List Of Songs Research Articles

Oregon Voices: Talegate: A Trombone Tableau

_OREGON VOICES Talegate A TromboneTableau byJohn Wendeborn TAILGATE:Back endof wagon in New Orleanswith bandplayingand trombonist pointing horn over tailgate; New Orleans style of jazz trombone TALEGATE: Trombonist who becomes writer IT'S FALL 1944. I'm fourteen years old and looking for themusic room at Washington High School, carrying the tarnished trumpet I'd been trying to play for a year while taking about a dozen lessons.Within a week, the trumpet's gone and I'm sitting at the back of the room with a tuba on my lap. Band director Arlon O. Bogard didn't need a dysfunctional trumpet player but figured with some work his open tuba chair would be the right thing forme. Itdidn't take long to figure out the tuba was not right, either. The next fall,with the arrival of a sophomore who could play tuba and sousaphone coupled with a need fora trombone player putMr. Bogard on my case again. He wasn't willing to dismiss me completely; my freshman year had been okay, and he needed to fill out theband. iN"W5t V.1.^J including several musicians, and we would march and play ? even getting the police to block a lane of trafficas we marched to Twenty-eighth and then on to the Blue Goose Tavern on Ankeny. A couple of years later, the march began atClaudia son Southeast Thirtieth and Hawthorne. By then, the growing platoon approached fortyguys,most of them veterans and many wearing ill-fitting uniforms. The music was handled by nearly a dozen players aswe marched up Hawthorne toThirty-seventh Avenue, again with police support, toNick's Coney Island. That lasted two years and was defi nitely a fun-loving experience. Wendeborn, A Trombone Tableau 115 ALREADY IMMERSED inthejazz community, I leftcab driving in 1956. I had not played anywhere near full time for the prior two years, but I soon found Portland's jazz clubs and was a frequent visitor toplaces such as the Chicken Coop and the Shadows. Both were restaurants, and theCoop, off Northeast Sandy Boulevard at Twenty-fourth, was where Portland's popular pianist Sid Porter played. The Shadows, at Northeast Twenty-first, off Sandy, was prettymuch a burger and-fries outlet with a trio playing weekends. Idid have a quartet fora few weekends at theHollywood area club Carmen s but lost that gig when the well-known Hamiltones took over. Jam sessions put me in contact with other jazz musicians, including Lynn Teadtke, who would soon be the leading Dixieland/traditional jazz trumpet in town. Lynn and I found ways to occasionally play in the after noon, which gained me some status. He joined Monty Ballou s traditional jazz band and became a star.Ballou ran thepopular Diamond Horseshoe Club on the second floor of a building at Southwest Broadway andWashington, adjacent towhat was then the Liberty Theater. Through Lynn, I got to sit in a couple of times. Itwas about 1955when I began stagingwhat we called Young JazzAu diences, a take-offon the symphonic type events called Young Audiences, which catered tohigh school audiences and musicians. With Wes Spellman, pianist Al Hood, and others,we staged several concerts, including shows at Grant, Madison, and Franklin high schools. The assemblies we played always ended with a fewhigh school ers joining us toplay; years later many of them had become established jazz players in town. In the late 1950s, a popular two trombone sound by recording artists Kai Winding and J.J.Johnson led to the S&W Quintet (Spellman & Wendeborn). Trumpeter Wes Spell man doubled on the used Reynolds valve trombone Ihad bought to enable us to get the J.J. and Kai sound. I had also discovered a wizard of the valve trombone, Bob Brookmeyer, andwhen Wes said he could play the valve, too, the S&W sound was born. Tenor sax man Carl Smith and his soon-to-be-wife Patti Hart, a jazz singer whose popularity was rising rapidly, regularly gathered with us at a small house on Southeast Stark across from the Lone Fir Cemetery. Those afternoons were more jam sessions than rehearsal, but we had tohave a set listof songs to play. Carl later formed his Natural Gas Company...

