Christeson, Robert P. (1911-1992), Collection, 1808-1995, (C3971)
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Taylor Swift Speak Now Torrent the Album Proved to Be Less Successful
Taylor swift speak now torrent The album proved to be less successful in comparison with her debut Taylor Swift and featured both holiday classics such as Last Christmas and original songs by Swift. Because our MP3s have no DRM, you can play it on any device that supports MP3, even on your iPod! Нам очень жаль, но запросы, поступившие с вашего IP-адреса, похожи на автоматические. Возможны некоторые несоответствия клипов песне. Then Taylor realized how readily she could channel all her impetuous emotions into the music. She sang The Star-Spangled Banner before a Philadelphia 76s game at the age of 11and her performance fell into the hearts of the crowd. Although Swift is a raw talent for the American public, she had been performing since early childhood. Better Than Revenge 08. Она кричит на подружку невесты Где-то в другой комнате, Одета в платье, напоминающее торт. Because our MP3s have no Taylor swift speak now torrent, you can play it on any device that supports MP3, even on your iPod! It was sold 592,000 copies that was the highest selling week for any country album in a year. Вам необходимо один раз ввести символы в форму, после чего мы запомним вас и сможем отличать от других пользователей, выходящих с данного IP. Swift also recorded a holiday album Sounds of the Season: The Taylor Swift Holiday Collection that was issued in October 16, 2007. It turned out to be a doubtless success and brought her fame. Her music that became more mature may not quite jibe with her age but it does help make Fearless one of the best mainstream pop albums of 2008. -
1997Festivalofameric00festival.Pdf
,j iVJ I t n 3 o ri i a r \j ;J ^_ j. r\ r\ r \ 1 r r -1 L_ U > \J j_ Members of the Ethiopian Christian community participate in an annual candlelight ceremony called Maskal (cross finding) at Malcolm X Park in the District of Columbia. Photo by Harold Dorwin, © Smithsonian Institution 6 Smithsonian Institution Festival of American Folklife On the National Mall WASHINGTON, D.C. June25— 29&July2— Cosponsored by the National Park Service 1997 Festival of American Folklife Hazel Dailey from Columbia, Louisiana, works with the insert to the pressure cooker she uses in canning produce. Photo by Sylvia Frantom Tradition-based social occasions like this coffee ceremony at the Washing- On the Cover ton, D.C., home ofHermela Kebede reinforce ties between generations of At this baptism at Lake Providence, Louisiana, in the Delta region, the minister Ethiopian women living in the United repeats a prayer as each candidate, dressed in traditional robe and headgear, States. Photo by Harold Dorwin, is immersed. The baptized are then received by members of the church and ©Smithsonian Institution taken away to change. Photo © Susan Roach At a gathering of the lion Christian Church in South Africa's northern province ofMoria, the men of Site Map on the Back Cover Mokhukhu dance as an expression of faith. Photo © T. J. Lemon The Carolina Tar Heels (left to right, Clarence [Torn! Ashley, Doc Walsh, Owen Foster), ca. 1930. Photo courtesy CFPCS Archive Crop dusting cotton fields in the Mississippi Delta. L Photo © Maida Owens 27 1997 Festival of American Folklife -
THE MUSICAL FEATURES of 2015'S TOP-RANKED COUNTRY SONGS
THE MUSICAL FEATURES OF 2015’s TOP-RANKED COUNTRY SONGS By Mason Taylor Allen Senior Honors Thesis Department of Music University of North Carolina at Chapel Hill April 22, 2016 Approved: Dr. Jocelyn R. Neal, Thesis Advisor Dr. Allen Anderson, Reader Dr. Andrea Bohlman, Reader © 2016 Mason Taylor Allen ALL RIGHTS RESERVED ii ABSTRACT Mason Taylor Allen: The Musical Features of 2015’s Top-Ranked Country Songs Under the direction of Dr. Jocelyn R. Neal The 2015 top-ten country songs analyzed in this study are characterized by the various formats of their song form, harmonies, and lyrics. This thesis presents a comprehensive study of the structure and narratives in sixty-seven songs that