Results for: “Music”
|Vince Bell||University of North Texas Press|
Room 933 � 75
I love Vince. Me too. You were asleep. Nice room! Catch ya next time.
Stephen and Franci
I was so sorry to hear about your accident. We are all so glad to hear that you are on the road to recovery. Do what the doctors tell you.
Western Union Telegram
Vince, get off your ass. We love you and are talking to God and anyone else who will listen and get you well. Do what the doctors tell you unless it’s unethical.
Much love and more later,
Lucinda, Clyde, and Hobart
Knowing that wishes have power, take heart! All will be well.
Providence and Donn Billings
Was very distressed to hear of the accident. I sincerely hope you are bearing up well under it all. I know how really awful it can get sometimes when it feels like you’ve lost so much. I know there just isn’t much anyone can say. You were a really good friend to us when we needed it, would like to think we could return it. Don’t know if there’s anything we can do from this distance, but we’re here and extend whatever support we can.See All Chapters
|Geoffrey Burgess||Indiana University Press||ePub|
20 February, born in Breslau
Parents buy Blumenhagen farm
Lives in Dresden with his grandparents
American Recorder Society (ARS) founded
Death of father, Heinrich von Hoyningen-Huene
27 April, departure from Blumenhagen
September, arrives in Großseelheim
November, mother and two youngest sisters, Dorothée and Sigrid, arrive in America
July, arrives in America with Michael, Christian, and Brigitte
Summer, attends von Trapp Sing Week in Stowe, Vermont Freshman at Bowdoin College
Fall, works in New York
December, joins U.S. Armed Forces; Lackland Air Force Base, San Antonio, Texas
Plays flute and piccolo in U.S. Air Force Band, Andrews Air Force Base, Maryland
First concert of the Camerata of the Boston Museum of Fine Arts (MFA)
Foundation of the New York Pro Musica (NYPM)See All Chapters
|Suzanne Caplan||JIST Publishing||ePub|
This might surprise you, but it has been my experience with many new business ventures that too much money is often a more difficult challenge than too little. Startups with too much capital tend not to make an effort to control themselves. Often they just spend money for anything they think they might need and don’t keep to a budget. And when some of the money you are counting on actually exists in loans or a credit line, there is a real risk of getting yourself into serious debt. Try to create a bare-bones budget and then fund as if every dollar were critical—because it is.
One of the primary reasons that you developed your business plan was to determine how much money you would need and where it would be going. By now you have realized that every business costs some money to start, and a few need a lot more than the founder ever realized when he or she began the project. If you spend more on one line item than you budgeted, try to get it back from another.
UNWISE BUSINESS DECISIONS CAN SPELL DISASTERSee All Chapters
|David Dolata||Indiana University Press||ePub|
WHAT IF YOU WERE TOLD that you had to fit thirteen full inches into one foot? In other words, you couldn’t simply divide 12 by 13 to arrive at .923 because 92.3 percent of an inch is less than a full inch. Nor could you fit ten full inches and then divide the remaining units by three: 2 ÷ 3 = .666 because again, you’d have three units less than a full inch. Thirteen inches simply cannot be jammed into one foot unless we are discussing shoe size. You can only fit thirteen inches into one foot if you redefine what constitutes an inch. If we pretend that an inch is now 92.3 percent of the size of the previous definition of an inch, we could do it. Or we could agree to preserve some units as full inches while reducing others to a smaller percentage of its true size as in the second example above. But we still cannot fit thirteen full inches into one foot. This is pretty much the situation with the musical scale. It is impossible to fit twelve semitones into an octave in such a manner that they or any other resulting intervals are all pure.See All Chapters
|John Mark Dempsey||University of North Texas Press|
“I’M GOING BACK
moted the return of the Light Crust Doughboys.
The influx of people from the countryside influenced the programming on Dallas-area radio stations, and also paved the way for the return of the Doughboys. The Dallas-Fort Worth metropolitan area became a country music hotbed. WFAA and KRLD radio carried live country music programs that featured local, regional, and national performers. The Big D Jamboree, held in a large barn of a building called the Sportatorium on the edge of downtown Dallas, attracted some of the best-known names in country music and drew crowds of
4,000 people each Saturday night (Govenar and Brakefield, 161).
