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Appendix 2 Light Crust Doughboys Discography, 1969–present

John Mark Dempsey University of North Texas Press PDF

L I G H T C R U S T D O U G H B O Y S D I S C O G R A P H Y , 1969– P R E S E N T

Appendix 2

Light Crust Doughboys Discography,

1969–present

We’re the Light Crust Doughboys from Burrus Mills

Producer: Smokey Montgomery

Light Crust Doughboys Theme: Jack Perry (Walter Hailey)

Double Eagle/Wildwood Flower

The Leaf of Love

Hear Dem Bells

Red River Valley/Yellow Rose of Texas/Beautiful Texas

Kelly Waltz/Good Night Waltz

A Fool such as I

Old Joe Clark

Beer Barrel Polka

A Petal from a Faded Rose

Tennessee Wagoner

My Best to You

I Really Don’t Want to Know

San Antonio Rose

When It’s Roundup Time in Heaven

Light Crust Doughboys Theme: Jack Perry

Date: 1969

The Light Crust Doughboys Religious Memories

Producer: Smokey Montgomery

Date: 1979

Theme: Guide and Keep Us

Turn Your Radio On

Medley: (a) It Is No Secret (b) The Old Rugged Cross (c) Take My Hand

Precious Lord (d) Amazing Grace

Lord, Take All of Me

How Great Thou Art

I’ll Fly Away

Just a Closer Walk with Thee

In the Garden

The Last Roundup

Medley: (a) Church in the Wildwood (b) the Lily of the Valley (c) When the

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15 Carnegie Hall Recitals

Harvey Phillips Indiana University Press ePub

CHAPTER FIFTEEN

Carnegie Hall Recitals

FOR SEVERAL YEARS, some of my colleagues, both composers and performers, suggested that I do a Carnegie Hall recital. I resisted the temptation because I felt my teacher, William J. Bell, should present one first. In 1961, Roger Bobo, a tubist wunderkind, on his graduation from the Eastman School of Music, presented the first solo tuba recital in New York City’s Carnegie Hall. I was unable to attend Roger’s concert but I know it was excellent from our mutual friend Alec Wilder. Alec not only attended the concert but wrote “Encore for Tuba” especially for Roger Bobo’s recital. William Bell passed away on August 7, 1971, without ever having performed a solo recital in Carnegie Hall.

I did not get around to performing a solo tuba recital until January 1975. That month, I presented five recitals in nine days in Carnegie Recital Hall, sponsored by the Carnegie Hall Corporation. My purpose in doing five recitals was to illustrate the growing repertoire and acceptance of the tuba as a solo instrument. A number of colleagues assisted the performances, but none of the professional players, with whom I worked consistently, would accept payment. Preparation for the nine days consumed sixty-seven hours of rehearsal, some in Boston. One started at midnight with the New York Saxophone Quartet; it was the only time everybody could get together. One was in Bloomington with IU School of Music Dean Charles Webb, who was my piano accompanist on one of the five recitals.

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4 Melodic Forces: Gravity, Magnetism, and Inertia

Steve Larson Indiana University Press ePub

The metaphor Musical Succession Is Physical Motion, discussed in the previous chapter, suggests that an important entailment of that metaphor is the idea that musical motion is shaped by analogues of physical forces – melodic gravity, melodic magnetism, and musical inertia. (As noted in the introduction, it is our intuitive embodied understanding of these forces that concerns us here, not the latest intellectual understanding of physicists.)

This chapter examines each of these musical forces, illustrates the effect of that force by comparing it to its analogous physical force, and, from that comparison, draws hypotheses concerning that force. The first phrase of “Twinkle, Twinkle, Little Star” (Example 4.1) helps to illustrate the effects of the musical forces. Because this phrase was cited in chapter 1 as an example of the “hallelujah figure,” it provides an opportunity to return to questions posed there concerning the expressive meaning of that figure and to compare it to the expressive meaning of “Dido’s Lament.”

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2 Begin the Beguine

Kathy Sloane Indiana University Press ePub

I guess it was his [Todd Barkan’s]
booking and his relationship with
musicians that made it happen. But it
was the rest of us that made it work.

Helen Wray

Flicka McGurrin

I was working at Caesar’s Latin Palace, the Latin club that Cesar Ascarrunz owned. I had started there as a cocktail waitress, but it was way out in the Mission and it was dangerous, and I was a single parent with children. I just needed a job that was no responsibility, which was quick cash, which was why I was cocktail waitressing. And so I realized that, since jazz was my first love, it made more sense to work at Keystone Korner because I lived right up the street.