summarizes the distinctive features within those domains of contemporary commercial country music. A detailed description of the norm along with identifiable trends emerges. The song form that features most prominently in this repertory includes a verse-chorus-bridge form with three iterations of the chorus, an intro and outro section, and instrumental sections immediately following each chorus. The top-ten country songs have varying degrees of departure from this typical model. Primary features of the harmonies of these top songs include the frequent use of a double-tonic complex, the absence of a 5-1 authentic cadence, the same chord progression throughout the verse, chorus, and bridge, and the use of only two chords throughout the song. Lyrical analyses show that 2015 songs are continuing the traditional themes about romantic attraction, love, heartache, good times and partying, home, family, nostalgia, religion, and inspiration, within the context of small-town country life that this genre has used for years. -
Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937
An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937 Peter Stanfield Cinema Journal, 41, Number 2, Winter 2002, pp. 84-108 (Article) Published by University of Texas Press DOI: 10.1353/cj.2002.0004 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v041/41.2stanfield.html Access Provided by Amherst College at 09/03/11 7:59PM GMT An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929–1937 by Peter Stanfield This essay considers how Hollywood presented the song St. Louis Blues in a num- ber of movies during the early to mid-1930s. It argues that the tune’s history and accumulated use in films enabled Hollywood to employ it in an increasingly com- plex manner to evoke essential questions about female sexuality, class, and race. Recent critical writing on American cinema has focused attention on the struc- tures of racial coding of gender and on the ways in which moral transgressions are routinely characterized as “black.” As Eric Lott points out in his analysis of race and film noir: “Raced metaphors in popular life are as indispensable and invisible as the colored bodies who give rise to and move in the shadows of those usages.” Lott aims to “enlarge the frame” of work conducted by Toni Morrison and Ken- neth Warren on how “racial tropes and the presence of African Americans have shaped the sense and structure of American cultural products that seem to have nothing to do with race.”1 Specifically, Lott builds on Manthia D iawara’s argument that “film is noir if it puts into play light and dark in order to exhibit a people who become ‘black’ because of their ‘shady’ moral behaviour.2 E. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
1950S Playlist
1/10/2005 MONTH YEAR TITLE ARTIST Jan 1950 RAG MOP AMES BROTHERS Jan 1950 WITH MY EYES WIDE OPEN I'M DREAMING PATTI PAGE Jan 1950 ENJOY YOURSELF (IT'S LATER THAN YOU THINK) GUY LOMBARDO Jan 1950 I ALMOST LOST MY MIND IVORY JOE HUNTER Jan 1950 THE WEDDING SAMBA EDMUNDO ROS Jan 1950 I SAID MY PAJAMAS (AND PUT ON MY PRAY'RS) TONY MARTIN/FRAN WARREN Jan 1950 SENTIMENTAL ME AMES BROTHERS Jan 1950 QUICKSILVER BING CROSBY/ANDREWS SISTERS Jan 1950 CHATTANOOGIE SHOE SHINE BOY RED FOLEY Jan 1950 BIBBIDI-BOBBIDI-BOO PERRY COMO Feb 1950 IT ISN'T FAIR SAMMY KAYE/DON CORNELL Feb 1950 RAG MOP LIONEL HAMPTON Feb 1950 THE THIRD MAN THEME ANTON KARAS Feb 1950 MY FOOLISH HEART GORDON JENKINS Feb 1950 THE CRY OF THE WILD GOOSE FRANKIE LAINE Feb 1950 THE FAT MAN FATS DOMINO Feb 1950 DADDY'S LITTLE GIRL MILLS BROTHERS Feb 1950 MUSIC MUSIC MUSIC TERESA BREWER Mar 1950 THE THIRD MAN THEME GUY LOMBARDO Mar 1950 CANDY AND CAKE MINDY CARSON Mar 1950 MY FOOLISH HEART BILLY ECKSTINE Mar 1950 IF I KNEW YOU WERE COMIN' I'D'VE BAKED A CAKE EILEEN BARTON Mar 1950 WANDERIN' SAMMY KAYE Mar 1950 DEARIE GUY LOMBARDO Apr 1950 COUNT EVERY STAR HUGO WINTERHALTER Apr 1950 HOOP-DEE-DOO PERRY COMO Apr 1950 BEWITCHED BILL SNYDER Apr 1950 PETER COTTONTAIL GENE AUTRY Apr 1950 ARE YOU LONESOME TONIGHT BLUE BARRON May 1950 THE OLD PIANO ROLL BLUES HOAGY CARMICHAEL/CASS DALEY May 1950 BEWITCHED DORIS DAY May 1950 VALENCIA TONY MARTIN May 1950 I DON'T CARE IF THE SUN DON'T SHINE PATTI PAGE May 1950 I WANNA BE LOVED ANDREWS SISTERS May 1950 BONAPARTE'S RETREAT KAY STARR Jun 1950 MONA -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
