Monty Suffern Several Assorted Pieces to Set the Mood
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Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music. -
Finding Aid for the Sheldon Harris Collection (MUM00682)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr. -
Ampico Popular NEW MIDI and E-Roll Files Composer
Total files = 536 Ampico Popular NEW MIDI and e-roll files AA = Ampico A, AB = Ampico B Composer (Writer) order Roll issue Title Writer(s) Composer details Pianist time midi file name No. date Stephen Adams (Michael Holy City, The Adams Brockway as Kmita 56824 1919 4:52 Holy City, Brockway AA Maybrick) Crazy Words - Crazy Tune Ager Milton Ager (1893-1979) Grofe 208611 05 1927 2:48 Crazy Words, Crazy Tune, Grofe AA I Wonder What's Become of Sally? Ager Fairchild 205191 09 1924 4:28 I Wonder What's Become of Sally AA I'll Get By Ahlert Fred E. Ahlert (1892-1953) Rainger 211171 02 1929 2:42 I'll Get By, Rainger AB I'll Tell The World Ahlert Wright & Johnston 211541 05 1929 3:14 I'll Tell The World (Ahlert) AB Marianne "Marianne" Ahlert Rainger 212191 12 1929 2:44 Marianne, Rainger AB Love Me (Deja) waltz Aivaz Morse-T. Aivaz (only item) Shipman 212241 12 1929 3:20 Love Me (Aivaz), Carroll AB Am I Blue? from "On With The Show" Akst Harry Akst (1894-1963) Arden & Carroll 212031 10 1929 3:37 Am I Blue AB Away Down South Akst Clair 203051 11 1922 2:37 Away Down South (Akst), Clair AA If I'd Only Believed In You Akst Lane 208383 02 1927 5:14 If I'd Only Believed In You AA In My Bouquet Of Memories Akst Arden 210233 07 1928 4:58 In My Bouquet of Memories AB Nobody Loves You Like I Do Akst Lopez (asst) 205531 01 1925 2:38 Nobody Loves You (Akst), Lopez AA Shanghai Dream Man Akst Grofe 208621 05 1927 3:48 Shanghai Dream Man, Grofe AA Gotta Feelin' For You "Hollywood Revue" Alter Carroll 212351 01 1930 2:49 Gotta Feelin' For You, Carroll AB Hugs and -
Charles Mcpherson Leader Entry by Michael Fitzgerald
Charles McPherson Leader Entry by Michael Fitzgerald Generated on Sun, Oct 02, 2011 Date: November 20, 1964 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Carmell Jones (t), Barry Harris (p), Nelson Boyd (b), Albert 'Tootie' Heath (d) a. a-01 Hot House - 7:43 (Tadd Dameron) Prestige LP 12": PR 7359 — Bebop Revisited! b. a-02 Nostalgia - 5:24 (Theodore 'Fats' Navarro) Prestige LP 12": PR 7359 — Bebop Revisited! c. a-03 Passport [tune Y] - 6:55 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! d. b-01 Wail - 6:04 (Bud Powell) Prestige LP 12": PR 7359 — Bebop Revisited! e. b-02 Embraceable You - 7:39 (George Gershwin, Ira Gershwin) Prestige LP 12": PR 7359 — Bebop Revisited! f. b-03 Si Si - 5:50 (Charlie Parker) Prestige LP 12": PR 7359 — Bebop Revisited! g. If I Loved You - 6:17 (Richard Rodgers, Oscar Hammerstein II) All titles on: Original Jazz Classics CD: OJCCD 710-2 — Bebop Revisited! (1992) Carmell Jones (t) on a-d, f-g. Passport listed as "Variations On A Blues By Bird". This is the rarer of the two Parker compositions titled "Passport". Date: August 6, 1965 Location: Van Gelder Studio, Englewood Cliffs, NJ Label: Prestige Charles McPherson (ldr), Charles McPherson (as), Clifford Jordan (ts), Barry Harris (p), George Tucker (b), Alan Dawson (d) a. a-01 Eronel - 7:03 (Thelonious Monk, Sadik Hakim, Sahib Shihab) b. a-02 In A Sentimental Mood - 7:57 (Duke Ellington, Manny Kurtz, Irving Mills) c. a-03 Chasin' The Bird - 7:08 (Charlie Parker) d. -
Scott Joplin: Maple Leaf