The Origin of the List of David's Songs in "David's Compositions"

The Origin of the List of David's Songs in "David's Compositions"

Aloha Betrayed: Native Hawaiian Resistance to American Colonialism (review)

Reviewed by: Aloha Betrayed: Native Hawaiian Resistance to American Colonialism Lyn Carter Aloha Betrayed: Native Hawaiian Resistance to American Colonialism, by Noenoe K Silva. A John Hope Franklin Center book. American Encounters / Global Interactions. Durham, NC: Duke University Press, 2004. ISBN cloth, 0-8223-3350-3; paper, 0-8223-3349-x; x + 260 pages, tables, photographs, appendixes, notes, written in English and Hawaiian (with English translations), glossary, bibliography, index. Cloth, US$74.95; paper, US$21.95. In Aloha Betrayed, Noenoe K Silva has developed a fresh new approach to the critique of colonial historiography. Drawing on nineteenth-century Hawaiian-language texts and newspapers as the basis of her analysis provides a timely remedy for a common problem dominating Pacific historiography—the absence of indigenous voices. The book is divided into five chapters tracing Kanaka Maoli (Native Hawaiian) resistance to the colonization process, and particularly the effect of colonization on Hawaiian leadership and politics. The first twochapters provide historical background important to the development of the book's main themes. These chapters also deal with the Hawaiian-language resources that Silva researched for the book. The analysis investigates the use of all genres of the oral tradition, thus illustrating Silva's more liberal approach as to what constitutes relevant historical resources. Included in chapter 2 is a table containing the details of Hawaiian newspapers published between 1856 and 1864. Chapter 3 discusses the resistance strategies and tactics used by King Kalākaua, in particular the way Hawaiian genealogies, mele (ie, song, chant, poetry), and performance were used to communicate protest and encourage unification. Chapter 4 looks in some detail at the anti-annexation movement and the 1897 petition, signed by 95 percent ofthe Native Hawaiian population. Chapter 5 examines the role of women, particularly Queen Lili'uokalani and Emma 'A'ima Nāwahï, in the resistance movements. There are two appendixes: One is a text outlining the objectives of Nupepa Kuoka (Independent Newspaper), which was published by haole (white people or foreigners) in opposition to Ka Hoku o Ka Pakipika (The Star of the Pacific). The second contains a list of songs composed by Queen Lili'uokalani during her imprisonment. Silva has included photographs of prominent political figures of the period, newspaper articles, and illustrations, all of which add substance to her text. In her introduction Silva explains the language and translation conventions she has used for the transcription and translation of the Hawaiian-language material. She states that leaving the original text in its older form and not imposing contemporary orthography makes it possible for readers who are literate in Hawaiian to "see the original spellings and perhaps glean alternative and/or additional meanings" (13). Further descriptions of aspects of Hawaiian terminology give readers a reference point for understanding variations, such as the Hawaiian terms for people and the different status titles. Three main themes are evident throughout the book and somewhat [End Page 154] intertwined. The first challenges the predominant use of English-language print material to explain and verify events in Hawaiian history. Silva states that "there is a history of resistance to U.S. colonialism that has gone unrecorded in mainstream historiography," which has had "far-reaching consequences" (162–163). She is referring in part to the imposition of English to the detriment of the Hawaiian language. The dominant English language has greatly contributed to contemporary Hawaiians' loss of knowledge about their history. Silva makes persuasive arguments in favor of the authenticity of the nineteenth-century Hawaiian-language newspapers in providing alternative explanations to an otherwise often one-sided perspective on historical events. The newspapers are a useful tool for explaining how the indigenous people—the ones most affected by changes brought about through colonization—actually thought about what was happening around them during times of great change and challenge to their lifeways. Although Hawaiian-language manuscripts have been used in the past, Silva maintains that interpretation of the translations have reconfigured and misrepresented indigenous voices and favored the colonial agenda. Silva's analysis of the translations of Kamakau's mo'olelo (history, narrative), Ke Kumu Aupuni (chapter 1), is a compelling example of how English-language writers have manipulated and reordered Hawaiian print material. The...

