8,081 research outputs found
The Marriage of Note and Word in Two Songs by the Gershwins
No full textThe author investigates various ways in which George Gershwin’s music and Ira Gershwin’s lyrics are ingeniously interconnected in two songs: “How Long Has This Been Going On?” (1927) and “Who Cares” (1931). The music’s melodies, motives, harmonies, and forms are tied to the lyrics’ rhymes, alliterations, and semantic meanings. The author demonstrates that the designs found in the songs are multi-directional: notes refer to other notes and words, and words refer to other words and notes; the relations are symmetrical.
This article is part of a special, serialized feature: A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part III)
[Affidavit In Any Fact by Warren Allen Reynolds, March 16, 1964 #1]
No full textStatement by Warren Allen Reynolds concerning a man, identified by the author as Lee Harvey Oswald, running up Jefferson Street from Tenth Street
[Affidavit In Any Fact by Warren Allen Reynolds, March 16, 1964 #2]
No full textStatement by Warren Allen Reynolds concerning a man, identified by the author as Lee Harvey Oswald, running up Jefferson Street from Tenth Street
Allen Forte: vprašanja ob analitični metodi teorije nizov/množic
No full textAllen Forte: vprašanja ob analitični metodi teorije nizov/množi
The Development of Diminutions in American Jazz
No full textAllen Forte, the prominent Yale music theorist, delivered this previously unpublished lecture in Germany in 1958. In “Forte’s Lecture on Jazz: An Introduction” (included elsewhere in this issue), Benjamin Givan states that this lecture is “the earliest known analytical study of jazz by a professional music theorist.” The lecture applies Schenkerian concepts of “diminution technique” to jazz improvisations from early blues to bebop, including recordings by Bessie Smith, Louis Armstrong, Lester Young, Charlie Parker, and the Modern Jazz Quartet. As Forte explains, “By diminution technique is meant the melodic means (as distinct from, say, the rhythmic or chordal means) by which a given basic tonal structure is varied so as to expand or prolong its content.” Several notated examples are provided, as well as an appendix of recordings referenced
Darina Allen
No full textDarina Allen is owner of Ballymaloe Cookery School in Shanagarry, Co Cork, Ireland, which is situated on an organically run farm. She is a celebrated teacher, food writer, newspaper columnist for the Irish Examiner, cookbook author and television presenter
The author, Ida Allen, recounts some of her life in Maine\u27s woods. She was born
No full textThe author, Ida Allen, recounts some of her life in Maine\u27s woods. She was born in a Moxie Gorge log camp in the 1910s, and she remembers how the river drivers and lumbermen got logs from Lake Moxie over Moxie Falls ( the Niagara of the north ) through Moosehead Lake to the company mills. Details
Letter to the Editor from the author, and response from Edgar Allen Beem, on Bee
No full textLetter to the Editor from the author, and response from Edgar Allen Beem, on Beem\u27s book review of Maine: An Explorer\u27s Guide and his comparison of it to Maine Handbook
To Allen Forte from His Former Advisees: Tributes and Reminiscences
No full textTestimonials are collected from forty-two former doctoral advisees of Allen Forte, whose Yale graduation dates range from 1968 to 2002. Although the style and focus of individual tributes vary, many convey something about Forte, both professionally and personally, at the time in which the advisee studied with him. The results are ordered chronologically (by Ph.D. dates) so that collectively they suggest the evolution of Forte himself, as well as North American music theory, across the decades. The contributors include (in alphabetical order): Baker, James M.; Ballan, Harry R.; Beach, David W.; Bergman, Rachel; Bernard, Jonathan W.; Berry, David Carson; Black, Leslie; Boss, Jack F.; Brown, Stephen C.; Chapman, Alan; Check, John; Chrisman, Richard; Damschroder, David A.; Ewell, Philip; Galand, Joel; Girton, Irene M. [Levenson]; Graziano, John; Greer, Taylor A.; Hamao, Fusako; Hanson, Jens L.; Harrison, Daniel; Horlacher, Gretchen; Kowalke, Kim H.; Krebs, Harald; Latham, Edward D.; McNamee, Ann K.; Moreno, Jairo; Neumeyer, David; Nolan, Catherine; Rothgeb, John; Rothstein, William; Russom, Philip; Schmalfeldt, Janet; Schwanauer, Stephan M.; Shaftel, Matthew R.; Spicer, Mark S.; Stein, Deborah; Straus, Joseph N.; Wason, Robert W.; Wheaton, J. Randall; Yeston, Maury; and Yih, Annie K.
This article is part of a special, serialized feature: A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part V)
Tropical ginsberg: the resonance of Allen Ginsberg on the Tropicália
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010Through a dialogical relation between poems and song lyrics, and the socio-political contexts which surrounded these texts, this research discusses the resonance that North American poet, Allen Ginsberg, had over the Brazilian musical movement, the Tropicália. The corpora are the poems "Howl" (1956), "America" (1956), "Supermarket in California" (1955), "Sunflower Sutra" (1955), "Song" (1954), and "Wild Orphan" (1952), written by Allen Ginsberg, and the songs "Batmacumba" (1968), composed by Caetano Veloso, and Gilberto Gil, "Baby" (1968), composed by Caetano Veloso, "Geléia Geral" (1968), composed by Gilberto Gil and Torquato Neto, "Alegria, Alegria" (1967), composed by Caetano Veloso, and "Domingo no Parque" (1967), composed by Gilberto Gil. The main theoretical and critical parameters of this research include: Mikhail Bakhtin and his reflections on intertextuality; James J. Farrell, who believes that the American counterculture began with the Beats; Claudio Willer, who stresses the importance of Allen Ginsberg to the Beat movement, as well as to the birth of the American counterculture; Christopher Dunn, who emphasizes the historical, social, and political relevance of the Tropicália; and Celso Favaretto, who discusses in depth the complexity of most of the Tropicália songs. Based on such parameters, this research suggests that the life and work of Allen Ginsberg had great resonance over the creation of the Tropicália.Através de uma relação dialógica entre poesia e letras de música e o contexto sócio-político que circundava tais textos, este estudo discute a ressonância que o poeta Norte Americano, Allen Ginsberg, teve sobre o movimento musical Brasileiro, a Tropicália. A corpora são os poemas "Howl" (1956), "America" (1956), "Supermarket in California" (1955), "Sunflower Sutra" (1955), "Song" (1954), e "Wild Orphan" (1952), escritos por Allen Ginsberg, e as músicas "Batmacumba" (1968), composta por Caetano Veloso, e Gilberto Gil, "Baby" (1968), composta por Caetano Veloso, "Geléia Geral" (1968), composta por Gilberto Gil e Torquato Neto, "Alegria, Alegria" (1967), composta por Caetano Veloso, e "Domingo no Parque" (1967), composta por Gilberto Gil. Os principais parâmetros teóricos e críticos desta pesquisa incluem: Mikhail Bakhtin e suas reflexões sobre intertextualidade; James J. Farrell, que acredita que a contracultura Americana começou com os Beats; também em Claudio Willer, que salienta a importância de Allen Ginsberg no movimento Beat e no nascimento da contracultura Americana; Christopher Dunn, que enfatiza a relevância histórica, social e política da Tropicália; e Celso Favaretto, que discute em profundidade a complexidade da grande maioria das músicas da Tropicália. Baseando-se em tais parâmetros identificados, esta dissertação sugere que a vida e obra de Allen Ginsberg tiveram grande ressonância sobre a criação da Tropicália
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