DOCSLIB.ORG

(M-)Ein Blick Auf Ragtime - Populäre Musik Zu Beginn Des 20

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(M-)Ein Blick Auf Ragtime - Populäre Musik Zu Beginn Des 20 Klaus Pehl (M-)Ein Blick auf Ragtime - Populäre Musik zu Beginn des 20. Jahrhunderts und unvergänglich liebenswürdig (M-)Ein Blick auf Ragtime - Populäre Musik zu Beginn des 20. Jahrhunderts und unvergänglich liebenswürdig Copyright © Klaus Pehl 2020 Landgrabenweg 3, 53227 Bonn E-Mail [email protected] Web www.ragtime-society.de oder www.klauspehl.de Dieser Text wird nicht in gedruckter Fassung erscheinen. Nur ausgewählten Freunden und Institutionen, u.a. den Mitgliedern der "Ragtime Society Frankfurt" sowie dem Jazzinstitut Darmstadt, wird er per E-Mail elektronisch als PDF-Datei überlassen. Ansonsten wird er downloadbar über http://www.ragtime-society.de oder http://www.klauspehl.de sein. Hinweis: Die zahlreich über den Text verstreuten internen Links zu auf meinem PC verfügbaren MIDI- Dateien als Tonquellen, besonders im Kapitel 8 und dem Abschnitt 11.1.2 des Anhangs, werden mit der PDF-Datei allein, auch als Download von den genannten Web-Seiten, nicht funktionieren. Ich arbeite daran, dass die internen Links wenigstens beim „Online-Lesen“ des Texts etwas nutzen. Alle externe Links auf Quellen im Internet werden direkt aus der PDF-Datei des Textes funktionieren. Das Bild auf der vorderen Umschlagseite beruht auf einem Scan des Deckblatts der Sheet Musik von „Maple Leaf Rag“ (Scott Joplin, Stark Music Co, St. Louis 1899) aus meinem Besitz, das Bild auf der hinteren Umschlagseite enthält ein allgemein zugängliches Foto des Komponisten, wie es auf dem Deckblatt von „Cascades“ (Scott Joplin, Stark Music Co, St. Louis 1904) abgedruckt war. Wenn meine Ausführungen sich im Einzelnen als falsch oder lückenhaft erweisen, freue ich mich über jede korrigierende E-Mail ebenso wie andere Rückmeldungen an [email protected]. 1 (M-)Ein Blick auf Ragtime - Populäre Musik zu Beginn des 20. Jahrhunderts und unvergänglich liebenswürdig Klaus Pehl, begonnen 22. April 2020, Stand 19.12.2020 Inhalt 1 Vorbemerkungen............................................................................................................................. 3 2 Einleitung ......................................................................................................................................... 8 3 Wann ist ein "Rag" ein Rag? .......................................................................................................... 11 4 Eine Zeitleiste mit Meilensteinen zur Übersicht ........................................................................... 16 5 Ausgewählte Komponisten............................................................................................................ 27 5.1 Frühe Rags oder “Folk”-Rags (1897-1905) ............................................................................ 28 5.2 Die “Joplin”-Tradition oder “klassischer” Ragtime ................................................................ 33 5.3 Populärer Ragtime (1906-1912) ............................................................................................ 61 5.4 Weiterentwickelter Ragtime (1913-1917) ............................................................................ 66 5.5 Novelty Ragtime (1918-1928) ............................................................................................... 72 5.6 Ragtime im Harlem-Stride-Stil (1918-1929) .......................................................................... 73 5.7 Jelly Roll Morton Ragtime ..................................................................................................... 77 5.8 Ragtime Revival ..................................................................................................................... 78 6 Sheet Music und die Rolle der Verlage ......................................................................................... 81 6.1 Piano-Rags und Ragtime-Songs ............................................................................................. 83 6.2 Band Arrangements – Das „Red Back Book” ......................................................................... 86 6.2.1 Ein Vorspann .................................................................................................................. 86 6.2.2 Einleitender Text ........................................................................................................... 88 6.2.3 Die Sammlung „Red Back Book“.................................................................................... 89 6.2.4 Geschichte der Musik .................................................................................................... 94 6.2.5 „Red Back Book“ auf Tonträgern ................................................................................... 99 6.2.6 Faksimile-Ausgabe 2008 und Notenquellen ................................................................ 106 7 Die Musiker ................................................................................................................................. 115 7.1 Pianisten .............................................................................................................................. 118 7.2 Bands ................................................................................................................................... 119 7.2.1 Historische Bands – eine Auswahl ............................................................................... 120 7.2.2 Aktuell aktive Bands/Orchester ................................................................................... 122 8 Anatomie eines Rags am Beispiel des „Pine Apple Rag“ (Scott Joplin 1908) .............................. 128 8.1 Vorspann ............................................................................................................................. 