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PUA Green Book
Notes for PUA Songbook Two This song book is intended for the purpose of community singing at the ukulele association song circles and not for financial gain. The chord chart on the inside cover is complements of Ralph Shaw, http://www.ralphshaw.ca/ Things to help you get around the song sheets: The songs are in alphabetical order except when there is a two page song. The two- page songs were moved so they could be seen at the same time when the book is open flat. There is a table of contents to point you to the right page for a song. S.N. stands for Starting Note - the 1st note of the melody. It is at the top of each song along with the time signature and other information. N.C. stands for NO CHORD. Don’t play chords during the lyric section with this abbreviation over the phrase. “Ritard.” Ritardando —slowing down (abbreviation: rit. or ritard.) This symbol is used at the end of a number of songs and usually means: give each bar or word of the phrase designated twice the normal length – 4 beats, vs. 2. Used as an ending to some songs. A Coda is a symbol used to show the concluding passage of a piece or movement, it is used as a directional sign on a few pages. Repeat Symbols: ||: :|| Anything between these two symbols are repeated – usually at the end of a song – to indicate that we repeat the last line on or more times to end the song. Many songs have had chords simplified so that inexperienced players can join in more easily. -
1950S Playlist
1/10/2005 MONTH YEAR TITLE ARTIST Jan 1950 RAG MOP AMES BROTHERS Jan 1950 WITH MY EYES WIDE OPEN I'M DREAMING PATTI PAGE Jan 1950 ENJOY YOURSELF (IT'S LATER THAN YOU THINK) GUY LOMBARDO Jan 1950 I ALMOST LOST MY MIND IVORY JOE HUNTER Jan 1950 THE WEDDING SAMBA EDMUNDO ROS Jan 1950 I SAID MY PAJAMAS (AND PUT ON MY PRAY'RS) TONY MARTIN/FRAN WARREN Jan 1950 SENTIMENTAL ME AMES BROTHERS Jan 1950 QUICKSILVER BING CROSBY/ANDREWS SISTERS Jan 1950 CHATTANOOGIE SHOE SHINE BOY RED FOLEY Jan 1950 BIBBIDI-BOBBIDI-BOO PERRY COMO Feb 1950 IT ISN'T FAIR SAMMY KAYE/DON CORNELL Feb 1950 RAG MOP LIONEL HAMPTON Feb 1950 THE THIRD MAN THEME ANTON KARAS Feb 1950 MY FOOLISH HEART GORDON JENKINS Feb 1950 THE CRY OF THE WILD GOOSE FRANKIE LAINE Feb 1950 THE FAT MAN FATS DOMINO Feb 1950 DADDY'S LITTLE GIRL MILLS BROTHERS Feb 1950 MUSIC MUSIC MUSIC TERESA BREWER Mar 1950 THE THIRD MAN THEME GUY LOMBARDO Mar 1950 CANDY AND CAKE MINDY CARSON Mar 1950 MY FOOLISH HEART BILLY ECKSTINE Mar 1950 IF I KNEW YOU WERE COMIN' I'D'VE BAKED A CAKE EILEEN BARTON Mar 1950 WANDERIN' SAMMY KAYE Mar 1950 DEARIE GUY LOMBARDO Apr 1950 COUNT EVERY STAR HUGO WINTERHALTER Apr 1950 HOOP-DEE-DOO PERRY COMO Apr 1950 BEWITCHED BILL SNYDER Apr 1950 PETER COTTONTAIL GENE AUTRY Apr 1950 ARE YOU LONESOME TONIGHT BLUE BARRON May 1950 THE OLD PIANO ROLL BLUES HOAGY CARMICHAEL/CASS DALEY May 1950 BEWITCHED DORIS DAY May 1950 VALENCIA TONY MARTIN May 1950 I DON'T CARE IF THE SUN DON'T SHINE PATTI PAGE May 1950 I WANNA BE LOVED ANDREWS SISTERS May 1950 BONAPARTE'S RETREAT KAY STARR Jun 1950 MONA -
BIG BANDLEADERS’ PRIMARY INSTRUMENT TRIVIA QUIZ NEWSLETTER ★ LETTERS to the EDITOR About STUDIO ORCHESTRAS, SPIKE JONES, HERB JEFFRIES, and Others
IN THIS ISSUE: i f An interview with PEGGY LEE Reviews of BOOKS AND BIG RECORDS to consider about GEORGE WEIN, CRAIG RAYMOND, BAND KAY KYSER and others JUMP ★ A BIG BANDLEADERS’ PRIMARY INSTRUMENT TRIVIA QUIZ NEWSLETTER ★ LETTERS TO THE EDITOR about STUDIO ORCHESTRAS, SPIKE JONES, HERB JEFFRIES, and others BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 BIG BAND JIMP N EWSLETTER VOLUME LXXXVII_____________________________BIG BAND JUMP NEWSLETTER JULY-AUGUST 2003 lems than most of us experience. Later in life she took PEGGY LEE INTERVIEW engagements while requiring