Holiday Inn Study Guide
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Music, Dance and Theatre (MDT) 1
Music, Dance and Theatre (MDT) 1 MDT 510 Latin American Music (3 Credits) MUSIC, DANCE AND THEATRE A course in the music of selected Latin America countries offering music and Spanish-language majors and educators perspectives into the (MDT) musical traditions of this multifaceted region. Analysis of the music will be discussed in terms that accommodate non specialists, and all lyrics MDT 500 Louis Armstrong-American Hero (3 Credits) will be supplied with English translations. A study of the development of jazz with Louis Armstrong as the vehicle: MDT 511 Vocal Pedagogy (3 Credits) who he influenced and how he did it. Comparative analytical studies with This course is to provide the student of singing a deeper understanding his peers and other musicians are explored. of the vocal process, physiology, and synergistic nature of the vocal MDT 501 Baroque Music (3 Credits) mechanism. We will explore the anatomical construction of the voice as This course offers a study of 17th and 18th century music with particular well as its function in order to enlighten the performer, pedagogue and emphasis on the works of Johann Sebastian Bach, Dietrich Buxtehude, scholar. Each student will learn to codify a practical knowledge of, and Arcangelo Corelli, Francois Couperin, Andrea and Giovanni Gabrieli, skill in, teaching voice. George Frederick Handel, Jean-Baptiste Lully, Claudio Monteverdi, Jean- MDT 520 Musical On B'Way&Hollywood I (3 Credits) Philippe Rameau, Alessandro and Domenico Scarlatti, Gerog Telemann, This course offers an analysis of current Broadway musicals with special and Antonio Vivaldi. seminars with those connected with one or two productions. -
A Quantitative Analysis of the Songs of Cole Porter and Irving Berlin
i DEVELOPMENT OF CREATIVE EXPERTISE IN MUSIC: A QUANTITATIVE ANALYSIS OF THE SONGS OF COLE PORTER AND IRVING BERLIN A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Richard W. Hass January, 2009 ii ABSTRACT Previous studies of musical creativity lacked strong foundations in music theory and music analysis. The goal of the current project was to merge the study of music perception and cognition with the study of expertise-based musical creativity. Three hypotheses about the nature of creativity were tested. According to the productive-thinking hypothesis, creativity represents a complete break from past knowledge. According to the reproductive-thinking hypothesis, creators develop a core collection of kernel ideas early in their careers and continually recombine those ideas in novel ways. According to what can be called the field hypothesis, creativity involves more than just the individual creator; creativity represents an interaction between the individual creator, the domain in which the creator works, and the field, or collection of institutions that evaluate creative products. In order to evaluate each hypothesis, the musical components of a sample of songs by two eminent 20 th century American songwriters, Cole Porter and Irving Berlin, were analyzed. Five separate analyses were constructed to examine changes in the psychologically salient musical components of Berlin’s and Porter’s songs over time. In addition, comparisons between hit songs and non-hit songs were also drawn to investigate whether the composers learned from their cumulative songwriting experiences. Several developmental trends were found in the careers of both composers; however, there were few differences between hit songs and non-hit songs on all measures. -
The New Sound Orchestra the Music of Richard Rodgers and Irving Berlin Mp3, Flac, Wma
