World of Sound Catalog #3
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RHYTHM & BLUES...63 Order Terms
5 COUNTRY .......................6 BEAT, 60s/70s ..................71 AMERICANA/ROOTS/ALT. .............22 SURF .............................83 OUTLAWS/SINGER-SONGWRITER .......23 REVIVAL/NEO ROCKABILLY ............85 WESTERN..........................27 PSYCHOBILLY ......................89 WESTERN SWING....................30 BRITISH R&R ........................90 TRUCKS & TRAINS ...................30 SKIFFLE ...........................94 C&W SOUNDTRACKS.................31 AUSTRALIAN R&R ....................95 C&W SPECIAL COLLECTIONS...........31 INSTRUMENTAL R&R/BEAT .............96 COUNTRY AUSTRALIA/NEW ZEALAND....31 COUNTRY DEUTSCHLAND/EUROPE......32 POP.............................103 COUNTRY CHRISTMAS................33 POP INSTRUMENTAL .................136 BLUEGRASS ........................33 LATIN ............................148 NEWGRASS ........................35 JAZZ .............................150 INSTRUMENTAL .....................36 SOUNDTRACKS .....................157 OLDTIME ..........................37 EISENBAHNROMANTIK ...............161 HAWAII ...........................38 CAJUN/ZYDECO ....................39 DEUTSCHE OLDIES ..............162 TEX-MEX ..........................39 KLEINKUNST / KABARETT ..............167 FOLK .............................39 Deutschland - Special Interest ..........167 WORLD ...........................41 BOOKS .........................168 ROCK & ROLL ...................43 BOOKS ...........................168 REGIONAL R&R .....................56 DISCOGRAPHIES ....................174 LABEL R&R -
Dzovig Markarian
It is curious to notice that most of Mr. Dellalian’s writings for piano use aleatoric notation, next to extended techniques, to present an idea which is intended to be repeated a number of times before transitioning to the next. The 2005 compilation called “Sounds of Devotion,” where the composer’s family generously present articles, photos and other significant testimony on the composer’s creative life, remembers the two major influences in his music to be modernism and the Armenian Genocide. GUEST ARTIST SERIES ABOUT DZOVIG MARKARIAN Dzovig Markarian is a contemporary classical pianist, whose performances have been described in the press as “brilliant” (M. Swed, LA Times), and “deeply moving, technically accomplished, spiritually uplifting” (B. Adams, Dilijan Blog). An active soloist as well as a collaborative artist, Dzovig is a frequent guest with various ensembles and organizations such as the Dilijan Chamber Music Series, Jacaranda Music at the Edge, International Clarinet Conference, Festival of Microtonal Music, CalArts Chamber Orchestra, inauthentica ensemble, ensemble Green, Xtet New Music Group, USC Contemporary Music Ensemble, REDCAT Festivals of Contemporary Music, as well as with members of the LA PHIL, LACO, DZOVIG MARKARIAN Southwest Chamber Music, and others. Most recently, Dzovig has worked with and premiered works by various composers such as Sofia Gubaidulina, Chinary Ung, Iannis Xenakis, James Gardner, Victoria Bond, Tigran Mansurian, Artur Avanesov, Jeffrey Holmes, Alan Shockley, Adrian Pertout, Laura Kramer and Juan Pablo Contreras. PIANO Ms. Markarian is the founding pianist of Trio Terroir, a Los Angeles based contemporary piano trio devoted to new and complex music from around the world. -
Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy
Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy Bob Siemienkowicz Winfield School District 34 OS 150 Park Street Winfield, Illinois 60190 A Clinic/Demonstration Presented by Bob Siemienkowicz [email protected] And The 630.909.4974 Winfield Percussion Ensembles ACT 1 Good morning. Thank you for allowing us to show what we do and how we do it. Our program works for our situation in Winfield and we hope portions of it will work for your program. Let’s start with a song and then we will time warp into year one of our program. SONG – Prelude in E minor YEAR 1 – All those instruments The Winfield Band program, my philosophy has been that rhythm is the key to success. I tell all band students “You can learn the notes and fingerings fine, but without good rhythm, no one will understand what you are