But is it garbage?: on rock and trash

Trash has been blowing across the rock 'n' roll landscape since the first amplified guitar riff tore through American mass culture. Throwaway tunes, fans, crappy reviews, junk bins of remaindered albums: much of rock's quintessence is handily conveyed in terms of disposability and impermanence. Steven L. Hamelman sums up these rubbishy affinities as rock's trope. Trash is an obvious physical presence on the rock scene - think of Woodstock's littered pastures or the many hotel rooms redecorated by the Who. More intriguingly, Hamelman says, trash is the catalyst for a powerful mode of rock composition and criticism. It is, for instance, both the cause and effect when performers like the Ramones or Beck at once critique junk culture and revel in it. Hamelman guides us across five decades of rock to explore the trash trope in all of its audible, visual, and emblematic power. He offers up a personal top-forty list of songs that engage the trash trope at many levels, including Yakety-Yak, the Coasters' lament about taking out the trash, and Radiohead's No Surprises, in which the singer's persona likens his heart to a landfill. Drawing extensively on Lou Reed's Berlin, Hamelman gives the rock dead? debate new meaning by pondering death themes in the music and the morbid romanticism of the best wasted recordings. Finally Hamelman looks at rock's saving powers - at how a medium steeped in tropes of uselessness and inconsequence can mean so much to countless people. But Is It Garbage? spills over with challenging insights into how rock's creators, critics, and consumers transform, and are transformed by, trash as a fact and a concept. In the music's preoccupation with its own trashiness readers will perceive a wellspring of rock innovation and inspiration - one largely overlooked and little understood until now.

Musical instrument tuner with configurable display

A musical instrument tuner includes a display screen. A user can select predetermined configurations such as for guitar, bass guitar, violin, cello, etc. Popular detuned settings for guitars, such as “drop-D,” one half-step down, etc. can be provided as selectable presets with the display configuration changing to provide appropriate indicators. Bass guitars or other instruments that come in models having different numbers of strings can easily be accommodated with presets or through user customization. A user can also create a customized tuner with arbitrary note detection so that any instrument or user preference can be configured after the point of sale with a single manufactured device. In one embodiment, the tuner mounts adjacent to an instrument, such as a guitar, by using a standard ¼ ″ plug. The tuner has a display screen that pivots to permit viewing on different types of guitars. A model is disclosed that is suitable for both left and right handed guitar players. The instrument-mounted tuner can be configured to accept signals from other devices and to provide auxiliary information to the musician. For example, the tuner can display chord charts, lyrics, song titles in a list of songs to be played at a performance, etc. The tuner can work in cooperation with guitar effects devices to indicate what effects are being applied to the tone, provide a visual metronome indication, etc. In another embodiment, the device performs analog-to-digital (A/D) conversion of an input instrument signal. The digital signal is provided to an external device.

Complete Songs (with the Music in Macbeth ) (review)

Leveridge. Complete (with the Music in Macbeth). (Music for London Entertainment, 1660-1800, ser. A: Music for Plays 1660-1714, vol. 6.) London: Stainer & Bell, 1997. [List of vols. available, p. vi-vii; pref. (Stanley Sadie), p. viii; list of songs, p. ix-xii; introd. Richard Leveridge: His Life and Songs (Olive Baldwin and Thelma Wilson), p. xiii-xxvi; facsim. reprod. 227 p.; notes on the songs, 12 p.; index of first lines and song tides, 3 p.; indexes of authors, stage works, singers, and tunes, 2 p.; index of ballad operas, 1 p. Cloth. ISMN M-2202-1885-9; ISBN 0-85249-841-1. [pounds sterling]120.] Too little is known about English theater music in the immediate decades after Henry Purcell's death--or, rather, insufficient musicological energies have been applied this topic. And this is something of a shame, for the music that is available in modern edition or facsimile by Daniel Purcell, Jeremiah Clarke, John Eccles, and a few others makes a compelling case for a musically rich and imaginative theater scene in early-eighteenth-century London. Not all the music is first rate, but many of the examples I have seen (alas, rarely heard) appear be the effective efforts of well-skilled musical dramatists, who of course learned their craft directly or indirectly from the masterful Henry Purcell. The singer-composer Leveridge (1670-1758), who emerged on the London scene in the late 1690s and maintained his position as a significant man of the theater for over fifty years, occupies a perhaps more peripheral position as a composer than the trio named above, although his longevity as a great bass voc alist and general theatrical influence certainly merits attention. The volume here under review comprises all of Leveridge's songs, many of which were first written for plays and performed therein by Leveridge himself, and is thus a welcome addition the facsimile series Music for London Entertainment. It is a unique one as well, bringing together a single composer's collected from a variety of sources rather than focusing on a single publication or manuscript (or a small group of related ones), as is true of all the other volumes published in the series so far. The authors of the volume's preface, Olive Baldwin and Thelma Wilson, have gone well beyond the sort of normally involved in introducing a facsimile, selecting from various early editions of Leveridge's songs the best available and presenting them in a coherent sequence. Their aim is to maintain, as far as possible, the integrity of [Leveridge's] five collections (p. xxv). (The collections, all printed in London by various publishers, are A New Book of 1697; A Second Book of [1699]; A New Bock of [1711]; A Collection of 1727, in two volumes; and A Collection of [1728].) Baldwin and Wilson present these chronologically, interrupting them with three groups of songs from various sources: 1696?-1710, 1714-ca. 1725, and 1728-53 (see the List of Songs, pp. ix-xii). Closing the volume is Leveridge's music from Macbeth (1702), described by Baldwin and Wilson as the composer's most important work (p. xvi) and given here in a 1770 version, edited by William Boyce with an influential misattribution Matthew Locke, which led to, among other things, Charles Burney's high praise of Locke. This compilation provides an opportunity measure Leveridge's abilities as a composer, and in this task users of this volume will find Baldwin and Wilson's commentary helpful, directing them his popular works as determined by contemporaneous writings, as well as information on the frequency of reissues. …