The New Sound Orchestra The Music Of Richard Rodgers And Irving Berlin mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Pop Album: The Music Of Richard Rodgers And Irving Berlin Country: Switzerland Released: 1972 Style: Easy Listening MP3 version RAR size: 1308 mb FLAC version RAR size: 1251 mb WMA version RAR size: 1839 mb Rating: 4.7 Votes: 874 Other Formats: VQF AA MP1 MPC ASF AHX AIFF Tracklist Richard Rogers A1 With A Song In My Heart A2 The Lady Is A Tramp A3 Blue Moon A4 Bewitched A5 Where Or When A6 My Funny Valentine A7 There Is A Small Hotel A8 I Didn't Know What Time It Was A9 If I Loved You A10 Blues From "Slaugther On Tenth Avenue" A11 It Might As Well Be Spring A12 Lover Irving Berlin A1 Easter Parade A2 Cheek To Cheek A3 Let's Face The Music And Dance A4 Isn't It A Lovely Day A5 Always A6 Play A Simple Melody A7 Blue Skies A8 Alexander's Ragtime Band A9 How Deep Is The Ocean A10 I've Got My Love To Keep Me Warm A11 The Girl That I Marry A12 They Say It's Wunderful Notes Made in Switzerland. Barcode and Other Identifiers Rights Society: BIEM Matrix / Runout (Label Side A): EL 363-A Matrix / Runout (Label Side B): EL 363-B Related Music albums to The Music Of Richard Rodgers And Irving Berlin by The New Sound Orchestra Claude Bolling - Joue Irving Berlin "I Love A Piano" Geraldo And His Orchestra - Dance, Dance, Dance! Vol. -
“White Christmas”—Bing Crosby (1942) Added to the National Registry: 2002 Essay by Cary O’Dell
“White Christmas”—Bing Crosby (1942) Added to the National Registry: 2002 Essay by Cary O’Dell Crosby’s 1945 holiday album Original release label “Holiday Inn” movie poster With the possible exception of “Silent Night,” no other song is more identified with the holiday season than “White Christmas.” And no singer is more identified with it than its originator, Bing Crosby. And, perhaps, rightfully so. Surely no other Christmas tune has ever had the commercial or cultural impact as this song or sold as many copies--50 million by most estimates, making it the best-selling record in history. Irving Berlin wrote “White Christmas” in 1940. Legends differ as to where and how though. Some say he wrote it poolside at the Biltmore Hotel in Phoenix, Arizona, a reasonable theory considering the song’s wishing for wintery weather. Some though say that’s just a good story. Furthermore, some histories say Berlin knew from the beginning that the song was going to be a massive hit but another account says when he brought it to producer-director Mark Sandrich, Berlin unassumingly described it as only “an amusing little number.” Likewise, Bing Crosby himself is said to have found the song only merely adequate at first. Regardless, everyone agrees that it was in 1942, when Sandrich was readying a Christmas- themed motion picture “Holiday Inn,” that the song made its debut. The film starred Fred Astaire and Bing Crosby and it needed a holiday song to be sung by Crosby and his leading lady, Marjorie Reynolds (whose vocals were dubbed). Enter “White Christmas.” Though the film would not be seen for many months, millions of Americans got to hear it on Christmas night, 1941, when Crosby sang it alone on his top-rated radio show “The Kraft Music Hall.” On May 29, 1942, he recorded it during the sessions for the “Holiday Inn” album issued that year. -
Hollywood Musicals
i HOLLYWOOD MUSICALS Hollywood Musicals offers an insightful account of a genre that was once a main- stay of twentieth- century fi lm production and continues to draw audiences today. What is a fi lm musical? How do musicals work, formally and culturally? Why have they endured since the introduction of sound in the late 1920s? What makes them more than glittery surfaces or escapist fare? In answering such questions, this guidebook by Steven Cohan takes new and familiar viewers on a tour of Hollywood musicals. Chapters discuss defi nitions of the genre, its long history, different modes of analyzing it, the great stars of the classic era, and auteur directors. Highlights include extended discussions of such celebrated musicals from the studio era as The Love Parade, Top Hat , Holiday Inn , Stormy Weather, The Gang’s All Here, Meet Me in St. Louis, Cover Girl, Mother Wore Tights, Singin’ in the Rain , Gentlemen Prefer Blondes, The Band Wagon , Seven Brides for Seven Brothers , and Jailhouse Rock as well as later fi lms, such a s Cabaret , All that Jazz, Beauty and the Beast, and La La Land. Cohan brings in numerous other examples that amplify and extend to the present day his claims about the musical, its generic coherence and fl exibility, its long and distinguished history, its special appeal, and its cultural signifi cance. Clear and accessible, this guide provides students of fi lm and culture with a succinct but substantial overview that provides both analysis and intersectional context to one of Hollywood’s most beloved genres. Steven Cohan’s books include Masked Men: Masculinity and the Movies in the Fifties, Incongruous Entertainment: Camp, Cultural Value, and the MGM Musical , and Hollywood by Hollywood: The Backstudio Picture and the Mystique of Making Movies. -