129 8.2 Die Rhythmik ....................................................................................................................... 130 8.2.1 Der Beat – Das europäische Gerüst ............................................................................. 130 8.2.2 Das Charakteristikum - Synkopierte Melodien mit afroamerikanischen Polyrhythmen 132 2 8.3 Die Form – kein charakteristisches Merkmal ...................................................................... 137 8.3.1 Aufbau eines Rags – die Makroform ........................................................................... 137 8.3.2 Aufbau der Teile eines Rags – die Mikroform ............................................................. 144 8.3.3 Ein Rag aus Teilen oder in Teilen? ............................................................................... 146 8.4 Die Harmonik – wenig eigenständig .................................................................................... 147 8.4.1 Das Gerüst ................................................................................................................... 147 8.4.2 Der Vorrat .................................................................................................................... 149 8.4.3 Umsetzung im Bandarrangement ............................................................................... 150 8.5 Die Melodik – Geniale Integration aller Komponenten ...................................................... 153 8.5.1 Melodieführung ........................................................................................................... 153 8.5.2 Umsetzung im Bandarrangement ............................................................................... 153 8.6 Das Piano-Original (S. Joplin 1908) und das Bandarrangement (W. Schulz 1909) .............. 156 8.7 Nachtrag – Thesen zur Spielpraxis damals wie heute ......................................................... 166 9 Die Rezeption .............................................................................................................................. 169 10 Ein Rundblick zum Schluss ....................................................................................................... 176 10.1 Ragtime weltweit ................................................................................................................ 176 10.2 Ein Ausblick .......................................................................................................................... 178 11 Anhang .................................................................................................................................... 180 11.1 Ausgewählte Schallplatten und andere Audioquellen ........................................................ 180 11.1.1 Auswahl-Diskographie ................................................................................................. 181 11.1.2 MIDI-Sammlungen und andere elektronischen Audio-Formate ................................. 206 11.2 Ausgewählte Bücher und Zeitschriften ............................................................................... 219 11.2.1 Allgemeine Werke ....................................................................................................... 219 11.2.2 Biographien ................................................................................................................. 223 11.2.3 Notenbücher ............................................................................................................... 228 11.2.4 Zeitschriften................................................................................................................. 239 11.3 Archive und andere Quellen für Notenmaterial ................................................................. 240 11.4 YouTube und andere Internetquellen ................................................................................
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • The Kapralova Society Journal Fall 2018
    Volume 16, Issue 2 The Kapralova Society Journal Fall 2018 A Journal of Women in Music Three Nineteenth Century Composers of Salon Music: Léonie Tonel, Maddalena Croff, Elisa Bosch Tom Moore The name of LÉONIE TONEL is forgotten were highly-regarded horticulturists, origi- today, but in the nineteenth century, despite nally from Gand (Ghent). Jean-Baptiste Tonel, her foreign origins, she made a significant born in Gand in 1819, traveled to Mexico in career in Paris as pianist and composer of sa- 1845 (other sources say about 1846), appar- lon music, producing a long catalogue of ently joining an unnamed older brother, and works for piano, published not only in France was followed by family members Auguste and Germany, but even in New York City. Tonel in 1850 and Constant Tonel in 1852. 3 Tonel’s name does appear in Aaron Cohen’s Tonel is mentioned in the Souvenirs de Voy- International Encyclopedia of Women Com- age 4 of his fellow Belgian J.-J. Coenraets posers ; however, the encyclopedia mentions (where the name is spelled Tonell). According only one of her works (the op. 2, Perles et to an obituary in the Bulletins d’arboricul- Diamans , a mazurka), gives no date of birth or ture ,5 he established his residence in Cordova, death, and describes her only as “19 th -century Vera-Cruz, Mexico (about 110 km inland Special points of interest: French composer”. As will be seen, she is from the port city of Veracruz). He returned to certainly French only by adoption. Belgium numerous times. Most importantly, The nineteenth-century salon Tonel is a very unusual surname.
    [Show full text]
  • INFORMATION to USERS the Most Advanced Technology Has Been
    INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 Nortfi Zeeb Road.
    [Show full text]
  • Of ABBA 1 ABBA 1
    Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7.
