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Diana Davies Photograph Collection Finding Aid
Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. -
Pioneers of the Concept Album
Fancy Meeting You Here: Pioneers of the Concept Album Todd Decker Abstract: The introduction of the long-playing record in 1948 was the most aesthetically signi½cant tech- nological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a ½rst generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The ½rst brought together performers unlikely to col- laborate in the world of live music making. The second strategy featured well-known singers in song- writer- or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others. After setting the speed dial to 33 1/3, many Amer- icans christened their multiple-speed phonographs with the original cast album of Rodgers and Hammer - stein’s South Paci½c (1949) in the new long-playing record (lp) format. The South Paci½c cast album begins in dramatic fashion with the jagged leaps of the show tune “Bali Hai” arranged for the show’s large pit orchestra: suitable fanfare for the revolu- tion in popular music that followed the wide public adoption of the lp. Reportedly selling more than one million copies, the South Paci½c lp helped launch Columbia Records’ innovative new recorded music format, which, along with its longer playing TODD DECKER is an Associate time, also delivered better sound quality than the Professor of Musicology at Wash- 78s that had been the industry standard for the pre- ington University in St. -
Theatre Organ Pops
Volume 29, Nos. 3–4 • March – April 2018 www.pstos.org • www.facebook.com/pstos 2018 Series AN POPS G OR Toe-tapping tunes THEATRE from the 1920s, ’30s, ’40s From Washington D.C. TEDDE GIBSON plays the 3-manual 25-rank Kimball-Wurlitzer Theatre Pipe Organ Calvary Christian Assembly 6801 Roosevelt Way NE • Seattle Saturday, April 14, 2 PM ADMISSION (For those who are not series subscribers) PSTOS members $20 – Non-members $25 Age 16 and under FREE with adult Tedde Gibson, an eclectic musician whose chosen instrument is the organ, plays classical pipe organ, theatre organ, and Hammond. To purchase tickets online , see page 3 He also plays gospel, jazz and classical piano. His several recordings of the 4-manual 38-rank Hardman Studio theatre organ located in Great Falls, VA incorporate the wonderful sounds of this instrument SPECIAL BONUS for organists, AGO members, in a unique mix of music from gospel to hymns to jazz. piano students, Hammond players! A native of Tacoma, WA, he began playing piano at age four and Tedde will present a FREE WORKSHOP pipe organ at age 16. He studied classical organ with the late Dr. Edward Hansen and Dr. Carol Terry, classical organ improvisation “Gospel music, orchestral transcriptions, with Dr. J. Melvin Butler and David Dahl, and theatre organ stylings with Jonas Nordwall. He was a featured organist at Pizza & Pipes and more— on the theatre organ” in Tacoma. Since 2003 he has resided in the metropolitan DC area Friday evening, April 13, 7–9 PM where he is active in both the theatre and church organ scenes. -
Subjugation IV
Subjugation 4 Tribulation by Fel (aka James Galloway) ToC 1 To: Title ToC 2 Chapter 1 Koira, 18 Toraa, 4401, Orthodox Calendar Wednesday, 28 January 2014, Terran Standard Calendar Koira, 18 Toraa, year 1327 of the 97th Generation, Karinne Historical Reference Calendar Foxwood East, Karsa, Karis Amber was starting to make a nuisance of herself. There was just something intrinsically, fundamentally wrong about an insufferably cute animal that was smart enough to know that it was insufferably cute, and therefore exploited that insufferable cuteness with almost ruthless impunity. In the 18 days since she’d arrived in their house, she’d quickly learned that she could do virtually anything and get away with it, because she was, quite literally, too cute to punish. Fortunately, thus far she had yet to attempt anything truly criminal, but