXPIRATION AND PRICES: We will honor don't bill or ship C.O.D. except to stores, libraries and porarily out of stock on a title, we will automatically prices in this catalog (except in cases of dramatic schools). Make check or money order payable to back-order it unless you include alternatives (should increase) until September. -
Playguide JOHN DENVER: at a GLANCE
SEPTEMBER 11 – NOVEMBER 8, 2015 | STACKNER CABARET World Premiere Event By Randal Myler and Dan Wheetman Directed by Randal Myler Executive Producers: Associate Producer: Wayne and Kristine Lueders Adlon Partnership www.MilwaukeeRep.com | 414-224-9490 SEPTEMBER 11 – NOVEMBER 8, 2015 | STACKNER CABARET Milwaukee Repertory Theater Presents the World Premiere of By Randal Myler & Dan Wheetman Directed by Randal Myler Executive Producers: Wayne and Kristine Lueders Associate Producer: Adlon Partnership Mark Clements ARTISTIC DIRECTOR Table of Contents Chad Bauman John Denver: At a Glance. 3 MANAGING DIRECTOR Cast and Creative Team. 3 ✸ ✸ ✸ 4 PLAY GUIDE WRITTEN BY About Our Production . Hope Parow Tonight’s Set List. 4 Education Assistant John Denver: A Timeline. 6 PLAY GUIDE EDITED BY Lindsey Hoel-Neds American Folk Music: Education Associate For the People, By the People. 8 Jenny Toutant Education Director Visiting The Rep . 10 Leda Hoffmann Director of Community Engagement Lisa Fulton Director of Marketing and Communications GRAPHIC DESIGN Eric Reda 2 Back Home Again: On The Road With John Denver - PlayGuide JOHN DENVER: AT A GLANCE “It has been said that what Elvis was to the 50s and The Beatles were to the 60s, John Denver was to the 70s.” –Dan Wheetman With a legacy reflective of the true essence of folk music, John Denver proved to be one of the most influential singer/songwriters of the 20th century. Not only did his environmentally and socially- conscious music resonate with audiences of all ages and backgrounds, it helped strengthen his voice as a devoted humanitarian and activist. Denver remains to this day an iconic American figure who managed to bridge the gap between the pop, folk, and country music genres. -
I Never Loved You Now You Are Free to Leave Lyrics
I never loved you now you are free to leave lyrics I never wanted a partner and I never loved you, Now you are free to leave. This heart is already frozen, I can't remember the fall. And if I last through the winter. Circa Surive - In Fear And Faith W/ Lyrics . in the acoustic version he says "i always loved loved you, now. and I never loved you, / now you are free to leave. / This heart is already frozen, / I can't remember the fall, / and if I last through the winter, / I swear to you now. The search will take you to SongSearch bullet .. and we say, if you've got a reason, and we say if it's not enough to never fall in .. Thats all I know and I love the song, if anyone can help me pleeeaase contact me. Reply . oh somethings calling time for self discovery im free now im free im leaving. Setting Your Mind Free to Experience Real Life in Christ Gregory A. Boyd, Al Larson that the music be without lyrics because words will likely distract you. Step 2: Spend some time in prayer asking the Holy Spirit to point you to I could not love you more than I do right now. I will never leave you nor forsake you—never! LYRICS. Love You To Death, a pop group from Toronto. And you took that summer as cue to totally start anew, and leave a new kid like me without a clue. fine for now but never let them be/ The ones that dry your tears and set you free//. -
Airports As Seen Through the Eyes of the Landside–Airside Boundary
AIRPORTS AS SEEN THROUGH THE EYES OF THE LANDSIDE–AIRSIDE BOUNDARY A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Victor Oscar Marquez Cravioto August 2013 © 2013 Victor Oscar Marquez Cravioto AIRPORTS AS SEEN THROUGH THE EYES OF THE LANDSIDE–AIRSIDE BOUNDARY Victor Oscar Marquez Cravioto, Ph.D. Cornell University 2013 Can we challenge the way we have written the history of airports and the form in which we understand them today and perhaps tomorrow? In this work I use the landside–airside boundary as a lens to see through the airport and its history. In doing so, I try to look for new answers that may throw some light on the obscure (vaulted) sociotechnical processes of change that have turned the airport into an “unresolved problem.” In this regard I frame the discussion of boundaries from several perspectives including security, permeability and containment, invention and reinvention, culture and imposition, literature and scholarship, its physical and non- physical representations, technological change, and so forth. Just the identification of these “entities” may also add to Thomas Hughes’s model of Large Technological Systems, because the landside–airside boundary shows how systems are constructed in a different sequence from Hughes’s model. As I show in this study, only three cases have altered the “linearity” of standard airport design: New York LaGuardia, Washington Dulles, and Tampa International Airport. These cases sum up the only full reinventions of airports through history, and by unfolding their own unique stories, I try to reveal how an airport gets born. -
