Ella Fitzgerald Somewhere Over the Rainbow
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AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green
AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green Let's Stay Together Alabama Dixieland Delight Alan Jackson It's Five O'Clock Somewhere Alex Claire Too Close Alice in Chains No Excuses America Lonely People Sister Golden Hair American Authors The Best Day of My Life Avicii Hey Brother Bad Company Feel Like Making Love Can't Get Enough of Your Love Bastille Pompeii Ben Harper Steal My Kisses Bill Withers Ain't No Sunshine Lean on Me Billy Joel You May Be Right Don't Ask Me Why Just the Way You Are Only the Good Die Young Still Rock and Roll to Me Captain Jack Blake Shelton Boys 'Round Here God Gave Me You Bob Dylan Tangled Up in Blue The Man in Me To Make You Feel My Love You Belong to Me Knocking on Heaven's Door Don't Think Twice Bob Marley and the Wailers One Love Three Little Birds Bob Seger Old Time Rock & Roll Night Moves Turn the Page Bobby Darin Beyond the Sea Bon Jovi Dead or Alive Living on a Prayer You Give Love a Bad Name Brad Paisley She's Everything Bruce Springsteen Glory Days Bruno Mars Locked Out of Heaven Marry You Treasure Bryan Adams Summer of '69 Cat Stevens Wild World If You Want to Sing Out CCR Bad Moon Rising Down on the Corner Have You Ever Seen the Rain Looking Out My Backdoor Midnight Special Cee Lo Green Forget You Charlie Pride Kiss an Angel Good Morning Cheap Trick I Want You to Want Me Christina Perri A Thousand Years Counting Crows Mr. -
The Wonderful Wizard of Oz
The Wonderful Wizard of Oz Chapter 1 ~ The Cyclone Created by Gay Miller ~ Chapter 1 - Page 1 © Gay Miller ~ I’m excited to announce that each Monday over the next 24 weeks; The Wonderful Wizard of Oz Book Unit will be featured in weekly blog posts. Saving each lesson for a novel study is a great option. Since students are so familiar with this well-loved American classic, most chapters can be stand-alone lessons. The Wonderful Wizard of Oz was originally published on May 17, 1900, so it is now in public domain. There is no need to purchase a class set of books because the complete text will be added to the unit plans. Book Units Teacher Blog http://bookunitsteacher.com/wp/ The Wonderful Wizard of Oz Genre: Classics and Fantasy Interest Level ~ Grades 4 – 8 Grade level Equivalent: 6.9 Lexile Measure®: 1000L ~ Chapter 1 - Page 2 © Gay Miller ~ Scheduled Blog Posts for Materials Connected with The Wonderful Wizard of Oz Book Unit Chapter 1 - The Cyclone May 4, 2015 Chapter 2 - The Council with the Munchkins May 11, 2015 Chapter 3 - How Dorothy Saved the Scarecrow May 18, 2015 Chapter 4 - The Road Through the Forest May 25, 2015 Spoons Game with Root Words May 28, 2015 Chapter 5 - The Rescue of the Tin Woodman June 1, 2015 Chapter 6 - The Cowardly Lion June 8, 2015 Chapter 7 - The Journey to the Great Oz June 15, 2015 Chapter 8 - The Deadly Poppy Field June 22, 2015 Chapter 9 - The Queen of the Field Mice June 29, 2015 Pronoun Task Cards July 2, 2015 Chapter 10 - The Guardian of the Gate July 6, 2015 Chapter 11 - The Wonderful City of Oz -
Full Results of Survey of Songs
Existential Songs Full results Supplementary material for Mick Cooper’s Existential psychotherapy and counselling: Contributions to a pluralistic practice (Sage, 2015), Appendix. One of the great strengths of existential philosophy is that it stretches far beyond psychotherapy and counselling; into art, literature and many other forms of popular culture. This means that there are many – including films, novels and songs that convey the key messages of existentialism. These may be useful for trainees of existential therapy, and also as recommendations for clients to deepen an understanding of this way of seeing the world. In order to identify the most helpful resources, an online survey was conducted in the summer of 2014 to identify the key existential films, books and novels. Invites were sent out via email to existential training institutes and societies, and through social media. Participants were