97 research outputs found
Last night's gardenias.
No full textGift of Dr. Mary Jane Esplen.Piano vocal guitar [instrumentation]C major [key]Moderately slow [tempo]Popular song [form/genre]Title suggested by Isabel Dawn and Boyce de Gaw [note]Moon, gardenias [illustration]Publisher's advertisement on back cover [note
One summer night.
No full textGift of Dr. Mary Jane Esplen.Piano vocal ukulele [instrumentation]All things look brighter in summertime [first line]One summer night I look'd in your eyes [first line of chorus]B flat major [key]Moderato [tempo]Popular song [form/genre]Man, woman, tree ; Joe Griffith (photograph) [illustration]Politzer [engraver]Publisher's advertisement on front inside cover & back cover [note
Dreaming out loud.
No full textGift of Dr. Mary Jane Esplen.Piano guitar ukulele banjo voice [instrumentation]C major [key]Moderately [tempo]Popular song [form/genre]Lum & Abner, Frances Langford, Frank Craven, Bobs Watson, Phil Harris [illustration]HBK [engraver]Information on A.S.C.A.P. by E. C. Mills on back cover [note]Publisher's advertisement on front inside cover [note]Featuring Lum & Abner, Frances Langford, Frank Craven, Bobs Watson, Phil Harris [note
Daddy Won't You Please Come Home
No full textGift of Dr. Mary Jane Esplen.Piano vocals ukulele [instrumentation]When night is creepin' and [first line]Night after night I'm cryin' [first line of refrain]C major [key]Not fast [tempo]Popular song [form/genre]George Bancroft, Richard Arlen & Fay Wray (photographs) [illustration]Barbelle [graphic artist]Publisher's advertisement on back cover [note
Some day you\u27ll know who loves you, some day you\u27ll know [first line of chorus]
No full textPerformance Medium: Piano and Voice (with lyrics
Tain\u27t no use to keep your seat for you simply can\u27t control [first line of chorus]
No full textPerformance Medium: Piano, Voice and Chord
I don't believe you
No full textGift of Dr. Mary Jane Esplen.Featured by Chicago's Joy-Boy Buddy Fisher at the Avalon Theatre [note]Piano vocal ukulele [instrumentation]Sweetheart can't you see you've got me guessing? [first line]I don't believe you when you're lonesome [first line of chorus]F major [key]Moderato [tempo]Popular song [form/genre]Man, woman, trees ; Buddy Fisher (photograph) [illustration]Politzer [engraver]Publisher's advertisement on front inside cover & back cover [note
Was it a dream?
No full textGift of Dr. Mary Jane Esplen.Piano vocal ukulele [instrumentation]I'm in a trance [first line]Was it a dream? [first line of chorus]G [key]Valse andante [tempo]Popular song [form/genre]Couple under tree ; Clark Fiers (photograph) [illustration]Politzer [graphic artist]Publisher's advertisement on inside front and back cover [note
Kurt Weill: the 'composer as dramatist' in American musical theatre production
No full textPhDThe aim of this thesis is to critically examine Weill‘s negotiation of American cultural industries and his collaborative practice in making musicals there. It addresses the influence of the earlier, now discredited, concept of ‗Two Weills‘, which has engendered an emphasis on identity within the current literature. It proposes that Weill scholarship has been further constrained by problematic perceptions of Weill‘s position as both a European modernist composer and an exile in America. Each of these contexts suggests romanticised notions of appropriate behaviour, for a composer, and of autonomy and separation from popular culture. This thesis examines how Weill troubles those notions by engaging with the musical, a so-called ‗middlebrow‘ form, with a disputed cultural value. It traces the reconsideration of the musical as a location for sociocultural analysis, highlighting David Savran‘s requirement that approaches to the musical recognise the form‘s material conditions of production. The thesis establishes its methodology built on Ric Knowles‘s cultural materialist approach to contemporary performance. This enables Weill‘s activities to be seen in their proper context: Weill‘s negotiation of entry into American art worlds, and the subsequent exchange of economic assets and Weill‘s active management of his cultural capital through the media are followed for the first time, clearly revealing the composer‘s working practices. The thesis suggests that Weill is a practitioner who consciously engages with American cultural industries. It addresses questions of authorship, demonstrating how Weill‘s contribution can be understood within complex sets of agencies. It establishes how Weill can be seen through his own model of the ‗composer as dramatist‘ and through Adorno‘s depiction of the composer as a Musikregisseur
Was it a dream? Was it a dream? We were alone, [first line of chorus]
No full textPerformance Medium: Piano and Voice (with lyrics
- …