WDAM Radio's History of the Animals
WDAM Radio's Hit Singles History Of John Denver # Artist Title Chart Comments Position/Year 01 Mitchell Trio “Violets Of Dawn” –Singles/1965 John Denver replaced Chad Mitchell in the Chad Mitchel Trio. 01A Eric Andersen “Violets Of Dawn” –Albums/1965 Original version/ composer. From ‘Bout Changes & Things. 02 Mitchell Trio “Your Friendly, Liberal, Neighborhood Ku- –Singles/1966 Klux-Klan” 03 Mitchell Trio “Stay With Me” –Singles/1966 04 John Denver “Babe, I Hate To Go” –Singles/1966 Original title of Leaving On A Jet Plane. From his personal LP release – John Denver Sings. Only 250 copies were pressed. 04A Mitchell Trio “Leaving On A Jet Plane” –Singles/1967 This is the Reprise 0458 - 45RPM version. A different version appears on the Mitchell Trio’s Alive LP (1967). 04B Peter, Paul & Mary “Leaving On A Jet Plane” #1-Rock- Debuted 10/25/1969. U.S./1969. + #2-U.K./1970 04C John Denver “Leaving, On A Jet Plane” #148-Albums/ From Rhymes & Reasons. Debuted 1969 10/25/1969. John Denver added a comma to the title for this release. 04D Pinkard & Bowden “Libyan On A Jet Plane” –/1989 Uncensored version. 05 Mitchell Trio “She Loves You” –Singles/1967 05A Beatles “She Loves You” #1-U.S. + #1- This non-album single charted in or across Canada, U.K. different years in various countries. It’s U.S. & Norway, #3- debut was in 1964. Australia, & #7-German & Netherlands/ 1963-1964 06 John Denver “Daydream” –Singles/1969 From Rhymes & Reasons. (#148-Rock-U.S. + #21-U.K.-Albums/ 1969). 07 John Denver “Anthem-Revelation” –Singles/1970 From Take Me To Tomorrow (#197-Rock- Albums/1970). -
You Are Free Copyright © 2017 by Rebekah Lyons Requests for Information Should Be Addressed To: Zondervan, 3900 Sparks Dr
9780310345527_YouAreFree_int_HC.indd 7 12/20/16 1:47 PM ZONDERVAN You Are Free Copyright © 2017 by Rebekah Lyons Requests for information should be addressed to: Zondervan, 3900 Sparks Dr. SE, Grand Rapids, Michigan 49546 ISBN 978-0-310-34552-7 (hardcover) ISBN 978-0-310-34957-0 (international trade paper edition) ISBN 978-0-310-35026-2 (audio) ISBN 978-0-310-34556-5 (ebook) Unless otherwise noted, Scripture quotations are taken from the Holy Bible, New International Version®, NIV®. Copyright © 1973, 1978, 1984, 2011 by Biblica, Inc.® Used by permission of Zondervan. All rights reserved worldwide. www.Zondervan.com. The “NIV” and “New International Version” are trademarks registered in the United States Patent and Trademark Office by Biblica, Inc.® Scripture quotations marked KJV are from the King James Version. Public domain. Scripture quotations marked MSG are from The Message. Copyright © by Eugene H. Peterson 1993, 1994, 1995, 1996, 2000, 2001, 2002. All rights reserved. Represented by Tyndale House Publishers, Inc. Scripture quotations marked NKJV are from the New King James Version®. © 1982 by Thomas Nelson. Used by permission. All rights reserved. Scripture quotations marked NLT are from the Holy Bible, New Living Translation. © 1996, 2004, 2007, 2013 by Tyndale House Foundation. Used by permission of Tyndale House Publishers, Inc., Carol Stream, Illinois 60188. All rights reserved. Scripture quotations marked BSB are taken from The Holy Bible, Berean Study Bible. © 2016 by Bible Hub. Used by Permission. All rights reserved worldwide. Any Internet addresses (websites, blogs, etc.) and telephone numbers in this book are offered as a resource. They are not intended in any way to be or imply an endorsement by Zondervan, nor does Zondervan vouch for the content of these sites and numbers for the life of this book. -
Old Time Music--New World Business: Bristol 1927 and the Exploitation and Appropriation of Depression Era Southern Folk Music
Constructing the Past Volume 4 Issue 1 Article 4 2003 Old Time Music--New World Business: Bristol 1927 and the Exploitation and Appropriation of Depression Era Southern Folk Music Brendan McCormick Illinois Wesleyan University Follow this and additional works at: https://digitalcommons.iwu.edu/constructing Recommended Citation McCormick, Brendan (2003) "Old Time Music--New World Business: Bristol 1927 and the Exploitation and Appropriation of Depression Era Southern Folk Music," Constructing the Past: Vol. 4 : Iss. 1 , Article 4. Available at: https://digitalcommons.iwu.edu/constructing/vol4/iss1/4 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by editorial board of the Undergraduate Economic Review and the Economics Department at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Old Time Music--New World Business: Bristol 1927 and the Exploitation and Appropriation of Depression Era Southern Folk Music Abstract This article discusses the origins of the commercialization of rural Southern music into the country music genre. It also discusses the way that the music was changed from an oral tradition to something to passively listen to.