The war had brought a temporary end to the Light Crust
Doughboys, but some members of the group continued to play together. Announcer Parker Willson got a job with the Duncan Coffee
Company and hired several members of the Doughboys to play on a radio program as the “Coffee Grinders” from September 1942 to
April 1946. Kenneth Pitts, Zeke Campbell, Cecil Brower, and J.B.See All Chapters
|Estelle R. Jorgensen||Indiana University Press||ePub|
The role of teacher is one of many facets of our lives or one of several functions that we fulfill as human beings. It is important to discover what it is to be a teacher and what place this persona will play in the totality of our lives. How we conceive of this function and its location in lived life determines how we go about being teachers. Will it consume us utterly, will it have a central but circumscribed role, or will it be an activity that is marginal to our purpose as creative musicians or ancillary to other things? Practically speaking, what a teacher is and the place of teaching in our lives are interconnected matters. There is no one answer to these questions and we need to discover answers for ourselves. What follows are aspects that I have discovered to be important in my role as a teacher, namely, being true to oneself, learning to listen to one’s inner teacher, accepting one’s limitations, teaching to one’s strengths, keeping an open mind, and developing one’s art-craft.See All Chapters
|Richard D. Sylvester||Indiana University Press||ePub|
Two Sacred Songs (1916)
After drafting the Opus 38 songs, Rachmaninoff evidently gave to Nina Koshetz the pencil sketches to two “sacred” songs. After Koshetz died in 1965, her daughter Marina Koshetz (1912–2001) donated them to the Rachmaninoff collection in the Library of Congress in 1970. She published them in 1973, indicating that they were “originally intended to form part” of the opus (T/N, 173). Such an intention is dubious, however, because the texts below, especially the first one, a prayer, are not suited for the Opus 38 cycle. Except for the recording made by Joan Rodgers in 1994 or 1995 on Chandos, I have not found any performance history for these two songs.
The text of the first song is by “K. R.,” pseudonym of Konstantin Romanov (1858–1915), Grand Duke and uncle to Nicholas II (see TCS, 237-250). He was an amateur musician and poet. Rachmaninoff had set one of his poems in 1895 in his Opus 15 choruses for women’s or children’s voices. The text here, called “A Prayer,” was written in 1886 in the palace at Pavlovsk outside St. Petersburg, where the Grand Duke lived, and where he died before the events of 1917 that brought down the Romanov dynasty. It is a pious poem, and the song begins as a slow chant. It culminates in the penultimate line on the phrase “deep love.”See All Chapters
|Music, SHER||Sher Music||ePub|
A good definition of an interval is “the space between two notes.” Figure 1-1 shows the intervals from the half step/minor second up to the octave, all based on middle C. The most commonly used term is shown above each interval, along with any alternate terms.
The chart that follows shows all the intervals, both ascending and descending, as they occur in tunes from the standard jazz repertoire. Unless otherwise noted, the interval in question is the first two melody notes of the song. Play each example and sing the interval. If you can sing an interval accurately, it will be easier to play when improvising. Listen carefully to all the voicings in the examples. All of them will be covered in this book. A footnote reference after each song title lists a great recording of the tune—in many cases, the original recording.
ascending minor second
Bob Haggart’s “What’s New?”1
descending minor second
Duke Ellington’s “Sophisticated Lady”2
ascending major second
Billy Strayhorn’s “Chelsea Bridge”3See All Chapters
|Music, SHER||Sher Music||ePub|
The original cha-cha-chá bass rhythms are as follows:
When you play along with the following track, mix these variations together as your ear dictates. There is no clave direction in a cha-cha-chá.
On this next track, the bass will go through the variations shown below, each one integrated into a more standard cha-cha-chá groove. As before, after you have listened to Oscar play through the exercise, go back and play each variation through the entire track until it is firmly embedded in your subconscious. Otherwise, the odds are that you won’t retain this information when you need it - on the gig!
The rhythm below is widely used in cha-cha-chás, as well as bossa nova and other styles of music. It is usually used in combination with other cha-cha-chá rhythms instead of by itself.
These rhythms are a more modern version of the cha-cha-chá, where the “and of 2” is tied to beat 3.
This is the same as variation #2, but the “and of 4” is tied to beat 1 of the next bar. Typically this is played as a two bar figure with no tie between bars 2 and 3.See All Chapters
|Rebeca Mauleon||Sher Music||ePub|
The following list represents but a few of the many talented individuals and groups recommended by the author. Any recording featuring these artists is worth adding to your collection. Some of these artists may be classified as “salsa” artists, and others may be considered “Latin jazz”, Cuban jazz or folkloric. However, many of the artists mentioned cross over into other areas of the Afro-Caribbean musical spectrum. The country of origin of groups who share the same name is also indicated.
In addition, many old recordings are being re-issued on compact disc. Please refer to the section at the end of Appendix B, which provides suggestions as to where to locate these recordings.
América, Charanga (US)
América, Orquesta (Cuba)
Arcaño y sus Maravillas
Casino de la Playa, Orq.
Clásico, ConjuntoSee All Chapters
|Katy Piotrowski||JIST Publishing||ePub|
You’ve come a long way from where you began as a cowardly interview candidate, afraid and unsure of how to present yourself to make progress toward your career goals. You’ve tried new things and taken risks to break old patterns and achieve better results. You should feel very proud of yourself. But is it enough? Could you become even more skilled at interviewing? This chapter will help you uncover opportunities for achieving even better interview results.