Hello! My Baby Student Guide.Pdf
Goodspeed’s Student Guide to the Theatre is made possible through the generosity of GOODSPEED MUSICALS GOODSPEED GUIDE TO THE THEATRE Student The Max Showalter Center for Education in Musical Theatre HELLO! MY BABY The Norma Terris Theatre November 3 - 27, 2011 _________ CONCEIVED & WRITTEN BY CHERI STEINKELLNER NEW LYRICS BY CHERI STEINKELLNER Student Guide to the Theatre TABLE OF CONTENTS NEW MUSIC & ARRANGEMENTS BY GEORGIA STITT ABOUT THE SHOW: The Story...................………………………………………….3 LIGHTING DESIGN BY JOHN LASITER ABOUT THE SHOW: The Characters...........................……………………………5 ABOUT THE SHOW: The Writers....................…..…………………………………...6 COSTUME DESIGN BY ROBIN L. McGEE Listen Up: Tin Pan Alley Tunes................………………………………................7 SCENIC DESIGN BY A Few Composers + Lyricists..............................……………………………….....8 MICHAEL SCHWEIKARDT Welcome to the Alley!...............…………………………………………………...10 CHOREOGRAPHED BY Breaking into the Boys Club......…………………………………………………...11 KELLI BARCLAY New York City..............................…………………………………………………...12 DIRECTED BY RAY RODERICK FUN AND GAMES: Word Search........................................................................13 FUN AND GAMES: Crossword Puzzle….……………………………...................14 PRODUCED FOR GOODSPEED MUSICALS BY How To Be An Awesome Audience Member…………………......................15 MICHAEL P. PRICE The Student Guide to the Theatre for Hello! My Baby was prepared by Joshua S. Ritter M.F.A, Education & Library Director and Christine Hopkins, -
Call Me Madam, P
NEW YORK CITY CENTER EDUCATION INSIDE ENCORES! Your personal guide to the performance. S AR E Y 5 7 TABLE OF CONTENTS CONTEXT Inspiration for Call Me Madam, p. 4-5 Meet the Creators & Artists, p. 6-7 An Interview with Casey Hushion, p. 8-9 Call Me Madam’s Lasting Influence on Encores!, p. 10-12 Glossary, p. 13 RESOURCES & ACTIVITIES Before the Show, p. 15 Intermission Activity, p. 16-17 After the Show, p. 18 Sources p. 19 Up Next for City Center Education p. 20-21 CONTEXT INSPIRATION FOR CALL ME Perle Mesta WHO WAS SHE? Perle Mesta was the first United States Ambassador to MADAM Luxembourg. The original “hostess with the mostest,” Mes- ta was known for hosting lavish parties in Washington D.C for almost 30 years. Born in Oklahoma, her family came into wealth when her father became involved in the oil and real-estate industries. In 1917 she married George Mesta, owner of Mesta Machinery. Mrs. Mesta became interested in politics when her husband introduced her to several high-ranking officials, including President Calvin Coolidge. Following her husband’s death, she became heavily involved in the quest for women’s rights and joined the National Women’s Party as its Congressional chairman and Public Relations specialist. While lobbying for the Equal Rights Amendment, she made a multitude of con- nections with politicians who would later attend her famous social gatherings. A Republican for most of her life, Mesta realigned herself with the Democratic party, opting to give financial support to then Senator Harry Truman. -
CONSTRUCTING TIN PAN ALLEY 17 M01 GARO3788 05 SE C01.Qxd 5/26/10 4:35 PM Page 18
M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos. -
Rent Glossary of Terms
Rent Glossary of Terms 11th Street and Avenue B CBGB’s – More properly CBGB & OMFUG, a club on Bowery Ave between 1st and 2nd streets. The following is taken from the website http://www.cbgb.com. It is a history written by Hilly Kristal, the founder of CBGB and OMFUG. The question most often asked of me is, "What does CBGB stand for?" I reply, "It stands for the kind of music I intended to have, but not the kind that we became famous for: COUNTRY BLUEGRASS BLUES." The next question is always, "but what does OMFUG stand for?" and I say "That's more of what we do, It means OTHER MUSIC FOR UPLIFTING GORMANDIZERS." And what is a gormandizer? It’s a voracious eater of, in this case, MUSIC. […] The obvious follow up question is often "is this your favorite kind of music?" No!!! I've always liked all kinds but half the radio stations all over the U.S. were playing country music, cool juke boxes were playing blues and bluegrass as well as folk and country. Also, a lot of my artist/writer friends were always going off to some fiddlers convention (bluegrass concert) or blues and folk festivals. So I thought it would be a whole lot of fun to have my own club with all this kind of music playing there. Unfortunately—or perhaps FORTUNATELY—things didn't work out quite the way I 'd expected. That first year was an exercise in persistence and a trial in patience. My determination to book only musicians who played their own music instead of copying others, was indomitable. -
