Skiffle Sessions Book 1
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LCGFT for Music Library of Congress Genre/Form Terms for Music
LCGFT for Music Library of Congress Genre/Form Terms for Music Nancy Lorimer, Stanford University ACIG meeting, ALA Annual, 2015 Examples Score of The Four Seasons Recording of The Four Seasons Book about The Four Seasons Music g/f terms in LCSH “Older headings” Form/genre term Subject heading Operas Opera Sacred music Church music Suites Suite (Music) “Newer headings” Genre/form term Subject heading Rock music Rock music $x History and criticism Folk songs Folk songs $x History and criticism Music g/f terms in LCSH Form/genre term Children’s songs Combined with demographic term Buddhist chants Combined with religion term Ramadan hymns Combined with event term Form/genre term $v Scores and parts $a is a genre/form or a medium of performance $v Hymns $a is a religious group $v Methods (Bluegrass) $a is an instrument; $v combines 2 g/f terms Genre/form + medium of performance in LCSH Bass clarinet music (Jazz) Concertos (Bassoon) Concertos (Bassoon, clarinet, flute, horn, oboe with band) Overtures Overtures (Flute, guitar, violin) What’s wrong with this? Variations in practice (old vs new) Genre/form in different parts of the string ($a or $v or as a qualifier) Demographic terms combined with genre/form terms Medium of performance combined with genre/form terms Endless combinations available All combinations are not provided with authority records in LCSH The Solution: LCGFT + LCMPT Collaboration between the Library of Congress and the Music Library Association, Bibliographic Control Committee (now Cataloging and Metadata Committee) Genre/Form Task Force Began in 2009 LCMPT published February, 2014 LCGFT terms published February 15, 2015 567 published in initial phase Structure Thesaurus structure Top term is “Music” All terms have at least one BT, except top term May have more than one BT (Polyhierarchy) The relationship between a term and multiple BTs is “and” not “or” (e.g., you cannot have a term whose BTs are “Cat” and “Dog”) Avoid terms that simply combine two BTs (e.g. -
MIKE SEEGER I ELIZABETH COTTEN M~E.Lf to Rf.5Ef Today's Schedule - ALL FREE DI61TAL W,\TCHE5
Daily Zippy on Finals, see page 10 II FAIR TODAY with chance of precipitation near zero. High, up- 'Ver reen per 50s; Low, upper 30s. Tuesday, April 14, 1981 Pullman. Washington Vol. LXXXVII No.118 Establishecl1894 Surcharge will raise 500G ~\' KRISTIN RICHARDSON of meetings discussing' 'amounts, rarnifi- ~green Staff cations and 'should we or shouldn't we " resulted in the decision. said George "Jay" Hartford, vice president of busi- ti A 2.3 percent surcharge for administra·' ness and finance. ""V?se~vices of eight university operations Hartford. then budget director Pete " I I bring the administration $500,000 this Jear. ' Wollstein and then provost John Slaughter made the decision. I I~Plemented July 1, the charge is not The exemption of athletics, ASWSU and aeVledon athletics, ASWSU or the veterin- ry Clinic. the vet clinic resulted from budget prob- lems in those departments. Hamel said. , ,~he decision was made because of the , 'All are close financially, having a hard s ttght fiscal situation" of the university, time facing their budgets and staying r:ld Joe Hamel, assistant vice president of nance, within them," he said. "Raising. fees, d The percentage comes off what the would only be negative while they are thPartments collect in gross receipts. For trying to payoff deficits." rose departments' 'performing a service In addition. Hartford said taking money from athletics increases the amount of c~r Operating areas of the university", state support necessary to help make up c arges pay part of "indirect costs and its deficit. "We would end up giving them entral service" provided by WSU. -
Bob Dylan - Unreleased Performances 2