invited to nominate up to three of each art media that ‘most strongly communicate the core messages of existentialism’. In total, 119 people took part in the survey (i.e., gave one or more response). Approximately half were female (n = 57) and half were male (n = 56), with one of other gender. The average age was 47 years old (range 26–89). The participants were primarily distributed across the UK (n = 37), continental Europe (n = 34), North America (n = 24), Australia (n = 15) and Asia (n = 6). Around 90% of the respondents were either qualified therapists (n = 78) or in training (n = 26). Of these, around two-thirds (n = 69) considered themselves existential therapists, and one third (n = 32) did not. There were 235 nominations for the key existential song, with enormous variation across the different respondents. -
Aaamc Issue 9 Chrono
of renowned rhythm and blues artists from this same time period lip-synch- ing to their hit recordings. These three aaamc mission: collections provide primary source The AAAMC is devoted to the collection, materials for researchers and students preservation, and dissemination of materi- and, thus, are invaluable additions to als for the purpose of research and study of our growing body of materials on African American music and culture. African American music and popular www.indiana.edu/~aaamc culture. The Archives has begun analyzing data from the project Black Music in Dutch Culture by annotating video No. 9, Fall 2004 recordings made during field research conducted in the Netherlands from 1998–2003. This research documents IN THIS ISSUE: the performance of African American music by Dutch musicians and the Letter ways this music has been integrated into the fabric of Dutch culture. The • From the Desk of the Director ...........................1 “The legacy of Ray In the Vault Charles is a reminder • Donations .............................1 of the importance of documenting and • Featured Collections: preserving the Nelson George .................2 achievements of Phyl Garland ....................2 creative artists and making this Arizona Dranes.................5 information available to students, Events researchers, Tribute.................................3 performers, and the • Ray Charles general public.” 1930-2004 photo by Beverly Parker (Nelson George Collection) photo by Beverly Parker (Nelson George Visiting Scholars reminder of the importance of docu- annotation component of this project is • Scot Brown ......................4 From the Desk menting and preserving the achieve- part of a joint initiative of Indiana of the Director ments of creative artists and making University and the University of this information available to students, Michigan that is funded by the On June 10, 2004, the world lost a researchers, performers, and the gener- Andrew W. -
Yesterday (Beatles Song)
Yesterday (Beatles song) "Yesterday" is a song by English rock band the Bea- whether they had ever heard it before. Eventually it be- tles written by Paul McCartney (credited to Lennon– came like handing something in to the police. I thought McCartney) first released on the album Help! in the if no one claimed it after a few weeks then I could have United Kingdom in August 1965. it.”[5] “Yesterday”, with the B-side "Act Naturally", was re- Upon being convinced that he had not robbed anyone leased as a single in the United States in September 1965. of their melody, McCartney began writing lyrics to suit While it topped the American chart in October the song it. As Lennon and McCartney were known to do at the also hit the British top 10 in a cover version by Matt time, a substitute working lyric, titled “Scrambled Eggs” Monro. The song also appeared on the UK EP “Yester- (the working opening verse was “Scrambled eggs/Oh my day” in March 1966 and the Beatles’ US album Yesterday baby how I love your legs/Not as much as I love scram- and Today released in June 1966. bled eggs”), was used for the song until something more McCartney’s vocal and acoustic guitar, together with a suitable was written. In his biography, Paul McCartney: string quartet, essentially made for the first solo perfor- Many Years from Now, McCartney recalled: “So first of mance of the band. It remains popular today with more all I checked this melody out, and people said to me, 'No, than 2,200 cover versions[2] and is one of the most cov- it’s lovely, and I'm sure it’s all yours.' It took me a little ered songs in the history of recorded music.