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Baroque

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.

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Medium 9781574411515

2 “The Light Crust Doughboys are on the “The Light Crust Doughboys are on the air!”

John Mark Dempsey University of North Texas Press PDF

CHAPTER TWO

to sell himself to voters. The Doughboys embodied the very essence of the “golden era” of radio—live performances, the dominance of programming by advertising agencies, union disputes over the broadcasting of recorded music, and, finally, the decline of network radio programming with the emergence of television. And so it is ironic that one of the giant figures in television history has a role in the Doughboys’ story.

Over and over, the young University of Texas journalism student practiced the Doughboys’ signature greeting, to the point that his fraternity brothers were ready to toss him out of the house. The inflection of “Yahoo!” had to be just right. This was his big chance.

The hugely popular Doughboys, making one of their many tours of the state, were coming to Austin for a live broadcast from the KTUT studios, and they needed an announcer to open the show. The young broadcaster had a part-time job announcing the sports news on

Austin station KTUT, but this would let him show off his announcing skill to a much larger audience on the far-flung Texas Quality

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Medium 9781770905993

7: Earl Grey Junior High School: The Jades, The Esquires

Sharry Wilson ECW Press ePub

ó 7 ó

EARL GREY JUNIOR HIGH SCHOOL: The Jades, The Esquires

When we got to Winnipeg

I checked in to school.

I wore white bucks on my feet

When I learned the golden rule.

The punches came fast and hard

Lying on my back in the schoolyard.

— Neil Young, “Don’t Be Denied”

IF THERE IS SUCH A thing as a gene for musical talent, Neil Young was blessed with it. He arrived in Winnipeg trailing a rich and diverse musical heritage. Both of his great-grandfathers on the Young side of the family boasted musical ability. Robert Paterson was a “better-than-average church tenor,” while John Young was “one of the great country fiddlers of his time and place.”1

The succeeding generation on both sides of Scott’s family produced an assortment of banjo players and country fiddlers, and Scott’s mother, Jean, played the piano and organ to much acclaim. After moving to Flin Flon in 1937 with her 11-year-old daughter Dorothy, Jean Young2 found work in the machine shop at Hudson Bay Mining and Smelting, a copper mine 901 kilometres north of Winnipeg, where she entertained the miners by playing piano and singing in the Legion Hall on Saturday nights.3 According to Neil, her duties at the mine included “handing out the metal ID tags to the miners before they descended and collecting them back, hanging them on nails in the wall of a little shack, when they finished their shift, thereby becoming the first to learn of a missing soul in the mine.”4 Neil recalls, “She was a valued member of the community, but more than that, she played a helluva honky-tonk piano.”5 She had committed to memory a wide-ranging repertoire of songs and would ask people to “just hum a few bars” of any request. After a long day at the mine, Granny Jean was known for “partying into the night, singing and playing a barroom piano or producing and playing in the local theatre productions she created.”6

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Medium 9781574412666

I. Sorcerer’s Apprentice

Vince Bell University of North Texas Press PDF

  I 

Sorcerer’s Apprentice

I

’ve played music since I was a B-flat cornetpacking kid. I’ve grown up in music, worked to distraction in music, married unsuccessfully in music, and I’ve been at it for several wifetimes. High musical seasons and adventurous women they were. But even before those delightfully shaped dreadnoughts tacked through my life and always in their wake, there had been only one guitar. It leaned up against a wall or a speaker box and cast ever-blooming, ever-changing melodies from an honored niche in all their houses.

My guitar and I began like a storm in the screened-in second story of a house in the Montrose, an older part of Houston. It was a lawless, hip world-within-the-world, an attitude as much as a place to live, and an anything-goes lifestyle with a soundtrack familiar to everyone in jeans under 30. The musical messages that spoke to us were broadcast from one of several radio stations downtown or on Lovett

Boulevard. I was 19 years old when I moved lock, stock, and bicycle into a filthy, roach-infested little flat there. The rest of the city outside the loop dissolved into irrelevance.

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Medium 9781574413076

Chapter 9 The Legacy—Horn Players Look Back

Stephen Gamble and William Lynch University of North Texas Press PDF

CHAPTER

9

The Legacy—Horn Players

Look Back

Horn players who have either known Brain or have been influenced by his example have offered tributes and recollections of him. Their words describe Brain’s many-faceted talents as a musician as well as a horn player. Over fifty years after his death, Brain has continued to influence new generations of horn players around the world,. In his lifetime, he was an international figure in the world of classical music, and today that status is magnified rather than diminished.

Brain had a captivatingly beautiful tone. So did his father, who some critics are willing to say had an even more attractive tone than his son.1 Both father and son possessed a bright and penetrating, compact sound that is rarely heard in other players.

Brain’s horn sound was like pure gold, the result of many years of hard, practical exertions. His phrasing was subtler, more elegant, and more musical than that of any other horn player, which, combined with his beautiful tone and brilliant technique, made him the greatest of the great.

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