1. Friend Of The Devil (6:20) Frankenstadion, Nürnberg, Germany 5/31/98 A performance of the Hunter-Garcia classic, "Friend of the Devil." Bob Dylan - Unreleased Performances 2. Oh Babe, It Ain't No Lie (5:04) Stadtpark, Hamburg, Germany 6/12/98 Another Elizabeth Cotten song. Find out more on the Cowboy Angel Sings website. Itsuko Nishimura has created a web site called In Search of Elizabeth Cotten. 3. Shake Sugaree (5:12) The Roxy, Atlanta, Georgia 12/1/97 The Elizabeth Cotten (1895-1987) song, sometimes known as "I've Got A Secret." Find out more on the Cowboy Angel Sings website. There's also an interesting exigesis of "Shake Sugaree" in an essay by Gary Knigge. Itsuko Nishimura has created a web site called In Search of Elizabeth Cotten. Bob Dylan has also performed the Cotten composition "Oh, Babe, It Ain't No Lie." 4. I and I , Forum, Dijon, France 7/1/98 (6:22) "I and I" was officially released on Infidels and on the 1984 live album Real Live. This performance comes from Bob Dylan's recent European tour. 5. Senor, Piazza Napoleone, Lucca, Italy 7/6/98 (4:27) "Senor" was officially released on Street Legal. This performance comes from a public square in Italy on Bob Dylan's recent European tour. "Senor" was covered regularly by the Jerry Garcia Band. 6. Mama, You Been On My Mind, Brussels, Belgium 6/17/98 (4:35) "Mama, You Been On My Mind" has been part of Bob Dylan's performing repertoire for over thirty years. -
The Musical Characteristics of the Beatles
The Musical Characteristics of the Beatles The Government of the Hong Kong Special Administrative Region Education Bureau 2009 The Musical Characteristics of the Beatles Michael Saffle Government of the Hong Kong Special Administrative Region. All rights reserved. No part of this publication can be reproduced in any form or by any means, or otherwise, without the prior written consent of the Government of the Hong Kong Special Administrative Region. Content 1 The Beatles: An Introduction 1 2 The Beatles as Composers/Performers: A Summary 7 3 Five Representative Songs and Song Pairs by the Beatles 8 3.1 “Love Me Do” and “Please Please Me” (1962) 8 3.2 “Michelle” and “Yesterday” (1965) 12 3.3 “Taxman” and “Eleanor Rigby” (1966) 14 3.4 “When I’m Sixty-Four” (1967) 16 3.5 “Lucy in the Sky With Diamonds” (1967) 18 4 The Beatles: Concluding Observations 21 5 Listening Materials 23 6 Musical Scores 23 7 Reading List 24 8 References for Further Study 25 9 Appendix 27 (Blank Page) 1 The Beatles: An Introduction The Beatles—sometimes referred to as the ‘Fab Four’—have been more influential than any other popular-music ensemble in history. Between 1962, when they made their first recordings, and 1970, when they disbanded, the Beatles drew upon several styles, including rock ‘n’ roll, to produce rock: today a term that almost defines today’s popular music. In 1963 their successes in England as live performers and recording artists inspired Beatlemania, which calls to mind the Lisztomania associated with the spectacular success of Franz Liszt’s 1842 German concert tour. -
The Chart Book – the Specials Record Mirror Singles 1955-1962
The Chart Book – The Specials Record Mirror Singles 1955-1962 Compiled by Lonnie Readioff Chart History For Record Mirror Single Charts Between 22 January 1955 and 17 March 1962 Entry Peak Weeks on chart, Title (Number 1 Number) (Awards symbols, if any for this record in this period) (Composer) Full artist credit (if different) B-Side (Or EP/Album track listing if any charted on this chart) Label (Catalogue Number) Duration. Notes are presented below the title for some entries. Entries are sorted by artist, then by entry date and finally, in the event of ties, by peak position and finally weeks on chart. All re-entries are shown as separate entries, but track listings of any albums or EP's which re-entered the chart are not shown for their re-entries. Fats Domino (Continued) 19.12.1959 12 5 Be My Guest (Tommy Boyce / Fats Domino / John Marascalco) I've Been Around London 7": HLP 9005 02:16 30.01.1960 15 4 Be My Guest (Re-entry 1) (Tommy Boyce / Fats Domino / John Marascalco) I've Been Around London 7": HLP 9005 02:16 09.04.1960 18 1 Country Boy (Dave Bartholomew / Fats Domino) If You Need Me London 7": HLP 9073 02:10 Lonnie Donegan Entry: 07.01.1956 Hits: 27 Peak: 1 Weeks: 211 07.01.1956 6 12 Rock Island Line (Lonnie Donegan) The Lonnie Donegan Skiffle Group John Henry Decca 7": 45FJ 10647 02:30 07.04.1956 15 3 Rock Island Line (Re-entry 1) (Lonnie Donegan) The Lonnie Donegan Skiffle Group John Henry Decca 7": 45FJ 10647 02:30 28.04.1956 2 16 Lost John (Lonnie Donegan) The Lonnie Donegan Skiffle Group Stewball Pye Nixa 78: N 15036 02:13 -