Maple Leaf Rag Scott Joplin Born: ? 1867 Died: April 1, 1917 Unlike many Afro-American children in the 1880s who did not get an education, According to the United States Scott attended Lincoln High School census taken in July of 1870, in Sedalia, Missouri, and later went to Scott Joplin was probably born George R. Smith College for several years. in late 1867 or early 1868. No Throughout his life, Joplin believed one is really sure where he was in the importance of education and born either. It was probably in instructed young musicians whenever northeast Texas. he could. Joplin was a self-taught Although he composed several marches, musician whose father was a some waltzes and an opera called laborer and former slave; his Treemonisha, Scott Joplin is best known mother cleaned houses. The for his “rags.” Ragtime is a style of second of six children, Scott music that has a syncopated melody in was always surrounded with which the accents are on the off beats, music. His father played the on top of a steady, march-like violin while his mother sang accompaniment. It originated in the or strummed the banjo. Scott Afro-American community and became often joined in on the violin, a dance craze that was enjoyed by the piano or by singing himself. dancers of all races. Joplin loved this He first taught himself how to music, and produced over 40 piano play the piano by practicing in “rags” during his lifetime. Ragtime the homes where his mother music helped kick off the American jazz worked; then he took lessons age, growing into Dixieland jazz, the from a professional teacher who blues, swing, bebop and eventually rock also taught him how music was ‘n roll. -
Sacramento Ragtime Society Newsletter
SACRAMENTO RAGTIME SOCIETY NEWSLETTER by Chris Bradshaw by Keith Taylor, other festival performers o diamond in the rough, this pol- Andrew Barrett, John Remmers, the Brad- Nished gem of a festival, held August shaws, and Stevens Price joined him for a 14-16, 2009 in Sutter Creek, glimmered festival teaser. Good food, a great piano and glittered from beginning to end. An and a warm and encouraging audience unique celebration of vintage American made for a wonderful evening. Music encompassing ragtime, stride, boo- As is tradition, Friday’s festival opened gie and blues, the 11th annual Sutter in the Ice Cream Emporium amidst the rev- Creek Ragtime Festival sparkled with tal- erie of an excited, ice cream spooning, ent, enthusiastic listeners and the special soda slurping audience with Keith Taylor, chemistry that just happens when you dishing up a tasty original take on Original bring together professional performers Rags (1899) by Scott Joplin. Another with die-hard ragtime fans. The outcome-a standout performance during the festival melange of theater concerts, youth perform- from Keith’s eclectic repertoire was his ances, silent movies, instrumental en- own Ghosts of Sutter Creek (2007), one of sembles, the Town Square Harmonizers barbershop quartet, two great festival See continued on page 4 shows and plenty of fine solo sets all joy- ously celebrating the In This Issue best of the ragtime era--was a series of ma- gical moments strung together as gleaming pearls, from the first note to the last. Setting the tone was the pre-festival event held Thursday evening at the Green- horn Creek Resort in Angels Camp. -
Reframing Generated Rhythms and the Metric Matrix As Projections of Higher-Dimensional La Ices in Sco Joplin’S Music *