Barn Dance Square Dance Ceilidh Twmpath Contra Hoe Down 40'S
Paul Dance Caller and Teacher Have a look then get in touch [email protected] [email protected] Barn Dance 0845 643 2095 Local call rate from most land lines Square Dance (Easy level to Plus) Ceilidh Twmpath Contra Hoe Down 40’s Night THE PARTY EVERYONE CAN JOIN IN AND EVERYONE CAN ENJOY! So you are thinking of having a barn dance! Have you organised one before? If you haven't then the following may be of use to you. A barn dance is one of the only ways you can get everyone involved from the start. NO experience is needed to take part. Anyone from four to ninty four can join in. The only skill needed is being able to walk. All that is required is to be able to join hands in a line or a circle, link arms with another dancer, or join hands to make an arch. The rest is as easy as falling off a log. You dance in couples and depending on the type of dance you can dance in groups from two couples, four couples, and upwards to include the whole floor. You could be dancing in lines, in coloumns, in squares or in circles,. It depends on which dance the caller calls. The caller will walk everyone through the dance first so all the dancers know what the moves are. The caller will call out all the moves as you dance until the dancers can dance the dance on their own. A dance can last between 10 and 15 minutes including the walk through. -
1 B.O.M.Newsletter #331Web 今年の IBMA・WOB ツアー 今月の新入荷
B.O.M.Newsletter #331web なるシエラ・ハルのツアーをサポートしてください。 お願いします!! 2008 年 5 月 9 日 ▼ 25 年目を迎えているムーンシャイナー誌です!! ▼今月のニュースレターはウエブサイトのみです。紙刷 月刊ムーンシャイナー定期購読は1年間(1 2 冊) り版ご希望の方はお申し出下さい。 ¥6,000- 半年間(6冊)¥3,300-。購読開始希望月を お知らせいただければ、振り込み票とともに早速お送 ▼恒例の「宝塚春フェス」は、いつもの三田アスレチッ りします。…定期購読を、是非ともよろしく!! ク(0795-69-0024)で、5 月 31 日(土)3 時から 6 月 1 日 最新 5 月号(MS-2507 ¥525-)は来日のクリス・ヒ (日)のお昼頃まで、新緑の山中、野外で開催します(雨 ルマンとハーブ・ぺダースンを表紙特集に、カリフォ 天の場合は屋内)。コンサートは午後 6 時から、現地書き ルニア・ブルーグラス考、ペティブーカ『TOKYO 込み式でプログラムを作成します。梅雨入り前の一日、 Bluegrass Honeys』、マイク伊藤『音楽から見えるア キャンプをしながら森林浴や「焚き火ジャム」で英気を メリカ』、ゲティスバーグ・ブルーグラス・フェス、 養いませんか?参加費用 ¥2,500- ディープサウス・ピッキンパーティ、日本ブルーグラ なお、宿泊(バンガローや民宿)をご希望の方は直接、 ス年表⑰「1964-65 年」、中西孝仁の IBMA2007 リポー 三田アスレチックにお問い合わせください。 トほか、日米ブルーグラス情報満載。 ちなみに、夏フェスは7月 31 日から8月3日!! ▼今月、またまたすごい天才マンドリン少女が全米デ 今年の IBMA・WOB ツアー ビュー。すでに米国では数年前から大きな話題となり、 今年もナッシュビルのダウンタウンど真ん中、高層 ラウンダーが 13 歳で契約、3年の時間をかけ、満を持し ホ テルを中心に開かれる IBMA ワールド・オブ・ブルー てのデビューです。そのシエラ・ハル、今年7月に来日 グラス(WOB)へのツアーがあります。基本は 9 月 29 が決まりました。 日出発 10 月 6 日帰国で準備中、また WOB 期間全参加 IBMA(国際ブルーグラス音楽協会)の肝いりで、ケン やその前後のご相談もお受けしています。お気軽にお タッキーとウエスト・バージニア、そしてテネシーから 問い合わせください。なお、8月 29 日が応 募締め切 高校生のブルーグラス3バンド、総勢 16 名のブルーグラ りです。 ス・キッズのリーダー格として埼玉県の川口総合文化セ ンターの国際交流フェスに参加することになりました。 今月の新入荷注目作品 また交流フェス期間のホームステイの後、米国から現在 ROU-0601 SIERRA HULL『Secret』 の正式メンバーを呼び寄せ、シエラ・ハル&ハイウェイ CD¥2,573-(本体 ¥2,450-) 111 として7月 29 日から 10 日間、全国をツアーします。 満を持して発表した 16 歳の天才マンドリン少女、シ 彼女ら自身も、IBMA も、そして日本の受け入れ側も、 エラ・ハルの全米デビュー作。7月来日だぞ!! まっ 全国ツアーにボランティアとして協力し、現在もっとも すぐなブルーグラスと信じ難いテク、物凄い作品、… 旬なアーティストを見ていただこうという趣旨です。全 驚きますよ。ブルーグラス新入荷参照。 国のブルーグラス/オールドタイム/カントリー・ファ RHY-325 MASHVILLE BRIGADE ンの皆さん、間違いなく近い将来、とんでもない大物に -
Bill Harrison Collection 97-050
BILL HARRISON COLLECTION 97-050 1921-1997 [Bulk: 1965-1985] 28.5 linear feet The Center for Popular Music Middle Tennessee State University, Murfreesboro, TN Processed by David Jellema, September 1998 Revised by Lucinda P. Cockrell, March 2006 Revised by Rachel K. Morris, June 2011 BILL HARRISON COLLECTION 97-050 Table of Contents Creator Type of Material Physical Description Dates Abstract (Descriptive Summary) Access/Restrictions Provenance and Acquisition Information Subject/Index Terms Agency History/Biographical Sketch............................................................3 Scope and Content..........................................................................................4 Series Description............................................................................................5 Collection Contents (Folder/Box List)...........................................................9 Materials Cataloged Separately Arrangement……………………………………………..