Music Genre/Form Terms in LCGFT Derivative Works
Music Genre/Form Terms in LCGFT Derivative works … Adaptations Arrangements (Music) Intabulations Piano scores Simplified editions (Music) Vocal scores Excerpts Facsimiles … Illustrated works … Fingering charts … Posters Playbills (Posters) Toy and movable books … Sound books … Informational works … Fingering charts … Posters Playbills (Posters) Press releases Programs (Publications) Concert programs Dance programs Film festival programs Memorial service programs Opera programs Theater programs … Reference works Catalogs … Discographies ... Thematic catalogs (Music) … Reviews Book reviews Dance reviews Motion picture reviews Music reviews Television program reviews Theater reviews Instructional and educational works Teaching pieces (Music) Methods (Music) Studies (Music) Music Accompaniments (Music) Recorded accompaniments Karaoke Arrangements (Music) Intabulations Piano scores Simplified editions (Music) Vocal scores Art music Aʼak Aleatory music Open form music Anthems Ballades (Instrumental music) Barcaroles Cadenzas Canons (Music) Rounds (Music) Cantatas Carnatic music Ālāpa Chamber music Part songs Balletti (Part songs) Cacce (Part songs) Canti carnascialeschi Canzonets (Part songs) Ensaladas Madrigals (Music) Motets Rounds (Music) Villotte Chorale preludes Concert etudes Concertos Concerti grossi Dastgāhs Dialogues (Music) Fanfares Finales (Music) Fugues Gagaku Bugaku (Music) Saibara Hát ả đào Hát bội Heike biwa Hindustani music Dādrās Dhrupad Dhuns Gats (Music) Khayāl Honkyoku Interludes (Music) Entremés (Music) Tonadillas Kacapi-suling -
NEW RELEASES T-BONE WALKER: I Get So Weary + Singing the Charisma
NEW RELEASES T-BONE WALKER: I Get So Weary + Singing The charisma. As stated in the previous review all T-Bone at one go can be heavy going but sampled appropriately he is just magnificent. The Blues issues are well-packaged, good sound quality and the booklets are a Soul Jam Records 600874 (74:47) really interesting read with plenty of pictures and posters lovingly put Here In The Dark/ I Miss You Baby/ Life Is Too Short/ together. We all appreciate what Soul Jam are doing for the music we Welcome Blues (Say Pretty Baby)/ I Get So Weary/ You care about but sometimes it is just small attention to detail that occasion- Just Wanted To Use Me/ Through With Women/ Street ally let’s them down. For example Willard McDaniel becomes ‘William’ in the discography and why are two bonus tracks on ‘The Great Blues Walking Woman/ Party Girl/ High Society/ Lollie Lou/ Got Vocals etc’ a repeat of tracks on ‘I Get So Weary etc’? Over to you with No Use For You/ Glamour Girl/ The Hustle/ Alimony Blues/ the money to decide how you want to purchase what is essential music News For My Baby/ Love Is Just A Gamble/ I’m Still In Love for any collection. With You/ I’m About To Lose My Mind/ I Got The Blues Keith Scoffham Again/ Everytime/ Bye Bye Baby/ I’ll Understand/ Teenage Baby/ No Reason/ Strollin’ With Bones/ Wanderin’ Heart/ Pony Tail T-BONE WALKER: The Great Blues Vocals & Guitar + 16 Bonus Tracks Soul Jam Records 600875 (77:50) BLUE GLAZE MENTO BAND: We Will Wait T-Bone Shuffle/ I’m Still In Love With You/ Call It Stormy Bilmon Productions (no issue number) (37:54) Monday/ I Want A Little Girl/ Bobby Sox Blues/ West Side A modern recording of Jamaican mento music. -
British Invasion Syllabus