that didn’t mean that she didn’t abuse her cuteness. One of the ways she was abusing it was just what she was doing now, licking his ear when he was trying to sleep. Her tiny little tongue was surprisingly hot, and it startled him awake. “Amber!” he grunted incoherently. “I’m trying to sleep!” She gave one of her little squeaking yips, not quite a bark but somewhat similar to it, and jumped up onto his shoulder. She didn’t even weigh three pounds, she was so small, but her little claws were like needles as they kneaded into his shoulder. He groaned in frustration and swatted lightly in her general direction, but the little bundle of fur was not impressed by his attempts to shoo her away. -
Title Composer Lyricist Arranger Cover Artist Publisher Date Notes Sabbath Chimes (Reverie) F
Title Composer Lyricist Arranger Cover artist Publisher Date Notes Sabbath Chimes (Reverie) F. Henri Klickmann Harold Rossiter Music Co. 1913 Sack Waltz, The John A. Metcalf Starmer Eclipse Pub. Co. [1924] Sadie O'Brady Billy Lindemann Billy Lindemann Broadway Music Corp. 1924 Sadie, The Princess of Tenement Row Frederick V. Bowers Chas. Horwitz J.B. Eddy Jos. W. Stern & Co. 1903 Sail Along, Silv'ry Moon Percy Wenrich Harry Tobias Joy Music Inc 1942 Sail on to Ceylon Herman Paley Edward Madden Starmer Jerome R. Remick & Co. 1916 Sailin' Away on the Henry Clay Egbert Van Alstyne Gus Kahn Starmer Jerome H. Remick & Co. 1917 Sailin' Away on the Henry Clay Egbert Van Alstyne Gus Kahn Starmer Jerome H. Remick & Co. 1917 Sailing Down the Chesapeake Bay George Botsford Jean C. Havez Starmer Jerome H. Remick & Co. 1913 Sailing Home Walter G. Samuels Walter G. Samuels IM Merman Words and Music Inc. 1937 Saint Louis Blues W.C. Handy W.C. Handy NA Tivick Handy Bros. Music Co. Inc. 1914 Includes ukulele arrangement Saint Louis Blues W.C. Handy W.C. Handy Barbelle Handy Bros. Music Co. Inc. 1942 Sakes Alive (March and Two-Step) Stephen Howard G.L. Lansing M. Witmark & Sons 1903 Banjo solo Sally in our Alley Henry Carey Henry Carey Starmer Armstronf Music Publishing Co. 1902 Sally Lou Hugo Frey Hugo Frey Robbins-Engel Inc. 1924 De Sylva Brown and Henderson Sally of My Dreams William Kernell William Kernell Joseph M. Weiss Inc. 1928 Sally Won't You Come Back? Dave Stamper Gene Buck Harms Inc. -
Quintet/String Orchestra Repertoire
Millington Strings Quintet Repertoire 2019 Title Composer A Chloris Reynaldo Hahn A Summer Place Percy Faith/Max Steiner A Thousand Years Hodges/Perri Adagietto fr Symphony # 5 Gustav Mahler Adagio Tomaso Albinoni Adagio Cantabile Ludwig van Beethoven Agnus Dei Johann Sebastian Bach Air (fr 2nd French Suite) Johann Sebastian Bach Air (fr Water Music) Georg Friedrich Handel Air (On The G String) Johann Sebastian Bach All Hail to Thee Ingemar Braennstroem All I Ask Of You Andrew Lloyd-Webber All I Want Is You Bono All You Need Is Love John Lennon/Paul McCartney Amazing Grace English/American Traditional Americana Suite, Mvt 1: 400 HP, Heavy Foot Stephen H Millington Americana Suite, Mvt 2: Foxy Stephen H Millington Americana Suite, Mvt 3: Starry Night, Starry Eyes Stephen H Millington Americana Suite, Mvt 4: Aretha Stephen H Millington And I Love Her John Lennon/Paul McCartney And So It Goes Billy Joel Andante (fr Water Music) Georg Friedrich Handel Andante Festivo Jean Sibelius Ang Tangi Kong Pag-Ibig Constancio de Guzman Anitra's Dance Edvard Grieg Aniversary Waltz Dave Franklin/Al Dubin April In Portugal Raul Ferrao Aria sopra la Bergamasca Marco Uccellini Tuesday, August 6, 2019 Page 1 of 14 Title Composer Arioso Johann Sebastian Bach Asher Bara Israeli Traditional Asher Boro Israeli Traditional Ashokan Farewell Jay Ungar At Last Mack Gordon/Harry Warren Ave Maria Johann Sebastian Bach/Charles Gounod Ave Maria Franz Schubert Bachianas # 5 Heitor Villa-Lobos Badinerie Johann Sebastian Bach Ballade Ciprian Porumbescu Be Thou My Vision -
12.4 Radio Days Song List