[note 1] “Yes- while to allow myself to claim it, but then like a prospec- terday” was voted the best song of the 20th century in a tor I finally staked my claim; stuck a little sign on it and said, 'Okay, it’s mine!' It had no words. -
How Our Cultural Roots Inform Musical Heritage and Shape America's
How our cultural roots inform musical heritage and shape America’s sense of identity Music has an enduring power. Countries often call upon composers to create music that helps shape a national identity. To write music that captures America, many composers took inspiration from the folk music, spirituals and work songs of the African-American experience. By transforming these melodies and rhythms into art songs and symphonic works, composers remind us of the timeless relevance of music in our lives. Moreover, the presence of these authentic melodies in orchestral works acknowledges the role of music in shaping a national identity. Join us as we honor our classical American roots. Joseph Young, Conductor Dvorák’s landmark “New World Symphony” n the 1890’s, people in America were searching for music that might reflect their national identity. At the same time, of course, they were asking “what is America?” and “what does it mean to be American?” IOrchestral music of the day often imitated a grand European tradition. Could there be a uniquely American “sound”? Did we have music that conveyed a sense of America? Would American composers ever achieve Henry “Harry” T. Burleigh: recognition in the world? The Man Who Introduced Dvor˘ák to Spirituals To address those questions,˘ a visionary woman named Jeannette Thurber planned a As a young boy, new National Conservatory of Music in New York City, and sought to recruit an important American European composer to oversee the conservatory and hopefully to elevate the caliber composer of American music. She set her sights on a Czech composer named Antonin Dvor˘ák Henry (1841-1904) [pronounced di-VOR-zhak]. -
A Rhetorical Analysis of Wicked's Elphaba
“IT’S JUST THAT FOR THE FIRST TIME, I FEEL… WICKED”: A RHETORICAL ANALYSIS OF WICKED’S ELPHABA USING KENNETH BURKE’S GUILT-PURIFICATION-REDEMPTION CYCLE by Patricia C. Foreman A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree Master of Arts in Communication Studies at Liberty University May 2013 Foreman 2 Acknowledgements First and foremost, to “my Dearest, Darlingest Momsy and Popsicle,” and to my brother Gary, thank you so much for your constant support, encouragement, direction and love. I appreciate your words of wisdom and advice that always seem to be just what I need to hear. To each of my fellow graduate assistants, thank you for “dancing through life” with me. Thank you for becoming not only co-workers, but also some of my best friends. To my thesis committee – Dr. William Mullen, Dr. Faith Mullen, and Dr. Lynnda S. Beavers – thank you all so much for your help. This finished thesis is, without a doubt, the “proudliest sight” I’ve ever seen, and I thank you for your time, effort and input in making this finished product a success. Finally, to Mrs. Kim, and all of my fellow “Touch of Swing”-ers, who inspired my love of the Wicked production, and thus, this study. For the long days of rehearsals, even longer nights on tour buses, and endless hours of memories that I’ll not soon forget... “Who can say if I’ve been changed for the better? I do believe I have been changed for the better. And because I knew you, I have been changed for good.” Foreman 3 In Memory Of… Lauren Tuck May 14, 1990 – September 2, 2010 “It well may be that we will never meet again in this lifetime, so let me say before we part, so much of me is made of what I learned from you. -