…………….……17 Location Related Materials………………………………………………………...….18 2 BILL HARRISON COLLECTION 97-050 Creator: Harrison, Bill, 1920- Type of Material: Books, Sound Recordings, Trade Catalogs, Newspaper Clippings, Performance Documents, Manuscripts, Photographs, Serials Physical Description: 28.5 linear feet, including audio recordings, photographs, and manuscript papers Dates: 1921-1997, bulk 1965-1985 Abstract (Descriptive Summary): This collection documents Bill Harrison’s work in organizing the Tennessee Valley Old Time Fiddlers Association, music festivals, and events and conventions -
AFM Course Curriculum
AMERICAN FIDDLE METHOD COURSE Curriculum Index GETTING READY Lesson 1 Introduction to AFM Lesson 2 Gear you need Lesson 3 Parts of a fiddle Lesson 4 Parts of a bow Lesson 5 Checking your fiddle’s setup Lesson 6 Checking your bow’s setup Lesson 7 Care of your instrument Lesson 8 Fitting a shoulder rest Lesson 9 Rosining the bow Lesson 10 Tuning using the pegs Lesson 11 Tuning using the fine tuners Lesson 12 Applying tapes to the fingerboard Lesson 13 Names of the notes STRATEGIES FOR SUCCESS Lesson 1 Three lists Lesson 2 Anatomy of a fiddle tune Lesson 3 Learning by ear Lesson 4 Small Overlapping Phases –SOPS Lesson 5 Muscle memory Lesson 6 Using a metronome LEVEL I Violin Position Lesson 1 Natural body position Lesson 2 Positioning the fiddle Lesson 3 Position of the left arm and hand st Lesson 4 Thumb and “Mirror 1 Finger” Beginning Bowing Lesson 5 Holding the bow Lesson 6 Principles of bowing Lesson 7 Bowing continuums Lesson 8 Diagnosing your tone Lesson 9 Bowing string changes Lesson 10 Beginning rhythms Beginning Fingering Lesson 11 A string – 1st finger Lesson 12 A string – 2nd finger Lesson 13 A string – 3rd finger Lesson 14 A string – three fingers Lesson 15 A string – practice Lesson 16 D string – three fingers Lesson 17 D string – practice Lesson 18 G string – three fingers Lesson 19 G string – practice Lesson 20 E string – three fingers Lesson 21 E string – practice Scales Lesson 22 How to play in tune Lesson 23 D Scale Lesson 24 G Scale Lesson 25 A Scale Lesson 26 Twinkle –key of D Lesson 27 Twinkle –key of A Lesson 28 Twinkle –key of -
Frederick J. Lavigne Theater Orchestra Music 1878-1937 an Inventory of Holdings at the American Music Research Center
Frederick J. Lavigne Theater Orchestra Music 1878-1937 An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder Frederick J. Lavigne Theater Orchestra Music1878-1937 Descriptive summary Title Frederick J. Lavigne theater orcehstra music Date(s) 1878-1937 ID COU-AMRC-101 Origination Lavigne, Frederick J. Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 126 boxes Scope and Contents The Frederick J. Lavigne Theater Orchestra Music collection contains 126 boxes of theater orchestra sheet music. The collection was addressed to Frederick J. Lavigne at the Stadium Theater in Woonsocket, Rhode Island. A majority of the pieces in this collection show Lavigne's full name stamped on the sheet music. Administrative Information Arrangement of Frederick J. Lavigne Theater Orchestra Music Collection is divided into one series of 126 boxes. The collection is arranged alphabetically by title of piece followed by composer and arranger. Dates of publication are also included in the listings. Access restrictions The collection is open for research. Publication Rights The American Music Research Center does not control rights to any material in this collection. Requests to publish any material in the collection should be directed to the copyright holders. Source of acquisition This collection was donated by Rodney Sauer in 2014 Preferred Citation [Identification of item], Frederick J. Lavigne Theater Orchestra Music, University of Colorado at Boulder - Page 2 - Frederick J. Lavigne Theater Orchestra Music1878-1937 Index Terms Access points related to this collection: Personal Names Lavigne, Frederick J.