respirator treatments four times a day during ten years of her life. She played sold- out clubs with dangerously-high temperatures when she had to be carried off the stage to a hospital. She underwent open-heart surgery and suffered failing eye sight and a serious fall but continued to perform sitting in a chair until a few years before her death on January 21,2002 The Scene Veteran broadcaster and Big Band expert Fred Hall conducted the interview at Peggy Lee ’ s Bel Air home in the 1970s, at a time when she was still performing and still making records. The first question was about how her job with Goodman came about. BBJ: Did you j oin the Goodman band directly from singing in clubs? The cheerful Lee PL: Yes, I was singing in a club at that time I met him. Before that I had been singing on a radio The Background station in Fargo, North Dakota. -
Sponsor Dance Will Speak on Campus Mercyhurst's Senior Class Will Sponsor a Pre-Lenten Mixer, Sat Urday, February 27
7k MERC1AD Vol XXXI. No. 5 MERCYHURST COLLEGE, ERIE, PENNA, Februray 26, 1960 European Personalities] Upperciassmen Sponsor Dance Will Speak On Campus Mercyhurst's Senior Class will sponsor a pre-Lenten mixer, Sat urday, February 27. A get- February 28, March 16 acquainted hour is planned for Padraic Colum 8 till 9 in the main lounge of Mc- "Poetry As an Oral Art " is the Auley Hall, while the dance will subject^ of Padraic Colum's lec be held in 1 the gym from 9 till Lolly Lockhart, Kathy^Reid, and Lillian Egnot seem to find scene ture to be presented in Mercy- 12. hurst's Little Theatre, Sunday, planning an enjoyable assignment. They are preparing for produc tion of their one-act plays. February 28, at 8:15 p.m. In place off the usual refresh - Born and raised in Ireland, Mr. ments, a cookie sale is scheduled Colum's interest in literature be for the evening; the cookies to Seniors' Direction Class gan as a youth at the fireside in be baked by members of the his grandmother's cottage. As he senior class. Music for the dance grew i he retained these impres will be provided by the Moder- To|Present Short Plays sions of legends and traditions naires. handed I down from generation to Sunday, March 20 is the "evening of drama" in the Little Theatre generation. Connie Frank, chairman of the of Mercyhurst. Three \ one act plays directed toy Lillian Egnot, Lolly At the age of 21, Padraic Colum project, announced that invita Lockhart, and Kathy Reid will feature members of the Drama Society, had his first play, Broken Soil, tions have been extended to The direction and production of a one act play is an assignment produced, followed!shortly after area schools including Gannon, for the play direction class under the guidance of Miss Helen Kelly. -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia. -
Philharmonic Au Dito R 1 U M
LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living. -
Listening Program Script I
Non-Directed Music Listening Program Series I Non-Directed Music Listening Program Script Series I Week 1 Composer: Manuel de Falla (1876 – 1946) Composition: “Ritual Fire Dance” from “El Amor Brujo” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: “Greatest Hits of The Ballet, Vol. 1” CBS XMT 45658 Day 1: This week’s listening selection is titled “Ritual Fire Dance”. It was composed by Manuel de Falla. Manuel de Falla was a Spanish musician who used ideas from folk stories and folk music in his compositions. The “Ritual Fire Dance” is from a ballet called “Bewitched By Love” and describes in musical images how the heroine tries to chase away an evil spirit which has been bothering her. Day 2: This week’s feature selection is “Ritual Fire Dance” composed by the Spanish writer Manuel de Falla. In this piece of music, de Falla has used the effects of repetition, gradual crescendo, and