MUNI 2020-2 ARLEN, HAROLD Nejmladší Ze Skladatelů Velké
MUNI 2020-2 ARLEN, HAROLD Nejmladší ze skladatelů Velké šestky Broadwaye, narozený právě dvacet let po stařešinovi této nóbl společnosti, Harold Arlen (rodným jménem Hyman Arluck), přišel na svět 15. 2. 1905 ve městě Buffalo, stát New York a v této světové metropoli hudby zesnul 23. 4. 1986. Jeho otec Samuel Arluck byl židovský kantor, matka Celia hrála na klavír. Už jen při pohledu na Top Five jeho nejúspěšnějších písniček můžeme potvrdit zvláštní pověst, jíž se mezi autory standardů těší: byl skladatelem se zálibou v meteorologii či pozorování jevů nadpozemských a pátou melodií naopak podmořských: Come Rain or Come Shine, Over the Rainbow, Stormy Weather (Keeps Rainin’ All the Time), It’s Only a Paper Moon, Between the Devil and the Deep Blue Sea. I mezi níže umístěnými songy najdeme odkazy na speciální tématiku, která není materiální ani milostná: Blues in the Night, Ill Wind, Out of This World, When the Sun Comes Out a částečně i Last Night When We Were Young. To je ovšem pouze povrchní zkoumání a nás zajímá hlubší pohled dovnitř jeho odkazu. Také víme, že v mnoha písních dojde i na tu lásku: I’m gonna love you, like nobody’s loved you, Come rain or come shine… Druhým primátem Harolda Arlena mezi broadwayskými skladateli je jeho raná jazzová praxe, a to v centru toho nejlepšího z oboru, v harlemském Cotton Clubu, kde hudební stránku obstarávaly orchestry Duka Ellingtona a Caba Callowaye. V letech 1931 až 1934 napsal hudbu pro 7 představení, ale už o rok dříve poprvé přispěl 4 písněmi broadwayské hudební revui Earl Carroll’s Vanities (1930), a těmto divadlům zůstal věrný až do roku 1959. -
Commencement Concert 2018
Commencement Concert 2018 Wittenberg Collegiate Center Auditorium Friday, May 11, 2018 4:00 and 7:30 pm Please turn off cell phones and other electronic devices before the concert. The United States copyright law prohibits audio and/or video recording of this concert by individuals. PROGRAM Wind Symphony Prof. Miles Wurster, conductor In This Broad Earth Steven Bryant Symphonic Suite from Robin Hood: Prince of Thieves Michael Kamen Arranged by Paul Lavender Hosanna Ringers Prof. Craig Hirschmann, conductor The Bare Necessities (from Disney’s The Jungle Book) Arranged by Kevin McChesney Over the Rainbow Music by Harold Arlen Lyrics by E.Y. Harburg Arranged by Tammy Waldrop Audience led in singing by Jennifer Haugen Somewhere Over the Rainbow, way up high, There’s a land that I heard of once in a lullaby. Somewhere Over the Rainbow skies are blue, And the dreams that you dare to dream really do come true. Someday I’ll wish upon a star and Wake up where the clouds are far behind me. Where troubles melt like lemon drops, Away above the chimney tops, that’s where you’ll find me. Somewhere Over the Rainbow bluebirds fly, Birds fly Over the Rainbow, Why then, oh why can’t I? Baby Elephant Walk Henry Mancini Arranged by Sondra K. Tucker An offering designated for student financial assistance will be taken. Thank you for your generous support. Alumni Recognition Mr. Stephen Balza, director of alumni relations Männerchor Prof. Craig Hirschmann, conductor Shenandoah Scottish Lullaby Arranged by Alice Parker and Robert Shaw Oh, Shenandoah, I long to hear you, Oh, Shenandoah, I’m bound to leave you, Way-hay, you rolling river, Way-hay, you rolling river, Oh, Shenandoah, I long to hear you, Oh, Shenandoah, I’ll not deceive you, Away we’re bound to go, Away we’re bound to go, ‘Cross the wide Missouri. -
Chapter 2: How Uncle Henry Got Into Trouble