So I went one night and asked for a job, and Todd’s partner, whose name escapes me, interviewed me out in the street and literally hired me on the spot. Bald guy – remember him? And so I thought, “Well, perfect. Now I’m working in one of my favorite places.” I loved working there.

Helen Wray

I came over here [from Australia] in 1976 for a skiing vacation with a suitcase and a pair of skis, and I’m still here. I went back to visit, but one thing led to another and I just stayed.

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Afterword

Robert Earl Hardy University of North Texas Press PDF

268

A Deeper Blue: The Life and Music of Townes Van Zandt

Afterword

TOWNES VAN Zandt tribute show was held a few weeks after his death, at the Cactus Café in

Austin on two nights when Townes had been booked to play his “home club.” Friends and fans gathered to hear Jimmie

Dale Gilmore, Joe Ely, Kimmie Rhodes, J.T. Van Zandt (who attended a number of tribute shows and has become an accomplished performer) and others play Townes’ music and remember his life. More all-star tributes followed quickly, including a notable show at the Bottom Line in New York and gatherings in

Nashville, Houston, Seattle, and Los Angeles. Guy and Susanna

Clark hosted a “Celebration of Townes Van Zandt” on Austin

City Limits with Willie Nelson, Emmylou Harris, Lyle Lovett,

Steve Earle, Nanci Griffith, Jack Clement, and others (including J.T.), which became one of the series’ most popular shows.

The Clarks were also prominently involved in an album project that was released in 2001 on Willie Nelson’s Pedernales Records called Poet: A Tribute to Townes Van Zandt, which featured Guy,

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12. New Concepts of Artistry in Rhythm (1952)

Michael Sparke University of North Texas Press PDF

12.

New Concepts of Artistry in Rhythm

(1952)

Kenton literally couldn’t afford to sit around. Records were an artist’s life-blood, and during lengthy discussions, his colleagues at Capitol pointed out that while the advanced music had failed to sell whatever tagline he called it by, reissues of the easier, earlier music were moving fast. At the same time, people like Musso, Christy, and Rugolo had moved on, and it was impossible to recreate the “Artistry” band, even if

Stan had wanted to spend the rest of his life regurgitating “Eager Beaver” and “Southern Scandal.” A new, readily accessible musical policy was imperative, but exactly what form that might take was unclear.

Within weeks Kenton had put a new orchestra together. Some continuity was ensured by the return of alumni Childers, Candoli, Fitzpatrick, Russo, Bagley, and Gioga, but as Howard Lucraft put it: “The new band’s mostly a bunch of previously unknown but very talented youngsters.”1 Stan had high hopes for his new vocal discovery, a deeptoned singer with little previous professional experience named Jerri

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Appendix 4. Recordings of J. S. Bach’s Brandenburg Concertos with Recorders, 1941–1993

Geoffrey Burgess Indiana University Press ePub

Versions Using Modern Instruments and Recorders

1941

Leipzig Gewandhaus Orchestra, dir. Paul Schmitz (Lied der Zeit/Polydor 68191/93)

1942

Curtis Institute Ensemble, dir. Ezra Rachlin (Hargail 105-107)

 

Alfred Mann, Anton Winkler, recorders (Dolmetsch)

1950

Wiener Kammerorkester, dir. Josef Merten (Re-release: ORF CD 379 2000)

 

Elisabeth Harnoncourt, Jürg Schaeftlein, recorders

1951

London Baroque Ensemble, dir. Karl Haas (Whitehall WH200070-1, Westminster WG-W-18033)

1953

Schola Cantorum Basiliensis, dir. August Wenzinger (DG Archiv APM 14011-12)

 

Adam Zeyer, Gustav Scheck, recorders

1955

Instrumental Ensemble, dir. Jasha Horenstein (Vox; rereleased CDX2-5519 Vox, 2009)

 

Paul Angerer, 2nd recorder

1956

Chamber Orchestra of the Vienna State Opera, dir. Felix Prohaska (NIXA PVL 7016)

 

Karl Trötzmuller, Paul Angerer, recorders (Concerto IV); flute used in II

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19 The Second Half of 1916: Norway and Denmark

Galina Kopytova Indiana University Press ePub

THE HEIFETZ FAMILY’S DECISION to spend the summer in Norway with Auer’s violin colony was finalized in April when Ruvin received the necessary departure documents.1 In Auer’s book My Long Life in Music, he described his time in the suburbs of Christiania (now Oslo), the Norwegian capital:

Beginning with the summer of 1915 I spent my vacations, until 1917, entirely in Norway, amid the gorgeous scenic surroundings of Christiania. One of my pupils, Maia Bang, a Norwegian who had gone to Russia to study with me despite the incertitude of the war times, persuaded me to go to her native land for my summer holidays, and I could only congratulate myself upon having followed her advice. Some of my English and American pupils who had remained in St. Petersburg, together with some Russians, a few Scandinavians from Stockholm and Copenhagen, and some Norwegians, gathered around me there in order to continue their studies. I was very comfortably established in the hotel-sanatorium “Voxenkollen,” situated some 1,500 feet above sea-level, with a view over the mountains which seemed too beautiful for anything but a fairy tale. The mountain peaks were covered with snow and, together with the innumerable small lakes which glittered in the distance and the blue fjords round about Christiania, formed a picture, especially in the moonlight, which once seen could never be forgotten. There probably were a hundred guests in all at the “Voxenkollen,” Russians, Englishmen, Germans, and Scandinavians. In spite of the war raging over the entire world, we lived peacefully and contentedly, in good comradeship though without mad gayety, in this delightful retreat planted on the summit of a mountain verdant with pine and evergreens.2

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2. Bow-Strokes

Stanley Ritchie Indiana University Press ePub

The term “bow-stroke” has different connotations according to the context. In its simple form it defines the various ways in which the bow can be used: détaché, sautillé, legato, martelé, and so on. It can also refer, however, to the passage of the bow across the string or to the way in which a particular player uses the bow. To avoid confusion, therefore, I shall use the word “gesture” to describe what happens when a number of consecutive bow-strokes occur.

For me a bow-stroke of any kind is the motion of the arm through the air; that one has a bow in one’s hand, and what results when the bow comes in contact with the string, are secondary. Indeed, in my teaching I will at times prescribe the following preliminary exercise: first sing a phrase silently, then without the bow make an imaginary bow-stroke, with the arm and hand moving appropriately to fit the dynamic shape and nuances you have in mind, and string crossings as needed. Then, with bow in hand, replicate the arm gestures so as to play the phrase as you imagined it. This is one example of what I term the “choreography” of bowing.

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CHAPTER 4: Invoking the Mulier Fortis: The Confraternity of the Rosary

Getz, Christine Indiana University Press PDF

Chapter 4

8

Invoking the Mulier Fortis

The Confraternity of the Rosary

Hail Mary, full of grace, the Lord is with thee

—Luke 1:28

For inhabitants of Post-Tridentine Italy, no instrument associated with the Blessed Virgin possessed more spiritual force than the Rosary. Also commonly known as the corona or garland, the Rosary was the primary means of accessing the intercessory power of Mary as Mulier

Fortis, the virtuous woman who crushed the head of the proverbial serpent.1 Praying the Rosary while meditating upon its fifteen mysteries allowed the devoted communicant to realize the miraculous potential of the Virgin’s influence and demonstrate its use in overcoming the ills of the world, and the activity was encouraged through the publication of Rosary books that described various techniques of praying the Rosary, as well as through volumes that recounted the numerous legends that had developed in connection with them. Bernardo Giunti’s

1587 Miracoli della sacratissima Vergine [Maria . . . del santissimo

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English

Maurice Hinson Indiana University Press ePub

Chinese Contemporary Piano Pieces (Karlsen Publishers, Hong Kong 1979). Vol.I, 88pp. Ah Ping: The Moon Mirrored in the Pool. Wang Chien Chung: Plum Blossom Melody; Sakura. Yip Wai Hong: Memories of Childhood (6 miniatures). Kwo Chi Hung: 2 Yi Li Folk Songs. Chu Wang Hua: Sinkiang Capriccio. Lui Shi Kuen and Kuo Chi Hung: Battling the Typhoon. Post-Romantic pianistic figurations, much pentatonic usage, some charming and interesting moments. This collection is a good example of the type of piano writing going on in this area of the world today. Int. to M-D.

Chinese Piano Music for Children (N. Liao—Schott 7652 1990) 55pp. Written between 1973 and 1986 when Chinese music “increasingly absorbed the influences and ideas current in the new music of the West, without sacrificing its own tradition and national style” (from the score). Luting He (1903–1999): The Young Shepherd with his little Flute 1934; tender, artistic simplicity, national style. Shande Ding (1911–1995): Suite for Children (five pieces) 1953: folk-like but no folk songs are quoted. Tong Shang (1923– ): Seven Little Pieces after Folk Songs from Inner Mongolia 1953: a charming suite of folk song arrangements. Lisan Wang (1953– ): Sonatine 1957: three titled movements, cheerful, displays spirited humor. Int. to M-D.