Risk It or Run From It?
• Risk Rating: No risk. Just a chance to recognize your accomplishments and scope out additional possibilities to grow.
• Payoff Potential: Sizeable. It’s a painless yet powerful process that can help you become an even more effective interviewer.
• Time to Complete: Three to five minutes.
• Bailout Strategy: Skip it. If you’ve done a thorough job of completing the exercises in this book, and if you’re getting great results from your interviews, you’re probably in pretty good shape, anyway.
• The “20 Percent Extra” Edge: Celebrate your strengths and then make adjustments to your weak points. Soon your interview skills will pull you even farther ahead of the pack.See All Chapters
Brahms’s attitude toward women has attracted the attention of writers since the nineteenth century.1 But although a number of scholars have convincingly demonstrated some of the ways in which women such as Clara Schumann and Elisabet von Herzogenberg influenced his works, the more general topic of the ways in which Brahms portrays the female characters in his lieder has been in large part neglected. More than twenty percent of his lieder have texts with a female narrative voice, including “Mädchenlied” (“Am jüngsten Tag,” op. 95, no. 6), “Klage” (op. 105, no. 3), and “Mädchenlied” (“Ach, und du mein kühles Wasser!,” op. 85, no. 3).2 I will explore the ways in which these three songs intertwine, in paradoxical and subtle ways, musical portrayals of nineteenth-century societal expectations for women and the emotions of the songs’ female characters. While on one level Brahms coordinates sophisticated tonal structures with a panoply of other musical elements to convey the genuinely troubled emotions of the young women, on another he deploys stylistic elements associated with folksong (such as transparent textures, triadic melodies, and diatonic harmonies). These folk elements should not, however, be taken prima facie as traces of the Romantic veneration of folk traditions; rather, they are a musical analogue for the country settings that contemporary illustrations and literature employed to symbolize society’s understanding of the innocent, pure “fairer sex.”See All Chapters
|Maurice Hinson||Indiana University Press||ePub|
This section is divided into multiple groupings, each arranged alphabetically by title. Anthologies and collections grouped into historical periods include music from different countries written over one to three centuries. The “Tombeaux, Hommages” section catalogs those collections written in honor of a composer. The last and largest category consists of collections of various nationalities, sometimes divided into pre-twentieth century and twentieth century. The “Bach” section (under “German”) lists collections which include music by more than one member of the Bach family. Single-composer collections are listed under the composer's name in the main part of the book.
Initial articles and Arabic numerals (A, An, Das, Der, I, Le, Les, The, 15, 24, 30) are ignored in alphabetization. Composers’ names are given in the spelling used in the collection being described. The Title Index of Anthologies and Collections at the end of the volume lists all the collections in one alphabetic sequence. Only dates for composers not included earlier are included here.See All Chapters
Now that we have analyzed in detail songs 14–24 as well as the cyclic aspects of part 2 of Winterreise, we can return to the questions left unanswered in chapter 2 at the beginning of our journey: How should we understand the notion of death in Winterreise, and how can we justify this specific view historically? As discussed in section 2.2, death (and suicide in particular) was a common theme in late eighteenth- and early nineteenth-century German literature. We saw that in the literature preceding Winterreise, death might be understood either in a concrete sense (as a description of a physical event) or in a symbolic manner. I referred to Goethe’s Werther as an instance of the former and to Friedrich Schlegel’s Lucinde as an example of the latter. This duality was related to different ways in which the function of language could be understood. Eighteenth-century writers required language to be used in a precise manner (the “signifier” is unequivocally related to the “signified”), while the Romantics suggested that words may, or indeed should, be used in a way that avoided universally understood meaning (a given “signifier” is detached from any single “signified”).See All Chapters
|Stanley Ritchie||Indiana University Press||ePub|
“Choreography” is a comprehensive term that I use in my teaching to describe the artful use of bow-strokes to shape a musical phrase. According to Michael Vernon, director of the Ballet Department at the Indiana University Jacobs School of Music, choreography is “the art and craft of marrying steps and movements to music in such a way that the music is illuminated and the combination of music and movement produces an emotion in the spectator that is satisfying and expressively cohesive.” Just as in ballet, then, where the choreographer combines steps and gestures to tell a story or depict an emotion, so the string player, when interpreting music, must use the bow in a variety of ways to “illuminate” the musical line, to evoke an emotional picture and realize the architecture of the piece.
Beyond the purely mechanical in basic violin technique, then, skillful interpretation requires great subtlety in bowing, whose ingredients include speed and point of contact as well as attack and pressure. It is not enough merely to know how to pull and push the bow across the strings, but in so doing how to produce a sound of appropriate volume and color at any point in a phrase or gesture, and how to shape individual notes artistically.See All Chapters