Chapter 2: How Uncle Henry Got into Trouble Dorothy Gale lived on a farm in Kansas, with her Aunt Em and her Uncle Henry. It was not a big farm, nor a very good one, because sometimes the rain did not come when the crops needed it, and then everything withered and dried up. Once a cyclone had carried away Uncle Henry’s house, so that he was obliged to build another; and as he was a poor man he had to mortgage his farm to get the money to pay for the new house. Then his health became bad and he was too feeble to work. The doctor ordered him to take a sea voyage and he went to Australia and took Dorothy with him. That cost a lot of money, too. Uncle Henry grew poorer every year, and the crops raised on the farm only bought food for the family. Therefore the mortgage could not be paid. At last the banker who had loaned him the money said that if he did not pay on a certain day, his farm would be taken away from him. This worried Uncle Henry a good deal, for without the farm he would have no way to earn a living. He was a good man, and worked in the field as hard as he could; and Aunt Em did all the housework, with Dorothy’s help. Yet they did not seem to get along. This little girl, Dorothy, was like dozens of little girls you know. She was loving and usually sweet-tempered, and had a round rosy face and earnest eyes. -
ARSC Journal These Films
Sound Recording Reviews 213 Judy Garland: The Golden Years at M-G-M - The Harvey Girls, The Pirate, Summer Stock. MGMIUA Home Video. ML104869. 5 laser discs, 2 sides in CAV. 7 hours ofprerecordings on analog track; stereo in part; NTSC. Released in 1995. Thoroughbreds Don't Cry and Listen, Darling. MGMIUA Home Video. ML104569. 2 laser discs. 21 minutes ofprerecordings for Listen, Darling on analog track; NTSC. Released in 1994. The Ultimate Oz. MGM/UA Home Video and Turner. ML103990. Includes The Wizard of Oz, ML104755, 2 laser discs, 4 sides in CAV, THX and No-Noise; and The Wonderful Wizard of Oz: The Making of a Movie Classic, ML104756, 1 laser disc, THX. 4 hours 48 minutes of prerecordings on analog and digital tracks; NTSC. Released in 1993. The Wizard of Oz: Original Motion Picture Soundtrack. Rhino Movie Musicfl'urner Classic Movies R2 71964. 2 compact discs. Released in 1995. Meet Me In St. Louis: 50th Anniversary Edition. MGMIUA Home Video and Turner. ML104754. 3 laser discs and 1 compact disc of soundtrack (CD: MGM Records 305123). 4 sides in CAV; remixed from original multi-channel recording mas ters into stereo; 52 minutes of prerecordings on analog track; Includes The Making of an American Classic; NTSC. Released in 1994. CD also available separately on Rhino Movie Musicfl'urner Classic Movies R2 71958. Stereo. Released in 1995. Easter Parade: Original Motion Picture Soundtrack. Rhino Movie Musicfl'urner Classic Movies R2 71960. 1 compact disc. Released in 1995. That's Entertainment/ HI: Deluxe Collector's Edition. MGMIUA Home Video. ML103059. -
The Great American Songbook Through the Lens of Judy Garland
The Great American Songbook Through the Lens of Judy Garland An Honors Thesis (MUSP 401) By Lindsey Stamper Thesis Advisor Dr. Jon Truitt Ball State University Muncie, Indiana December 2017 Expected Date of Graduation May 2018 0JpCo)} U ndc r.::J r c, a I he c 1 d. i'("; . ._ tJ c ( JP, Abstract r} ,..J... This thesis paper, as well as·the accompanying recital, delves into the topic of The Great American Songbook Through the Lens of Judy Garland. The Great American Songbook is a collection of American standard repertoire from the late nineteenth century to the middle of the twentieth. Judy Garland in particular is an exemplary performer of this period; her life parallels the troubles and careers of many other performers in this era. By exploring and performing songs that Garland performed during her career, this paper relates the history of American music to the life of the acclaimed Judy Garland. Acknowledgments I would like to thank Dr. Jon Truitt for the guidance, insight, advice, and training he has provided me with throughout this project and these past four years. His help with the many performance endeavors of my collegiate career has been invaluable. I would also like to thank my mom and dad for inspiring a curiosity and interest in music at a young age. Lastly, thank you to Julian for always listening with kind and encouraging ears. Process Analysis Statement Recitals, concerts, and cabarets are important events in a music educator's profession. These are the culmination of unseen efforts rehearsing music, planning logistics, and organizing personnel.