BIG BAND SONG LIST Laughter to raise a nation’s spirits. Music to stir a nation’s soul. Lorie Carpenter-Niska • Sheridan Zuther Kurt Niska • Michael Swedberg • Terrence Niska A Five By Design Production I’ve Got A Gal In Kalamazoo ..........................Mack Gordon & Harry Warren Big Noise From Winnetka .Bob Haggart, Ray Bauduc, Gil Rodin & Bob Crosby I’ll Never Smile Again ..............................................................Ruth Lowe Three Little Fishies .............................................................. Saxie Dowell Mairzy Doats .............................Milton Drake, Al Hoffman & Jerry Livingston Personality ........................................... Jimmy Van Heusen & Johnny Burke Managua Nicaragua ....................................... Albert Gamse & Irving Fields Opus One...................................................................................Sy Oliver Moonlight In Vermont............................... John Blackburn & Karl Seussdorf Juke Box Saturday Night ..................................Al Stillman & Paul McGrane Boogie Woogie Bugle Boy .................................. Don Raye & Hughie Prince INTERMISSION A-Tisket, A-Tasket ...................................... Van Alexander & Ella Fitzgerald Roodle Dee Doo ......................................Jimmy McHugh & Harold Adamson Halo Shampoo .......................................................................... Joe Rines The Trolley Song............................................... Ralph Blane & Hugh Martin Let’s Remember Pearl Harbor -
“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. -
The Great American Songbook in the Classical Voice Studio
THE GREAT AMERICAN SONGBOOK IN THE CLASSICAL VOICE STUDIO BY KATHERINE POLIT Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Wise, Research Director and Chair __________________________________ Gary Arvin __________________________________ Raymond Fellman __________________________________ Marietta Simpson ii For My Grandmothers, Patricia Phillips and Leah Polit iii ACKNOWLEDGMENTS I wish to express my sincerest thanks to the members of my committee—Professor Patricia Wise, Professor Gary Arvin, Professor Marietta Simpson and Professor Raymond Fellman—whose time and help on this project has been invaluable. I would like to especially thank Professor Wise for guiding me through my education at Indiana University. I am honored to have her as a teacher, mentor and friend. I am also grateful to Professor Arvin for helping me in variety of roles. He has been an exemplary vocal coach and mentor throughout my studies. I would like to give special thanks to Mary Ann Hart, who stepped in to help throughout my qualifying examinations, as well as Dr. Ayana Smith, who served as my minor field advisor. Finally, I would like to thank my family for their love and support throughout my many degrees. Your unwavering encouragement is the reason I have been -
"Ego, Scriptor Cantilenae": the Cantos and Ezra Pound
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 1991 "Ego, scriptor cantilenae": The Cantos and Ezra Pound Steven R. Gulick University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©1991 Steven R. Gulick Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Literature in English, North America Commons Recommended Citation Gulick, Steven R., ""Ego, scriptor cantilenae": The Cantos and Ezra Pound" (1991). Dissertations and Theses @ UNI. 753. https://scholarworks.uni.edu/etd/753 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. "EGO, SCRIPTOR CANTILENAE": THE CANTOS AND EZRA POUND An Abstract of a Thesis Submitted in Fulfillment of the Requirements for the Degree Master of Philosophy Steven R. Gulick University of Northern Iowa August 1991 ABSTRACT Can poetry "make new" the world? Ezra Pound thought so. In "Cantico del Sole" he said: "The thought of what America would be like/ If the Classics had a wide circulation/ Troubles me in my sleep" (Personae 183). He came to write an 815 page poem called The Cantos in which he presents "fragments" drawn from the literature and documents of the past in an attempt to build a new world, "a paradiso terreste" (The Cantos 802). This may be seen as either a noble gesture or sheer egotism. Pound once called The Cantos the "tale of the tribe" (Guide to Kulchur 194), and I believe this is so, particularly if one associates this statement with Allen Ginsberg's concerning The Cantos as a model of a mind, "like all our minds" (Ginsberg 14-16). -