Soothing the Savage Beast: Information sources on Music Therapy to Improve the Environment

Music may be able to soothe the savage beast but can it direct the human will to improve the environment? Individually? Collectively? If so, how? The purpose of this discussion is to establish a framework whereby these questions may be explored. Following a brief discussion of music's impact upon our bodies, minds, and spirits, I will present a list of songs touching upon some aspect of the environment. A number of books have also been identified as resources for further study and contemplation. Some questions to consider include: Which genre of music is most effective in its positive environmental impact? and Is the music of any particular culture more influential in healing environmental problems? Specifically, it may be more appropriate to ask whether the music of one religion or another may be more effective in fostering environmental concern. Lynn White has suggested that the solution for the environmental crisis rests upon the shoulders of religion since that's where the blame for the crisis also rested and science has (as of the date of his article) been unable to cure the world's environmental ills (White 1967). Sound (music) makes a difference: physically, mentally/emotionally, and spiritually. One physical impact, directly influencing the environment, involves music's powerful impact upon the growth of plants. These organisms grow toward some music as they grow toward light. Other music repels plants, even kills them. However, this does not suggest that music be played across the wilderness or in urban landscapes for the purpose of improving the environment. People shape the environment in significant ways; therefore, any improvement that the environment might enjoy through music will be brought about indirectly, as that music influences people. Environmentally friendly music may impact people physically as it motivates them to move in various ways. The mental and emotional impact of music works by educating its listeners. Finally, spiritual change takes place as music resonates with people, inspiring them to act. Motivate Music impacts physical states in plants, animals, and people. Some indigenous peoples around the globe also believe it affects the environment, such as through a rain dance. The impact of music upon a person's physical being is the easiest to document. However, any beneficial link between the health of an individual's body and the health of the environment is complex and a challenge to document. Music has been shown to make people speed up or slow down, but what social/environmental impact can be shown as a direct result of a person's physical response to music? Selected Resources Campbell, Don. (1992). Music and miracles. Wheaton, IL: Quest Books. Cullum, Alcinda L. (1997). Effects of nature-based sounds on patient anxiety during the preoperative period. Unpublished thesis, Florida Atlantic University. Diallo, Yaya, & Mitchell Hall. (1989). The healing drum: African wisdom teachings. Rochester, VT: Destiny Books. Hall, Manly P. (1982). The therapeutic value of music including the philosophy of music. Los Angeles: Philosophical Research Society Inc. Holloway, Ron. (1995). Music effects on the acquisition of a motor skill. Unpublished thesis, University of Oregon, Eugene. Lee, Mathew H. M. (Ed.). (1989). Rehabilitation, music, and human wellbeing. Saint Louis, MO: MMB Music Inc. Licht, Sidney Herman. (1946). Music in medicine. Boston: New England Conservatory of Music. Lingerman, Hal A. (1995). The healing energies of music. Wheaton, IL: Theosophical Publishing House. Mazer, Susan, &d Dallas Smith. (1999). Sound choices: Using music to design the environments in which you live, work, and heal. Carlsbad, CA: Hay House. McClellan, Randall. (1991). The healing forces of music. Rockport, MA: Element Inc. Nordvall, Michael P. (1995). The influence of music on motor behavior and select physiological and psychological variables. …