Reframing Generated Rhythms and the Metric Matrix as Projections of Higher-Dimensional Laices in Sco Joplin’s Music * Joshua W. Hahn NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.2/mto.21.27.2.hahn.php KEYWORDS: meter, rhythm, beat class theory, syncopation, ragtime, poetry, hyperspace, Joplin, Du Bois ABSTRACT: Generated rhythms and the metric matrix can both be modelled by time-domain equivalents to projections of higher-dimensional laices. Sco Joplin’s music is a case study for how these structures can illuminate both musical and philosophical aims. Musically, laice projections show how Joplin creates a sense of multiple beat streams unfolding at once. Philosophically, these structures sonically reinforce a Du Boisian approach to understanding Joplin’s work. Received August 2019 Volume 27, Number 2, June 2021 Copyright © 2021 Society for Music Theory Introduction [1] “Dr. Du Bois, I’ve read and reread your Souls of Black Folk,” writes Julius Monroe Troer, the protagonist of Tyehimba Jess’s 2017 Pulier Prize-winning work of poetry, Olio. “And with this small bundle of voices I hope to repay the debt and become, in some small sense, a fellow traveler along your course” (Jess 2016, 11). Jess’s Julius Monroe Troer is a fictional character inspired by James Monroe Troer (1842–1892), a Black historian who catalogued Black musical accomplishments.(1) In Jess’s narrative, Troer writes to W. E. B. Du Bois to persuade him to help publish composer Sco Joplin’s life story. -
Updated - 2016/3/1
updated - 2016/3/1 Original Data Status of Arr. Title Composer Original Arranged Revised PDF Level Alaskan Rag (The) Joseph Lamb 1959 2005 2011 *Ask B American Beauty Rag; full Joseph Lamb 1913 2013 *Ask B American Beauty Rag; excerpt Joseph Lamb 1913 1999 *Ask A Black And White Rag George Botsford 1908&1924 2010 *Ask C Cascades (The) Scott Joplin 1904 2000 OK D Chrysanthemum (The) Scott Joplin 1904 2000 OK B Contentment Rag Joseph Lamb 1915 2002 *Ask B Easy Winners (the) Scott Joplin 1901 2000 OK C Elite Syncopations Scott Joplin 1902 2000 OK A Entertainer (the) ; popular Scott Joplin 1902 1999 2010 OK B Entertainer (the) ; advanced Scott Joplin 1902 2002 2010 OK B Entertainer (the) for beginners Scott Joplin 1902 2000 Web *1 A Entertainer (the) ; chordal Scott Joplin 1902 1999 2010 OK A Entertainer (the) for duo Scott Joplin 1902 1999 OK B Ethiopia Rag Joseph Lamb 1909 1999 2010 *Ask C Euphonic Sounds Scott Joplin 1909 2000 OK B Gladiolus Rag Scott Joplin 1907 2000 OK C Graceful Ghost William Bolcom 1971 1999 2010 *Ask D Heliotrope Bouquet Scott Joplin + Louis Chauvin 1907 1999 OK B Kinklets Arthur Marshall 1906 2012 OK A Magnetic Rag Scott Joplin 1914 2001 OK C Maple Leaf Rag Scott Joplin 1899 1999 2009 OK C Maple Leaf Rag – Performance Scott Joplin 1899 1999 2011 OK C Mimi Bob Milne 1979 2002 *Ask B Nonpareil Scott Joplin 1907 2001 OK B Operatic Rag Julius Lenzberg 1914 2013 *Ask B Odeon Ernest Nazareth 1910 2014 *Ask C Paragon Rag Scott Joplin 1909 2001 OK B Peacherine Rag Scott Joplin 1901 2000 OK B Peck Peck Song (The) Jerry Zucker 2010 2011 OK A Pineapple Rag Scott Joplin 1908 2004 2010 OK B Ragtime Dance Scott Joplin 1906 1999 OK B Ragtime Nightingale Joseph Lamb 1915 2001 *Ask D Reflection Rag Scott Joplin 1917 1999 OK B Roberto Clemente David Thomas Roberts 1979 2011 *Ask B St. -
Ragtime Ensemble