ostinato rhythms to create this very exciting composition. Crescendo is a musical term which means the music gets gradually louder. Listen to the “Ritual Fire Dance” this time to see how the effect of the ‘crescendo’ helps give a feeling of excitement to the piece. Day 3: This week’s featured selection, “Ritual Fire Dance”, was written by the Spanish composer Manuel de Falla in 1915. Yesterday we mentioned how the composer made use of the effect of gradually getting louder to help create excitement. Do you remember the musical term for the effect of gradually increasing the volume? If you were thinking of the word ‘crescendo’ you are correct. -
Spring Dance Concert 2021
Randolph College Department of Dance presents The Annual Spring Dance Concert We welcome you to view our videotaped dance concert this year of extraordinary challenges. The dancers of Randolph College have faced the challenges of online dance classes and rehearsals with remarkable grace and aplomb. While this is perhaps to be expected of them, since they are dancers, their commitment has nonetheless profoundly moved me. I love and respect these student dancers and trust that they and their fellow classmates will do much to make this world a better place as we get through these difficult times. This concert belongs to these student dancers; this is truly their concert. However, I would be remiss if I did not acknowledge dancers and artists around the world who have persisted in their commitment to art and beauty, and the unique power that the arts have to simultaneously take us out of ourselves and bring us back to ourselves revealing our common humanity. - Pamela Risenhoover 1. BLUR ÉTUDE Choreography……………………………………………………………….…Brynt Beitman Music ………………………………………………………No Problem by Perfume Genius Costumes ……………………………………………………………………..Brynt Beitman Lighting……………………………………………………………………..Heather Sinclair Dancers…………………………………………….Emma Carrico and Samantha Landers BRYNT BEITMAN is from Dallas, Texas. He is a Presidential Scholar in the Arts Nominee and a graduate of The Juilliard School. His work has been performed internationally in Bulgaria, Costa Rica, Cuba, Canada, and throughout the United States. His performance credits include Bruce Wood Dance Project, TAKE Dance, Heidi Latsky Dance, Lydia Johnson Dance, and the New York Baroque Dance Company. He has been a Visiting Artist in Dance at Randolph College since 2015. -
Great Instrumental
I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T. -
Glenn Miller and His Orchestra “Top 10 Hits” 1939-1943
GLENN MILLER AND HIS ORCHESTRA “TOP 10 HITS” 1939-1943 Prepared by: Dennis M. Spragg September 2017 TABLE OF CONTENTS INTRODUCTION .............................................................................................................................4 METHODOLOGY .............................................................................................................................4 1. SUMMARY ..................................................................................................................... 5 2. The Billboard Top 10 Records, 1940-1943........................................................................ 8 3. The Billboard #1 Records, 1940-1943 .............................................................................. 9 4. The Billboard Chronology, 1940-1943 ........................................................................... 10 1940 ............................................................................................................................................ 10 1941 ............................................................................................................................................ 11 1942 ............................................................................................................................................ 13 1943 ............................................................................................................................................ 16 5. Your Hit Parade Top 10 Records, 1939-1940 ................................................................. -