playing.” This is also true in folkloric music. Faster does not mean you are a better player. How well you communicate musically establishes your level of proficiency. Our first lessons with all band students are clapping exercises I design and lessons from the Goldenberg Percussion method book. Without the impedance of embouchure, fingerings and the thought of dropping a $500 instrument on the floor, the student becomes completely focused on rhythmic study. For the first percussion lesson, the focus is also rhythmic. Without the need for lips, we play hand percussion immediately. For the first Western rudiment, we play paradiddles on conga drums or bongos (PLAY HERE). All percussion students must say paradiddle while they play it. -
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. -
IRCA FOREIGN LOG 10Th Edition +Hrd Again W/Light Inst Mx at 0456 on 1/4
IRCA FOREIGN LOG 10th Edition +Hrd again w/light Inst mx at 0456 on 1/4. Poorer than before. (PM-OR) DX World Wide – West +NRK 0244 12/29 country music occasionally coming thru clearly in domestic TRANS-ATLANTIC DX ROUNDUP slop (I've logged & QSLed this one with this early Mon morning country-music show before). First time I've had audio from this one all season. [Stewart-MO] 162 FRANCE , Allouis, 0230 3/7. Male DJ hosting a program of mainly EE pop +2/15 0503 Poor to fair signals in NN talk and oldies mx. Only TA on the MW songs. Fair signal, but much weaker than Iceland. (NP-AB) band. (VAL-DX) +0406 4/18, pop song in FF. (NP-AB*) 1467 FRANCE , Romoules TRW, 12/27 2309 Fair signals peaking w/good Choraol 189 ICELAND , Guguskalar Rikisutvarpid, 2/15 0032. Fair signals with Icelandic mx and rel mx. Het on this one was huge! New station and new Country on talk and a mix of mx some in EE. Only LW station to produce audio. MW. (SA-MB) (VAL-DX) 1512 SAUDI ARABIA , Jeddah BSKSA, 12/27 2248 poor signals w/AA mx and talk. +0227 3/7. Very good signal w/EE lang R&B pop/rock songs hosted by man in New station. (SA-MB) what I presumed was Icelandic. Ranks up there as the best signal I've hrd +12/29 seemed to sign on right at 0300 with no announcements, int signal, from them. (NP-AB) anthem, or anything, just Koranic chanting. -
Joseph Allard, Le Prince Des Violoneux Jean-Marie Lebel
Document généré le 2 oct. 2021 12:27 Cap-aux-Diamants La revue d'histoire du Québec Joseph Allard, le prince des violoneux Jean-Marie Lebel Magie de la musique traditionnelle Numéro 67, automne 2001 URI : https://id.erudit.org/iderudit/8263ac Aller au sommaire du numéro Éditeur(s) Les Éditions Cap-aux-Diamants inc. ISSN 0829-7983 (imprimé) 1923-0923 (numérique) Découvrir la revue Citer cet article Lebel, J.-M. (2001). Joseph Allard, le prince des violoneux. Cap-aux-Diamants, (67), 16–16. Tous droits réservés © Les Éditions Cap-aux-Diamants inc., 2001 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ JOSEPH ALLARD, LE PRINCE DES VIOLONEUX PAR JEAN-MARIE LEBEL ai découvert Joseph Allard sur le tard. Mon oreille s'était d'aborr d formée aux coups d'archet en écoutant jouer Ti-Blanc Richard et Lévis Boulianne à la télévision sherbrookoise. C'est par le biais du grand Jean Carignan que j'ai entendu parler de Joseph Allard pour la première fois. En effet, en 1976, Carignan enregistra un disque hommage où il ne jouait que des morceaux de Joseph Allard. -
The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók David B. Hill James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Musicology Commons Recommended Citation Hill, David B., "The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók" (2015). Dissertations. 38. https://commons.lib.jmu.edu/diss201019/38 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill A document submitted to the graduate faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 ! TABLE!OF!CONTENTS! ! Figures…………………………………………………………………………………………………………….…iii! ! Abstract……………………………………………………………………………………………………………...iv! ! Introduction………………………………………………………………………………………………………...1! ! PART!I:!SIMILARITIES!SHARED!BY!THE!TWO!NATIONLISTIC!COMPOSERS! ! A.!Origins…………………………………………………………………………………………………………….4! ! B.!Ties!to!Hungary…………………………………………………………………………………………...…..9! -
Soundtrack and Garnering Accolades for Their Debut Album “Remind Me in Three Days.” Check out Our Exclusive Interview on Page 7