OSPOXFRD 72: The British Invasion Wednesdays 2:00-5:00 Stanford in Oxford Spring Quarter, 2011 Mark Applebaum; [email protected] Office Hours: after class and by appointment Course Description How is it that the British were so effective at celebrating, appropriating, reinterpreting, and exporting American popular music culture? By examining the remarkably rich legacy of British popular music one comes to a unique and deep understanding not only of British culture, but also of America as seen through British eyes and heard through British voices. The course examines three generations of British popular music in the 1960s and 1970s: first, the music of the “British Invasion,” focusing on the Beatles (and extending to the Rolling Stones, the Kinks, the Who, etc.); second, the development of progressive rock (art rock) as embodied in groups such as Pink Floyd, Yes, King Crimson, Genesis, and Emerson, Lake, and Palmer; and third, the emergence of punk in both its revolutionary (e.g., the Clash) and nihilistic (e.g., the Sex Pistols) forms. The course will attend to several important narratives and issues that emerge in the music: the manner in which marginal American culture—first African-American blues and later the nascent New York punk scene—is venerated by foreigners and largely neglected by Americans; the United States’ subsequent mainstream consumption of a transformed and repackaged American minority culture; the erosion of America’s post-war cultural hegemony in what might be glibly dubbed “The (British) Empire Strikes Back;” an understanding of why Britain is uniquely suited to appreciate American cultural impulses (and the reverse); England’s Art School tradition and its genealogic relevance in British popular music; art rock’s questionable allegiance with the class- based establishment; and punk rock’s attack on the monarchy. -
The Second English Folk Revival, C. 1945-1970 Julia Yvonne Mitchell
Subterranean Bourgeois Blues: The Second English Folk Revival, c. 1945-1970 Julia Yvonne Mitchell UCL This thesis is submitted for the degree of PhD. 2 I, Julia Yvonne Mitchell, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 Abstract This thesis explores the folk revival phenomenon in England, through an original examination of its place in the social and political history of the country after the Second World War. Although its roots stretched back to the early twentieth century, the post- war English folk revival significantly occurred in the context of the nation’s de- industrialisation, and exposed tensions between, on the one hand, a nostalgic lament for a fast-disappearing working class life, and a ‘forward-looking’ socialist vision of working-class culture. The original contribution to knowledge of this project lies in its analytic approach to the English folk revival as an important part of the post-war political culture. It looks at the revival from the outside in, and contextualizes the movement in the social and political story of post-war England, while also placing it within a dynamic transnational framework, a complex cross-Atlantic cultural exchange with its more well-known American contemporary. In so doing, this thesis contributes to the existing historiographies of folk revivalism in England, as well as the social and political historiographical discourses of the postwar period: the continued salience of class in English society; the transformation of the nation’s economic infrastructures; the social and political influence of the Welfare State – the folk revival tapped into all of these overlapping strands, and helped to magnify them. -
Women in British Folk Music 1880‐2011
Student number: 7261488 MUSC 30400 In Search of a Voice: Women in British Folk Music 1880‐2011 Dissertation submitted in part fulfilment of the degree of Bachelor of Music. © Kerry Firth 2012 Abstract Of all the existing research that documents the twists and turns, ups and downs, and ducks and dives of British folk music’s history, there appears to be no cohesive exploration of the key involvements of women’s voices. Publications are instead devoted to the stories of successful male figures such as Cecil Sharp, A.L. (Bert) Lloyd, or Ewan MacColl who, although admittedly having a great influence on the genre’s development, were by no means the only protagonists in its history. This dissertation attempts to close a void in research by providing a sounding‐board for the achievements of women within the genre. Although largely unnoticed, these achievements have been pivotal moments in the genre’s history, and have contributed heavily to its development. The consultation of the small amount of literature that exists on Lucy Broadwood and Kate Lee of the first folk revival will kick‐start this study, since along with providing a needed introduction to their successes, its lack of content will also highlight a number of problems that will reverberate throughout the duration of this work and that threatened to bring the journey of finding the woman’s voice to a halt. The nature of the portrayal of women in traditional song will also be analysed, which adds further obstacles to the course. A reliable body of interviews with British female folk artists whose careers range from the 1970s to today will inform the second part of this dissertation, which deals exclusively with the second revival, showing how women wrestled with the misogyny left behind by the first. -