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1 The Four-Voice Canzonetta as (and in) Recreational Polyphony

Paul Schleuse Indiana University Press ePub

I will set down familiarly several thoughts that occur to me upon this subject, based upon the little experience I have acquired while I was conversing in houses where there was no game-playing [esercizio del gioco] but rather delightful occupations, particularly music, performed without assistance of paid performers by divers gentlemen who took pleasure and delight in it through natural inclination.

—Vincenzo Giustiniani, Discorso sopra la musica

Vincenzo Giustiniani’s Discorso sopra la musica is well known to musicologists as an important account of stylistic change in music of the last quarter of the cinquecento, in particular the rise of professionalized solo singing.1 Written, as Angelo Solerti first demonstrated, in 1628, the Discorso not only remembers events at a half-century’s remove but also places them in a context still meaningful in its own time. Far from describing the mere replacement of vocal polyphony with solo singing, however, Giustiniani recalls a musical culture in which enthusiastic amateurs enjoyed polyphony, and singing “per inclinazione naturale” was in fact considered superior to performances by “persone mercenarie.”

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4 “The Highlife Was Born in Ghana”: Politics, Culture, and the Making of a National Music, 1950–1965

Nathan Plageman Indiana University Press ePub

On July 1, 1960, the independent nation of Ghana became a republic, enshrined with a new draft constitution and office of the president, which was assumed by the prime minister and leader of the CPP, Kwame Nkrumah. That same day, his government made two important announcements concerning dance band highlife. The first was that highlife was Ghana’s “national” dance music: a pronouncement that many listeners interpreted as either a confirmation of its wide popularity among individuals of different ages, ethnicities, and occupations or recognition of its prominence in the years surrounding the country’s independence. The second declaration was that this national form needed to change. More specifically, the government called upon dance band musicians and patrons to relinquish their embrace of international elements and make the music into something that was more “Ghanaian” in composition and character. Nkrumah asked performers to enhance the genre’s local meaning by utilizing a regular tempo, by limiting, and over time eliminating, foreign numbers, and by encouraging a standardized set of dance steps that all residents could adopt. He also insisted that the music needed a new name. As an English-language title, “highlife” did not befit a musical genre that was essentially “Ghanaian in character and African in content.” Although he ultimately charged the National Association of Teachers of Dancing with the task of selecting a new moniker, Nkrumah proposed rechristening the music osibi, an Akan term that made explicit reference to osibisaaba, the proto-highlife that had flourished many decades earlier.1

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XXI. Edge of the World

Vince Bell University of North Texas Press PDF

  XXI 

Edge of the World

“I

don’t know the physiology of traumatic brain injury,” Stephen Jarrard says, “but the difficulty seemed to be not that Vince was not the same person but that he couldn’t remember who he had been, what he liked or didn’t like, wanted or didn’t want. If he’d done something, or thought something, or felt something, he didn’t remember it. In other words, he was himself, but he didn’t remember himself.”

Bob Sturtevant says, “Vince talked for a long time like there were two of him. He would refer to himself as ‘we.’ ‘This is what “we’re” doing today.’ There was Vince, and there was Vince the watcher. I’d ask him, ‘What have you been doing today?’ He’d say, ‘Well, we’ve been working in Music School.’”

The early part of 1984 found me feeling battle-fatigued and solemn.

Memories were filtering in piecemeal, while it remained beyond me in large part to master my emotions. Lost abilities to taste, walk, talk, balance, and recall, coupled with the pain in my arm, taunted me. But the animals were there with plenty of love to go around between old

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Twenty-Six: Franz Schubert

William Brown Indiana University Press ePub

Schubert—again the smile comes to the face, because he is divine. It is the combination of a Mozart and of a song master and of a man who cannot stop seeing beauty. He can’t stop, so his pieces become long, longer, and longer, yes? He is the endless song. But, when you have the patience, I mean the inner patience to go through the piece and really live it along the way, you become older than you are. His pieces are tremendously rewarding, and the listener, the one who is open to it, is rewarded deeper than from anyone because he’s more direct going to the heart. You need less brain, you need less of anything but an open heart. It is probably not apparent that he is that innocent, but there is that innocence like in Mozart that comes out. It’s not the perfection of Mozart but the amount of beauty that he heaps on his music. It’s a garden with so many flowers that you look to the left and it’s green, and to the right it’s yellow, and there it’s blue, and this one is full bloom, and this is half bloom. It’s enormous. It takes such great control to play Schubert’s music. The timing has to be just right; the understanding of the harmonic relations must be right. And the inner timings, the heartbeat inside of him, continues, and it holds the whole piece together.

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