Sweet Memories Dementia Choir Sweet Memories Virtual Choir Song List
SWEET MEMORIES DEMENTIA CHOIR SWEET MEMORIES VIRTUAL CHOIR SONG LIST 1. YOU ARE MY SUNSHINE 2. HEART AND SOUL 3. MOLLY MALONE 4. WILD ROVER 5. IRELAND’S CALL 6. MOON RIVER 7. EDELWEISS 8. OVER THE RAINBOW 9. OH WHAT A BEAUTIFUL MORNING 10. I’D LIKE TO TEACH THE WORLD TO SING 11. TOP OF THE WORLD 12. GRACE 13. AND I LOVE YOU SO 14. LOVE ME TENDER 15. ALL I HAVE TO DO IS DREAM 16. BLACK HILLS OF DAKOTA 17. QUE SERA 18. SECRET LOVE 19. WHEN I’M 64 20. OB-LA-DI OB-LA-DA 21. WITH A LITTLE HELP FROM MY FRIENDS 22. DA DOO RON RON 23. GOODBYE VENICE WARM UPS – PHYSICAL 1. TWINKLE FINGERS – extend arms in front and wiggle fingers – retract arms – repeat x5 2. YAWN AND STRETCH – 3. 5,4,3,2,1 – Flick out right hand count 5,4,3,2,1- repeat with left hand – then both feet 4. SHOULDER ROLLS – Forward and Back counting backwards 5,4,3,2,1 WARM UPS – VOCAL 1. BREATHE AND SUSTAIN – Breath in and out slowly a few times, then hold breath for 4 counts and exhale on any note to AH sound. 2. NOTE SCALE – Ascending and descending 5 note scale to Ah - Eee - Oh - Ooh 3. BELLA SENORA – Arpeggio in various keys 4. BELLA MAMA YAY 5. SUPER-DUPER-DOUBLE-BUBBLEGUM 6. WELCOME SONG – Welcome each pair by name ROW YOUR BOAT Row row row your boat Gently down the stream Merrily merrily merrily merrily Life is but a dream BELLA MAMA Bella Mama – Bella Mama Yay Bella Mama – Bella Mama Yay Bella Mama- Bella Mama – Bella Mama – Bella Mama Bella Mama – Bella Mama Ya YOU ARE MY SUNSHINE You are my sunshine My only sunshine You make me happy When skies are grey You’ll never know -
De Tradução De Canção Concebido Por Peter Low (2005)
UNIVERSIDADE FEDERAL DE SANTA CATARINA - UFSC CENTRO DE COMUNICAÇÃO E EXPRESSÃO - CCE PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DA TRADUÇÃO - PGET DAIANA LOHN Investigação sobre canções de rock traduzidas para a Língua Portuguesa no Brasil nas décadas de 50 e 60 do século XX: estratégias tradutórias, o Princípio do Pentatlo, análise via WS Tools e expressões idiomáticas FLORIANÓPOLIS 2019 DAIANA LOHN Investigação sobre canções de rock traduzidas para a Língua Portuguesa no Brasil nas décadas de 50 e 60 do século XX: estratégias tradutórias, o Princípio do Pentatlo, análise via WS Tools e expressões idiomáticas Dissertação submetida ao Programa de Pós-Graduação em Estudos da Tradução da Universidade Federal de Santa Catarina, para a obtenção do grau de Mestre em Estudos da Tradução. Linha de pesquisa: Teoria, Crítica e História da Tradução. Orientadora: Profa. Dra. Viviane Maria Heberle FLORIANÓPOLIS 2019 Ficha de identificação da obra elaborada pelo autor, através do Programa de Geração Automática da Biblioteca Universitária da UFSC à à DAIANA LOHN Investigação sobre canções de rock traduzidas para a Língua Portuguesa no Brasil nas décadas de 50 e 60 do século XX: estratégias tradutórias, o Princípio do Pentatlo, análise via WS Tools e expressões idiomáticas Esta dissertação foi julgada pela banca examinadora e aprovada em sua forma final pelo curso de Pós-graduação em Estudos da Tradução da Universidade Federral de Santa Catarina para a obtenção do título de Mestre em Estudos da Tradução. Florianópolis, 17 de setembro de 2019. ____________________________________ Prof.ª Dr.ª Adréia Guerini Coordenadora do Curso Banca Examinadora: ______________________________________ Profa. Dra. Viviane Maria Heberle (Orientadora) UFSC/PGET ______________________________________ Prof.