1 a Cultural Study of Two-Tone in the Socio
A CULTURAL STUDY OF TWO-TONE IN THE SOCIO-POLITICAL AND ECONOMIC CONTEXT OF THE 1970s by Susan Conduit A thesis submitted in partial fulfilment for the requirements for the degree of MA (by Research) at the University of Central Lancashire August 2017 1 STUDENT DECLARATION FORM Concurrent registration for two or more academic awards Either *I declare that while registered as a candidate for the research degree, I have not been a registered candidate or enrolled student for another award of the University or other academic or professional institution or *I declare that while registered for the research degree, I was with the University’s specific permission, a *registered candidate/*enrolled student for the following award: ______________________________________________________________ Material submitted for another award Either *I declare that no material contained in the thesis has been used in any other submission for an academic award and is solely my own work or *I declare that the following material contained in the thesis formed part of a submission for the award of _______________________________________________________________ (state award and awarding body and list the material below): * delete as appropriate Collaboration Where a candidate’s research programme is part of a collaborative project, the thesis must indicate in addition clearly the candidate’s individual contribution and the extent of the collaboration. Please state below: Signature of Candidate _____________________________________________________ Type of Award ______________________________________________________ School _______________________________________________________ 2 ABSTRACT A CULTURAL STUDY OF TWO-TONE IN THE SOCIO-POLITICAL AND ECONOMIC CONTEXT OF THE 1970s My thesis concerns Two-tone music which emerged in the late 1970s and achieved the peak of its popularity around 1980. -
Nme-1958-01-17-S-Ocr
PRESLEYSinger inaMillion SIP: Registered at the G.P.O. as a Newspaper 5741 .!;VERY FRIDAY PRICE 6d. January 0, 1958 t CONTAINING 27 HIT SONG FRANK fr LYRICS and CHACKSFIELD PICTURES MUSICAL and STORIES The Katsumi theme of your FAVOURITE ARTISTS k4,454,.4.* PRICE 6d, EXPRESS' F 10974 45/78 t.,1,NDEEZ11/44AR,I;,,,ri: THE PETER MAURICE music Co. LTD., Member, of Audit Bureau of Circulation : Weekly Sales Exceed 100,000 Copies Most! It'sthe Package Britain'sGreatest Stanley Dale's NATIONAL SKIFFLE SHOW OF 1958 weeks and everyTwo 1 st Feb. Major film Commencing In theB.B.C.Television AreaVillunerc. Show in active "6.5SPECIAL" preparation AT YOUR LOCAL THEATRE SOON ! The best groups to be included on a PARLOPHONE LONG PLAY RECORD for release in April * GIGANTIC ALL-STAR CAST * includes *WYTON DALEThe VIPERS Hear his new record hit Their Greatest Parlophone Record on Parlophone just released JUST BORN & CRAZY DREAM BABY WHY & NO OTHER BABY IMMEDIATESTAGE DATES Feb. 3rd EMPIRE, Mar. 3rd EMPIRE, GLASGOW LIVERPOOL Feb. 10th TROCADERO, Mar. 10th GAU MONT, ELEPHANT & CASTLE BRADFORD Feb. 17th EMPIRE, Mar. 17th HIPPODROME, NEWCASTLE COLCHESTER STANLEY DALE, 130 UXBRIDGEROAD, LONDON, W.12 2 THE NEW MUSICAL EXPRESS January 17, 1958 Mantovani wants to break the priseinstore. Everycar owner NEXT Tuesday Mantovani departs for America and Canada. blew his born as the civic procession drove through the city. It will be for his fifth annual transatlantic tour.He will A tour of the length and intensity conduct at sixty-four concerts before April 5 when he returns of Monty's transatlantic jaunts im- poses great physical strain.