Ver su s Entertainment & Culture at Vanderbilt DECEMBER 3—DECEMBER 9, 2008 VOL. 46, NO. 26 “Abstract Progressive” rapping duo The Knux are giving Vincent Chase his soundtrack and garnering accolades for their debut album “Remind Me in Three Days.” Check out our exclusive interview on page 7. We saw a lot of movies over break. We weigh in on which to see and … from which to fl ee. “808s and Heartbreaks” is really good. Hey, Kanye, hey. PLACES TO GO, PEOPLE TO SEE THURSDAY, DECEMBER 4 FRIDAY, DECEMBER 5 SATURDAY, DECEMBER 6 The Regulars Harley Allen Band — Station Inn Parachute Musical and KinderCastle with Noises Carols & Cocoa — Barnes and Noble, Cool THE RUTLEDGE The go-to joint for bluegrass in the Music City features Harley Allen, 10 — The Mercy Lounge and Cannery Ballroom Springs 410 Fourth Ave. S. 37201 Part of the Mercy Lounge’s Winter of Dreamz musical showcase, a well-known song writer who’s worked with Garth Brooks, Dierks Need to get into the Christmas spirit? The Battle Ground Academy 782-6858 Bentley and Gary Allan to name a few. Make sure to see this living Friday’s event showcases Parachute Musical and KinderCastle along Middle School Chorus will lead you in some of your favorite seasonal legend in action. ($10, 9 p.m.) with opener Noises 10. Head to the Mercy Lounge to enjoy some carols as you enjoy delicious hot chocolate. (Free, 11 a.m., 1701 MERCY LOUNGE/CANNERY live local music and $2.50 pints courtesy of Winter of Dreamz co- Mallory Lane, Brentwood) presenter Sweetwater 420. -
The Digital Deli Online - List of Known Available Shows As of 01-01-2003
The Digital Deli Online - List of Known Available Shows as of 01-01-2003 $64,000 Question, The 10-2-4 Ranch 10-2-4 Time 1340 Club 150th Anniversary Of The Inauguration Of George Washington, The 176 Keys, 20 Fingers 1812 Overture, The 1929 Wishing You A Merry Christmas 1933 Musical Revue 1936 In Review 1937 In Review 1937 Shakespeare Festival 1939 In Review 1940 In Review 1941 In Review 1942 In Revue 1943 In Review 1944 In Review 1944 March Of Dimes Campaign, The 1945 Christmas Seal Campaign 1945 In Review 1946 In Review 1946 March Of Dimes, The 1947 March Of Dimes Campaign 1947 March Of Dimes, The 1948 Christmas Seal Party 1948 March Of Dimes Show, The 1948 March Of Dimes, The 1949 March Of Dimes, The 1949 Savings Bond Show 1950 March Of Dimes 1950 March Of Dimes, The 1951 March Of Dimes 1951 March Of Dimes Is On The Air, The 1951 March Of Dimes On The Air, The 1951 Packard Radio Spots 1952 Heart Fund, The 1953 Heart Fund, The 1953 March Of Dimes On The Air 1954 Heart Fund, The 1954 March Of Dimes 1954 March Of Dimes Is On The Air With The Fabulous Dorseys, The 1954 March Of Dimes Is On The Air, The 1954 March Of Dimes On The Air 1955 March Of Dimes 1955 March Of Dimes Is On The Air, The 1955 March Of Dimes, The 1955 Pennsylvania Cancer Crusade, The 1956 Easter Seal Parade Of Stars 1956 March Of Dimes Is On The Air, The 1957 Heart Fund, The 1957 March Of Dimes Galaxy Of Stars, The 1957 March Of Dimes Is On The Air, The 1957 March Of Dimes Presents The One and Only Judy, The 1958 March Of Dimes Carousel, The 1958 March Of Dimes Star Carousel, The 1959 Cancer Crusade Musical Interludes 1960 Cancer Crusade 1960: Jiminy Cricket! 1962 Cancer Crusade 1962: A TV Album 1963: A TV Album 1968: Up Against The Establishment 1969 Ford...It's The Going Thing 1969...A Record Of The Year 1973: A Television Album 1974: A Television Album 1975: The World Turned Upside Down 1976-1977. -
BULLETIN of the INTERNATIONAL FOLK MUSIC COUNCIL
BULLETIN of the INTERNATIONAL FOLK MUSIC COUNCIL No. XXVIII July, 1966 Including the Report of the EXECUTIVE BOARD for the period July 1, 1964 to June 30, 1965 INTERNATIONAL FOLK MUSIC COUNCIL 21 BEDFORD SQUARE, LONDON, W.C.l ANNOUNCEMENTS CONTENTS APOLOGIES PAGE The Executive Secretary apologizes for the great delay in publi cation of this Bulletin. A nnouncements : The Journal of the IFMC for 1966 has also been delayed in A p o l o g i e s ..............................................................................1 publication, for reasons beyond our control. We are sorry for the Address C h a n g e ....................................................................1 inconvenience this may have caused to our members and subscribers. Executive Board M e e t i n g .................................................1 NEW ADDRESS OF THE IFMC HEADQUARTERS Eighteenth C onference .......................................................... 