    [Show full text]
  • Inventory of American Sheet Music (1844-1949)
    University of Dubuque / Charles C. Myers Library INVENTORY OF AMERICAN SHEET MUSIC (1844 – 1949) May 17, 2004 Introduction The Charles C. Myers Library at the University of Dubuque has a collection of 573 pieces of American sheet music (of which 17 are incomplete) housed in Special Collections and stored in acid free folders and boxes. The collection is organized in three categories: African American Music, Military Songs, and Popular Songs. There is also a bound volume of sheet music and a set of The Etude Music Magazine (32 items from 1932-1945). The African American music, consisting of 28 pieces, includes a number of selections from black minstrel shows such as “Richards and Pringle’s Famous Georgia Minstrels Songster and Musical Album” and “Lovin’ Sam (The Sheik of Alabami)”. There are also pieces of Dixieland and plantation music including “The Cotton Field Dance” and “Massa’s in the Cold Ground”. There are a few pieces of Jazz music and one Negro lullaby. The group of Military Songs contains 148 pieces of music, particularly songs from World War I and World War II. Different branches of the military are represented with such pieces as “The Army Air Corps”, “Bell Bottom Trousers”, and “G. I. Jive”. A few of the delightful titles in the Military Songs group include, “Belgium Dry Your Tears”, “Don’t Forget the Salvation Army (My Doughnut Girl)”, “General Pershing Will Cross the Rhine (Just Like Washington Crossed the Delaware)”, and “Hello Central! Give Me No Man’s Land”. There are also well known titles including “I’ll Be Home For Christmas (If Only In my Dreams)”.
    [Show full text]
  • Christopher A. Reynolds Collection of Women's Song
    http://oac.cdlib.org/findaid/ark:/13030/kt1t1nf085 No online items Inventory of the Christopher A. Reynolds Collection of Women's Song Sara Gunasekara & Jared Campbell Department of Special Collections General Library University of California, Davis Davis, CA 95616-5292 Phone: (530) 752-1621 Fax: (530) 754-5758 Email: [email protected] © 2013 The Regents of the University of California. All rights reserved. Inventory of the Christopher A. D-435 1 Reynolds Collection of Women's Song Collector: Reynolds, Christopher A. Title: Christopher A. Reynolds Collection of Women's Song Date (inclusive): circa 1800-1985 Extent: 15.3 linear feet Abstract: Christopher A. Reynolds, Professor of Music at the University of California, Davis, has identified and collected sheet music written by women composers active in North America and England. This collection contains over 3000 songs and song publications mostly published between 1850 and 1950. The collection is primarily made up of songs, but there are also many works for solo piano as well as anthems and part songs. In addition there are books written by the women song composers, a letter written by Virginia Gabriel in the 1860s, and four letters by Mrs. H.H.A. Beach to James Francis Cooke from the 1920s. Physical location: Researchers should contact Special Collections to request collections, as many are stored offsite. Repository: University of California, Davis. General Library. Dept. of Special Collections. Davis, California 95616-5292 Collection number: D-435 Language of Material: Collection materials in English Biography Christoper A. Reynolds received his PhD from Princeton University. He is Professor of Music at the University of Californa, Davis and author of Papal Patronage and the Music of St.
    [Show full text]
  • Black Sabbath the Complete Guide
    Black Sabbath The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 17 May 2010 12:17:46 UTC Contents Articles Overview 1 Black Sabbath 1 The members 23 List of Black Sabbath band members 23 Vinny Appice 29 Don Arden 32 Bev Bevan 37 Mike Bordin 39 Jo Burt 43 Geezer Butler 44 Terry Chimes 47 Gordon Copley 49 Bob Daisley 50 Ronnie James Dio 54 Jeff Fenholt 59 Ian Gillan 62 Ray Gillen 70 Glenn Hughes 72 Tony Iommi 78 Tony Martin 87 Neil Murray 90 Geoff Nicholls 97 Ozzy Osbourne 99 Cozy Powell 111 Bobby Rondinelli 118 Eric Singer 120 Dave Spitz 124 Adam Wakeman 125 Dave Walker 127 Bill Ward 132 Related bands 135 Heaven & Hell 135 Mythology 140 Discography 141 Black Sabbath discography 141 Studio albums 149 Black Sabbath 149 Paranoid 153 Master of Reality 157 Black Sabbath Vol. 4 162 Sabbath Bloody Sabbath 167 Sabotage 171 Technical Ecstasy 175 Never Say Die! 178 Heaven and Hell 181 Mob Rules 186 Born Again 190 Seventh Star 194 The Eternal Idol 197 Headless Cross 200 Tyr 203 Dehumanizer 206 Cross Purposes 210 Forbidden 212 Live Albums 214 Live Evil 214 Cross Purposes Live 218 Reunion 220 Past Lives 223 Live at Hammersmith Odeon 225 Compilations and re-releases 227 We Sold Our Soul for Rock 'n' Roll 227 The Sabbath Stones 230 Symptom of the Universe: The Original Black Sabbath 1970–1978 232 Black Box: The Complete Original Black Sabbath 235 Greatest Hits 1970–1978 237 Black Sabbath: The Dio Years 239 The Rules of Hell 243 Other related albums 245 Live at Last 245 The Sabbath Collection 247 The Ozzy Osbourne Years 249 Nativity in Black 251 Under Wheels of Confusion 254 In These Black Days 256 The Best of Black Sabbath 258 Club Sonderauflage 262 Songs 263 Black Sabbath 263 Changes 265 Children of the Grave 267 Die Young 270 Dirty Women 272 Disturbing the Priest 273 Electric Funeral 274 Evil Woman 275 Fairies Wear Boots 276 Hand of Doom 277 Heaven and Hell 278 Into the Void 280 Iron Man 282 The Mob Rules 284 N.