Digitized from Box 2 of the White House Press Releases at the Gerald R. Ford Presidential Library NEW ENGLAND CONSERVATORY RAGTIME ENSEMBLE Quotes of Gunther Schuller and members of Ragtime Ensemble Program for White House History of Ragtime Ensemble Fact Sheet of New England Conservatory Notes of European Tour (August-September, 1974) Reviews of New England Conservatory Ragtime Ensemble from Tour of Summer, 1974 \..... Contact: Public Relations Quotes of Gunther Schuller and 9/23/74 members of New England Conservatory 617/262-1120 Ragtime Ensemble on White House performance The invitation of the New England Conservatory Ragtime Ensemble to perform at the White house comes at a most exciting time for the New England Conservatory. Beginning the last two years of its five-year, $12 million endowment fund raising campaign and having just completed an enormously successful tour of Europe with its Symphony Orchestra and Chorus, the New England Conservatory is entering a new phase of activity and import in education. "I am deeply honored to have been appointed by President Ford to the National Council on the Arts," said Conservatory President Gunther Schuller upon hearing the ne\'ls. "With the renewed public int:erest in the A:rts, especially in Music, it is important for there to be a greater awareness of our American musical heritage. The New England Conservatory has long been involved in contributing to and enhancing this awareness, and we are pleased to see it gaining a greater momentum throughout the United States. "The Ragtime music of Scott Joplin is an integrill part of the development of that peculiarly American music called Jazz. -
Concerto 'Still Life'
Thursday matinee 28 September 2017 CONCERTO Music Dmitri Shostakovich; Choreography Kenneth MacMillan; Designs Jürgen Rose; Lighting John B. Read First movement Miki Mizutani, Lachlan Monaghan Second movement Yvette Knight, Yasuo Atsuji Third movement Yijing Zhang Three couples Karla Doorbar, Reina Fuchigami, Yaoqian Shang, Feargus Campbell, Tim Dutson, Edivaldo Souza da Silva with Artists of Birmingham Royal Ballet Solo piano Jonathan Higgins I N TERVA L ‘STILL LIFE’ AT THE PENGUIN CAFÉ Music Simon Jeffes; Choreography David Bintley; Designs Hayden Griffin; Lighting John B. Read AIR À DANSER The Great Auk Ruth Brill PRELUDE AND YODEL Utah Longhorn Ram Samara Downs with Iain Mackay LONG DISTANCE Texas Kangaroo Rat Tzu-Chao Chou THE ECSTASY OF DANCING FLEAS Humboldt’s Hog-nosed Skunk Flea Miki Mizutani Gabriel Anderson, Feargus Campbell, Brogan McKelvey, Valentin Olovyannikov, Hamish Scott WHITE MISCHIEF Southern Cape Zebra Edivaldo Souza da Silva Samara Downs, Rosanna Ely, Elisabetta Formento, Jade Heusen, Anna Monleon, Rachele Pizzillo, Alys Shee, Daria Stanciulescu NOW NOTHING Tyrone Singleton, Yijing Zhang, Amber Cook MUSIC BY NUMBERS (by Simon Jeffes and Geoffrey Richardson) Brazilian Woolly Monkey Kit Holder with Karla Doorbar, Reina Fuchigami Contralto Rebecca Duggan Royal Ballet Sinfonia Conductor Philip Ellis; Leader Robert Gibbs I N TERVA L ELITE SYNCOPATIONS Music Scott Joplin and others; Choreography Kenneth MacMillan; Design Ian Spurling; Lighting John B. Read 1. Sunflower Slow Drag The Company 2. Elite Syncopations The Company 3. The Cascades Reina Fuchigami, Alys Shee, Daria Stanciulescu 4. Hothouse Rag Feargus Campell, Chi Cao, Aitor Galende, Kit Holder 5. Calliope Rag Alys Shee 6. Ragtime Nightingales The Company 7. -
Historic Jazz Piano Styles in Live Performance, 1900-1940