1 On May 1, 1966, the IFMC moved its headquarters to the building Financial C r i s i s ....................................................................1 of the Royal Anthropological Institute, at 21 Bedford Square, London, W.C.l, England. The telephone number is MUSeum 2980. This is expected to be the permanent address of the Council. R e p o r t o f th e E xecutiv e Board July 1, 1964-Ju n e 30, 1965- 2 EXECUTIVE BOARD MEETING S ta tem ent of A c c o u n t s .....................................................................6 The Executive Board of the IFMC held its thirty-third meeting in Berlin on July 14 to 17, 1965, by invitation of the International Institute for Comparative Music Studies and Documentation, N a tio n a l C ontributions .....................................................................7 directed by M. -
Inhaltsverzeichnis
Inhaltsverzeichnis Vorwort 19 Einführung 21 Weshalb Sie dieses Buch lesen sollten 21 Wie man dieses Buch lesen sollte 21 Teil I: Was ist der Blues, und wie kann ich ihn erkennen? 22 Teil II: Wer ist wer im Blues 22 Teil III: Den Blues hören 22 Teil IV: Eine Zehner-Liste für Ausgebuffte 22 Teil V: Den Blues spielen 22 Icons in diesem Buch 22 Teitl Was ist Blues, und Wie kann ich ihn erkennen) 25 Kapitel 1 Wie man Sound und Stit des Blues erkennt 27 Weg mit überkommenen Vorstellungen! 27 Wir hören die wichtigsten Zutaten 28 Die Instrumente im Blues 28 Gitarre 29 Mundharmonika 29 Klavier 29 Schlagzeug 30 Baß 30 Blasinstrumente 30 Ein Wort zu den Texten des Blues 30 Kein Kneipenbummel: Wir untersuchen den 12-Bar-Blues 31 Wie Takte und Taktschläge definiert werden 31 Und was hat das mit der 12 zu tun? 32 Turnarounds 33 Den Takt halten 33 Shuffle 33 Slow Blues 33 Rock Beat 34 Titel mit allen drei Beats 34 Bibliografische Informationen digitalisiert durch http://d-nb.info/988248085 gescannt durch • Blues für Dummies • Kapitel 2 Der Blues hat Viele Schattierungen 35 Der klassische Female Blues 35 Jump Blues 37 Country Blues 38 Piano Blues 39 British Blues 40 Moderner elektrischer Blues 41 Moderner akustischer Blues 42 Rhythm & Blues und Soul-Blues 42 Regionale Blues-Stile 43 Chicago Blues 43 Delta Blues 45 Texas Blues 46 Memphis Blues 47 West Coast Blues 48 Louisiana Blues 49 New Orleans Blues 50 Kapitel 3 Die Verbindungen des Blues zu anderen Musikrichtungen 51 Jazz: Was war zuerst da - das Huhn oder das Ei? 51 R&B: Etwas Rhythmus für den Blues 52 Rock 'n' Roll: Der Blues bekam ein Kind.. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: April 28, 2006 I, Kristín Jónína Taylor, hereby submit this work as part of the requirements for the degree of: Doctorate of Musical Arts in: Piano Performance It is entitled: Northern Lights: Indigenous Icelandic Aspects of Jón Nordal´s Piano Concerto This work and its defense approved by: Chair: Dr. Steven J. Cahn Professor Frank Weinstock Professor Eugene Pridonoff Northern Lights: Indigenous Icelandic Aspects of Jón Nordal’s Piano Concerto A DMA Thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College–Conservatory of Music 28 December 2005 by Kristín Jónína Taylor 139 Indian Avenue Forest City, IA 50436 (641) 585-1017 [email protected] B.M., University of Missouri, Kansas City, 1997 M.M., University of Missouri, Kansas City, 1999 Committee Chair: ____________________________ Steven J. Cahn, Ph.D. Abstract This study investigates the influences, both domestic and foreign, on the composition of Jón Nordal´s Piano Concerto of 1956. The research question in this study is, “Are there elements that are identifiable from traditional Icelandic music in Nordal´s work?” By using set theory analysis, and by viewing the work from an extramusical vantage point, the research demonstrated a strong tendency towards an Icelandic voice. In addition, an argument for a symbiotic relationship between the domestic and foreign elements is demonstrable. i ii My appreciation to Dr. Steven J. Cahn at the University of Cincinnati College- Conservatory of Music for his kindness and patience in reading my thesis, and for his helpful comments and criticism.