    [Show full text]
  • Von Tilzer / Gumm Collection
    Von Tilzer / Gumm Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 1993 Revised 2016 November Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu010017 LC Online Catalog record: http://lccn.loc.gov/2006568222 Processed by the Music Division of the Library of Congress Collection Summary Title: Von Tilzer / Gumm Collection Span Dates: 1878-1959 Bulk Dates: (bulk 1900-1949) Call No.: ML31.V67 Creator: Von Tilzer, Harry, 1872-1946 Creator: Gumm, H. Harold Extent: approximately 11,000 items ; 76 containers ; 26.0 linear feet Language: Material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: The Von Tilzer / Gumm Collection consists of both personal and professional papers of composer and music publisher Harry Von Tilzer (1872-1946) and his brother, H. Harold Gumm (1881 or 82-1973), who was a lawyer, agent, and producer in the entertainment business. After having served as attorney for the Harry Von Tilzer Music Publishing Co. (HVTMPC) for several decades, Harold Gumm served as executor of Harry Von Tilzer's estate and took over the company when Von Tilzer died in 1946. This collection contains the records of the HVTMPC which are inextricably combined not only with Harry Von Tilzer's papers but also with Gumm's papers and those of his firm Goldie & Gumm. Von Tilzer's personal papers include correspondence, writings, legal and financial documents, and drafts of his autobiography. The HVTMPC materials primarily consist of music (manuscript and printed), lyrics (manuscript and typewritten), scripts, legal and financial records, and a catalog of works published by HVTMPC.
    [Show full text]
  • Aaron SACHS: Frank SACKENHEIM: Erna SACK: Fats SADI
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Erna SACK: Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded August 30, 1934 in Berlin 107685 WENN SICH EINE SCHÖNE FRAU VERLIEBT 3.30 19991-1 Tel A1676 Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded October 1934 in Berlin 107121 ICH BIN VERLIEBT 3.32 19990 --- aus der Operette "Clivia" Erna Sack war eine der bedeutendsten Sopranistinnen Deutschlands im 20.
    [Show full text]
  • Reengaging Blues Narratives: Alan Lomax, Jelly Roll Morton and W.C. Handy ©
    REENGAGING BLUES NARRATIVES: ALAN LOMAX, JELLY ROLL MORTON AND W.C. HANDY By Vic Hobson A dissertation submitted to the School of Music, In partial fulfilment of the requirements for the degree of Doctor of Philosophy, University of East Anglia (March 2008) Copyright 2008 All rights reserved © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author’s prior, written consent. i Acknowledgments This for me has been a voyage of discovery and I count myself fortunate to have enjoyed the process. This has been due, in no small part, to the support, help and encouragement that I have received along the way. People who, in the early days of my research, had been only names on the covers of books are now real; all have been helpful, most have been enthusiastic and some I now count as friends. The School of Music at the University of East Anglia is a small school in a rapidly expanding university which was led for many years by David Chadd who sadly died before the completion of this work. Fortunately the foundations he laid are secure and I have benefited from the knowledge and experience of all of the staff of the school, in particular my supervisor Jonathan Impett. Among Jonathan’s contributions, above and beyond the normal duties of a PhD supervisor is to have shown faith in a thesis that initially must have seemed rather unlikely.
    [Show full text]