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School 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 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans. -
Irving Berlin's Holiday
IIrrvviinngg BBeerrlliinn’’ss HHoolliiddaayy IInnnn At the Fireside Dinner Theatre (Fort Atkinson, WI) Sunday, November 14, 2021 Sunday, November 14, 2021 PPeerr PPeerrssoonn RRaattee:: $$112299 The Ark Encounter Irving Berlin’s HOLIDAY INN tells the story of Jim, who leaves the bright lights of show business behind to settle down on his farmhouse in Connecticut, but life just isn’t the same without a bit of song and dance. Jim’s luck takes a spectacular turn when he meets Linda, a spirited schoolteacher with talent to spare. Together they turn the farmhouse into a fabulous inn with dazzling performances to celebrate each holiday, from Thanksgiving to the Fourth of July. But when Jim’s best friend Ted tries to lure Linda away to be his new dance partner in Hollywood, will Jim be able to salvage his last chance at love? Based on the classic film, this joyous musical features thrilling dance numbers, laugh-out-loud comedy and a parade of hit Irving Berlin songs, including “Blue Skies,” “Easter Parade,” “Steppin’ Out With My Baby,” “Heat Wave,” “White Christmas,” “Be Careful, It’s My Heart,” “Cheek to Cheek,” “Shaking the Blues Away” and many more. It’s a year-round classic to make any holiday sparkle! Sunday Matinee Brunch Begin your Brunch with an assortment of Quick Breads and Pastries from our Bakery along with a Fresh Fruit Smoothie. Each show our Chef will prepare a Beef Tenderloin dish and select one of our popular Breakfast Potatoes for our Brunch Buffet which includes Chef-Carved Jones Hickory Smoked Ham and Roast Turkey Breast, Eggs Benedict on Jones Canadian Bacon, Scrambled Eggs, Bacon, Maple Sausage Links, Chicken Tenderloin Tempura with Brandied Apricot Sauce, Biscuits and Sausage Gravy, Fresh Atlantic Salmon, Buttermilk Pancakes, and Roasted Farm Fresh Vegetables. -
Program Notes
Saturday, March 11, 2017, at 8:30 pm m a r We Never Do This: An Evening g with Kristen & Bobby Lopez o r Brian Usifer, Musical Director and Piano P Entcho Todorov, Concertmaster and Violin e Emily Bruskin Yarbrough, Violin h Allison Seidner, Cello T Marc Phaneuf, Reeds Jake Ezra Schwartz, Guitar Dave Phillips, Bass Sean McDaniel, Drums Gordon Greenberg, Director This evening’s program is approximately 75 minutes long and will be performed without intermission. Please make certain all your electronic devices are switched off. Major support for Lincoln Center’s American Songbook is provided by Amy & Joseph Perella. Endowment support provided by Bank of America This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall American Songbook Additional support for Lincoln Center’s American Songbook is provided by Meg and Bennett Goodman, Rita J. and Stanley H. Kaplan Family Foundation, Inc., The DuBose and Dorothy Heyward Memorial Fund, Jill & Irwin B. Cohen, The Shubert Foundation, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center. Public support is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. American Airlines is the Official Airline of Lincoln Center Nespresso is the Official Coffee of Lincoln Center NewYork-Presbyterian is the Official Hospital of Lincoln Center Artist catering provided by Zabar’s and Zabars.com UPCOMING AMERICAN SONGBOOK EVENTS IN THE STANLEY H. KAPLAN PENTHOUSE: Wednesday, March 22, at 8:00 pm Joan Shelley Thursday, March 23, at 8:00 pm Julian & Leon Fleisher: The Man I Love Friday, March 24, at 8:00 pm Olga Bell Monday, March 27, at 8:00 pm Matt Gould & Griffin Matthews Tuesday, March 28, at 8:00 pm The Cactus Blossoms Wednesday, March 29, at 8:00 pm Ruby Amanfu The Stanley H.