Student Song Preference in the Elementary Music Class

In 1996, the Music Educators National Conference (now MENC—The National Association for Music Education) published a list of 42 songs that “every American should know” as part of a nationwide campaign to promote singing. The purpose of the present study was to determine student preferences for several songs on the list, as well as how familiarity with a song may be related to that preference. In addition, possible interactions of gender, grade level, language spoken at home, rehearsal, and self-evaluations of singing were also examined. Ten songs, all limited to a one-octave range, were selected from the MENC list of songs. Subjects ( N =160) were nine intact classes of third, fourth, and fifth graders (three classes at each grade level) in an urban school. During their regularly scheduled music class, subjects listened to the 10 recorded songs and rated each on a 5-point Likert-type scale for both preference and familiarity. In 10 subsequent classes, each song (one song per class) was rehearsed for 10 minutes, followed by another preference rating and a self-evaluation of performance quality. This investigation examined possible relationships between students' familiarity with a song and their subsequent preference for the song. Correlations for individual songs ranged from .40 to .64 with a mean correlation over all 10 songs at .57. A significant difference ( p < .01) between grade levels was found for both familiarity and preference. The youngest subjects responded most positively. Boys indicated a consistent decline in both song familiarity and preference from Grades 3 to 5. Grade level, gender, and language spoken at home (English or Spanish) interacted significantly ( p < .01) in their effect on song preference for these elementary students. Mean preference ratings were consistently higher after the 10-minute rehearsal with one exception (“De Colores”). The student subjects rated themselves consistently high in self-evaluations of singing.

An individual music therapy assessment procedure for emotionally disturbed young adolescents

The use of the assessment procedure described can be of value to other music therapists within psychiatric settings. It can provide useful projective, diagnostic data and help to determine the suitability of music therapy as a treatment modality. Although this assessment was designed for young adolescents in particular, it has also been varied to suit other populations. The validity of this procedure would be determined by the systematic implementation of all tasks. This writter suggests changes in song lists or listening lists to realistically accommodate different age groups. It would necessitate careful documentation of musical/behavioral criteria indicators, as well as areas of assessment. When assessing a more disturbed or psychotic patient, the music therapist may choose to vary the order of tasks or do the assessment over a longer period of time.

Sensibility and English Song: Critical Studies of the Early Twentieth Century

Preface Acknowledgements Explanation of bibliographical system and song lists Abbreviations Part I. The Growth of Sensibility: 1. The condition of English song in 1900 2. Reticent Victorians: Elgar, Parry, Stanford and Wood 3. Narrative song-cycle and dramatic scena: Somervell and Walford Davies 4. Three post-Victorians: Hurlstone, Bridge and Vaughan Williams 5. The Edwardian age (I) 6. The Edwardian age (II) 7. The First World War: its effect and its victims Part II. The Lyrical Impulse Between the Wars: 8. Introduction: the uses of technique - style and personal symbolism in John Ireland 9. The music of Ivor Gurney 10. Georgian poetry and Georgian music 11. Housman and the composers: documentation and evaluation 12. The Celtic twilight 13. Time and destiny: the Hardy songs of Gerald Finzi 14. The uses and abuses of technique Postscript: The pursuit of detachment Appendices Song lists Bibliography Index.

Elam Ives and the Pestalozzian Philosophy of Music Education

IN 183 1 A SMALL BOOK of songs entitled The JuveniZe Lyre was published by Carter, Hendee & Co., of Boston. In later years, Lowell Mason, who was one of two compilers of book, described it as the first school song book published in this country. The intent here is not to argue this point (as tempting an assignment as that might be), but rather to establish identity of second man of this team; for here was a man whose influence in development of a philosophy of American music pedagogy was much greater than has been recognized. This man was Elam Ives, Jr. Although Ives published an imposing list of books and art songs during 30-year period 1830-1860 one can search in vain through standard biographical reference works for more than a short sentence about him. Yet it was he who actually founded in America musical practice of Pestalozzianism, which was dominant philosophy of music education in this country during greater portion of l9th century. Indeed? many Pestalozzian precepts are still followed in music education today. Ives' early experiments and writings had direct influence on such leaders as Lowell Mason and Thomas Hastings. Before this point is developed, however, let us consider few facts we are able to piece together concerning life of this man.

Confederate Broadside Verse: A Bibliography and Finding List of Confederate Broadside Ballads and Songs.

Confederate Broadside Verse: A Bibliography and Finding List of Confederate Broadside Ballads and Songs.