Jeepers Creepers the Scholar & the Singer Onstage Together Bring Johnny Mercer’S Life and Songs Alive in a Wonderful Show of Stories and Music
The Life and Songs of Johnny Mercer Jeepers Creepers The Scholar & the Singer onstage together bring Johnny Mercer’s life and songs alive in a wonderful show of stories and music. To Oscar Hammerstein, Johnny Mercer was “the most perfect American lyricist alive.” Jeepers Creepers tells the sto- ries of Mercer’s tormented but glorious life and career, exploring the connections between Mercer’s turbulent life and his numerous hit songs. Jeepers Creepers is a show based on Philip Furia’s book, Skylark: The Life and Times of Johnny Mercer, and on Banu Gibson’s CD, Banu Gibson Sings Johnny Mercer. Songs from the show include: Skylark, Come Rain Or Come Shine, One For My Baby, Dearly Beloved, Lazybones, I Remember You, On the Atchison, Topeka & the Santa Fe and Jeepers Creepers. Philip Furia is the author of Skylark, the Life and Banu Gibson brought in the Millennium with Keith Times of Johnny Mercer; Irving Berlin: A Life in Song; Lockhart and the Boston Pops. She and her band per- Ira Gershwin: the Art of the Lyricist; and Poets of Tin formed at the Hollywood Bowl with John Mauceri con- Pan Alley: A History of America’s Great Lyricists. He is ducting the Hollywood Bowl Orchestra, and appeared a professor in the Department of Creative Writing at on Garrison Keillor’s award-winning NPR series, A the University of North Carolina at Wilmington. Prairie Home Companion. She is also highlighted in Previously, he was the Chair of the Department of Charles Kuralt’s book, Charles Kuralt’s America. Banu English at the University of Minnesota where he taught and her band, New Orleans Hot Jazz, regularly tour for 25 years. -
Alvin Fiedler Anthony Braxton Barbara Dane Bobby Zankel Cecil Taylor Leon Russell
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC BARB BFFFFFFFF ANA ALVIN FIEDLER ANTHONY BRAXTON BARBARA DANE BOBBY ZANKEL CECIL TAYLOR LEON RUSSELL Jazz in South Africa Top Ten Critics Picks of 2016 International Jazz News CD Reviews Book Reviews DVD Reviews Obituaries Volume 43 Number 1 Jan Feb March 2017 HANS LÜDEMANN DAS REALE KLAVIER „There are musicians that are more real Hans Lüdemann – piano & virtual piano than others, real in the sense that they carry more truth in them as others... because the musician devotes himself without doubt completely to the music, lets himself be reached by the origin of what he wants to say without anything coming from elsewhere, neither an outer world or another source. This is what pianist Hans Lüdemann does on a CD entitled „das reale Klavier“ – in an incredible way, never heard new solo album and rarely with such on BMC records/MVD intensity“. nominated for „Deutscher notes des jazz/France, Schallplattenpreis 2016“ Michel Arcens, 2015 CD of the month – piano news 3/4 -2016 www.HansLuedemann.de vision of sound "Vincent has written some lovely tunes and plays them with a Debussy- like tension. More please, this is a fine mainstream pianist." Robert D. Rusch Cadence Magazine Future/memory jazz full of dynamism, melody and groove. Masterful composi- tions intimately performed. Beautiful music. Nick Luscombe, BBC Radio 3 Late Junction/FlomotionRadio Dynamic, sublime, refreshing. Occasionally too much of a good thing can be wonderful. Peter Wockner, Jazz and Beyond Captivating, vast shimmering piano impressionism with a unique sensitivity for sound. Robert Ratajczak, Longplay Available now on Vision Of Sound Records.