Historic Jazz Piano Styles in Live Performance, 1900-1940 An Honors Recital (HONRS 499) by Mattnew A. Wilson Frank J. Puzzullo Ball State University Muncie, Indiana April 15, 1992 Graduation Date: May 2, 1992 -------- ---._--- ---"- \ "V,''''' • ",ISS This ~ecital is dedicated to the purpose 0: outlining the evolution of Jazz piano styles prior to about 1940. The empnasis is on tne niano as a solo instrument, a unique nositinn occu~ied by the piano since it can play both melody and accompaniment to its melody. T11e;)rogram notes are designed not to give a detailed analysis of each selection, but instead to nelp gUide the membe~s of tne audience in understanding the nistorical context, tne general stylistic traits of the pieces, a~l perhaps tne significance of particular key persons in the devel o~ment of Jazz piano styles. Tne selections themselves orogress chronologically, and they are carefully chosen to provide an in:eresting and varied program. The most important factor, noweve~, in considering whicn pieces to include is tne aCcurate representat1:m of tne various styles. The pieces C.hosen are tnose tnat seem to embody tne stylistic traits in the most easily perceived manner, because tne pur:l)()se ·of the recital is to demonstrate tnese early Jazz .Jiano styles to t11e aUdience. AI]. of tne nieces ryerformed are based on transcriptions of actual recordings. Sunflower Slow Drag -1901 • • • • • • • Scott Joplin (1868-1917) - Scott Hayden (1882-1915) With the emergence of ragtime comes the first genuinely American music. This new and unique music combines elements of brass band styles, European forms, and folk traditions. -
IN THIS ISSUE Sacramento Ragtime Society
Deborah Gale, Editor March 2012 Sacramento Ragtime Society By Deborah Gale Besides Larry and Marty, working The first public meeting of the Behind the scenes to support the SRS Sacramento Ragtime Society (SRS) have been Doug Davies, Art was held at The Mansion Inn, 700 Edwards, Susan Endres, Deborah th 16 Street, Sacramento, CA on Gale, Merv Graham, Bill Schoening, Sunday, March 28, 1982. Larry Gary Sigafoos, and Petra Sullivan. www.SacramentoRagtime.com Applegate was the adult support for 15- [email protected] year-old Marty Eggers’ dream for a During the 1980s performing at SRS 530-758-6697 Sacramento public meeting place of meetings were: Elliott Adams, Larry Ragtime performers and listeners. Applegate, Alan Ashby, Danna Balser, Wilda Baughn, Pat Blucher, A group of Ragtime enthusiasts had Tom Brier, Yvonne Cloutier, Doug been meeting at the home of Jean Davies, Marty Eggers, Susan Endres Levinson in Carmichael, CA. The group (Larsen), Burns Gibbs, Fay Golden, NEXT MEETING included Larry Applegate, Marty Sue Horn, Gil Lieby, Ed & Jeanie Eggers, Jean Levinson, Doug Loran, Michael Heaney, Mike Parker, Jim Roach, Bob Rutherford, Krische, Jean Levinson, Al The March SRS meeting will and Dorothy Strange. Marty McDearmon, Steve Merritt, Emmett be held the last Sunday of persistently proposed a public monthly O’Sullivan, Doug Parker, Bill March on meeting, but an adult sponsor was Pezzaglia, Julia Riley, Bob Ringwald, March 25, 2012 required to coordinate with a site Wally Rose, Bob Rutherford, Ruth in J.B.’s Lounge at the manager. Larry accepted the challenge Sadler, Genro Sato, Tom Stewart, Red Lion Sacramento Inn of finding a public site where Ragtime Gary Sigafoos, Dorothy Strange, 1401 Arden Way, Sacramento performers and listeners could meet Bub Sullivan, Petra Sullivan,Mel from 1:00 to 4:00 pm and enjoy Ragtime and refreshments.