108 research outputs found
Tin Pan Alley: Propaganda in the AMerican Popular Music of George M. Cohan during WWI
No full textABSTRACT
Music during World War I was greatly influenced by and centered around a district in New York City between 5th Avenue and Broadway called “Tin Pan Alley.” There was nothing extra special about this area; it’s just where songwriters, publishers and arrangers congregated to get their inspirations and compilations for their music live. Propaganda of any kind, that proved to be effective, was used to achieve the goal of persuasion and manipulation. Propaganda in its many forms was employed nationally and internationally including but not limited to American songs, films, images, plays, African-American Musicians and the like. Tin Pan Alley was a cauldron of raw creativity.
George Michael Cohan was heavily associated with the area of New York known as Tin Pan Alley. George Michael Cohan (July 3, 1878 – November 5, 1942), known professionally as George M. Cohan, was an American entertainer, playwright, composer, lyricist, actor, singer, dancer and producer. Cohan began his career as a child, performing with his parents and sister in a vaudeville act known as "The Four Cohans." Beginning with Little Johnny Jones in 1904, he wrote, composed, produced, and appeared in more than three dozen Broadway musicals. Cohan published more than 300 songs during his lifetime, including the standards "Over There", "Give My Regards to Broadway", "The Yankee Doodle Boy" and "You're a Grand Old Flag". As a composer, he was one of the early members of the American Society of Composers, Authors, and Publishers (ASCAP). He displayed remarkable theatrical longevity, appearing in films until the 1930s, and continuing to perform as a headline artist until 1940.
The purpose of this document and its accompanying lecture recital is to demonstrate some of ways that propaganda was employed in the United States especially as evident in George Cohan’s compositions and how through successful employment of that propaganda he cemented himself in the annals of American history.
Methodologies include an exploration into the use of propaganda in America and Cohan’s biography specifically as it pertains to his composition style, performance career and professional associations because these factors seem to significantly impact the type of compositions produced by Cohan. For each setting there will be an examination of melody, harmony, rhythm, form, and texture; and an analysis of the relationship between certain communities’ feelings about the war and Cohan’s music. A comparison will be made of any significant style differences used between pro-war and anti-war propaganda. Another significant part of this research will be the iconography used during this world war, in the form of posters, pictures, magazine ads, advertisements, and jingles or commercials and how they would have subliminally “celebrated” or “shamed” citizens for their participation or lack thereof in supporting the country’s war efforts. The final chapter provides conclusions and observations based on the comparison of musical settings, the popularity of these compositions, and the impact that his music had on the American people. The lecture recital will be a distillation of the document with performance of specifically explored works to demonstrate salient aspects. An outline of the document follows is also available upon request.Embargo status: Dissertation restricted until 01/2023. To request the author grant access, click on the PDF link to the left
Synthetic Biology: Now that We're Creators, What Should We Create?
No full textSummaryA ‘synthetic’ microbe has been created by introducing the artificially produced genome of one species into the cytoplasm of another. The technology allows the introduction of easily transferable adaptive units, as well as sets of genes that have likely never been transferred successfully
Temporada coreogràfica 1984
No full textPrograma de la Temporada coreogràfica 1984 que va tenir lloc entre el 9 d'abril i el 5 de maig, en la qual hi van participar el Ballet Reial de Flandes i la London Contemporary Dance Theatre. L'orquestra que els va acompanyar va ser la del Gran Teatre del Liceu, dirigida per F. Terby, i B. Pheloung. El Ballet Reial de Flandes, dirigit per J. Brabants, va interpretar "Les rendez-vous" amb música d'E. Auber i coreografia de F. Ashton, "La Péri" amb coreografia de J. Butler i P. Dukas, "La cathédrale engloutie" amb coreografia i argument de J. Kylian i música de C. Debussy, "Whimsicalities" amb coreografia de N. Christe i música de G. Auric, "Allegro Brillante" amb coreografia de G. Balanchine i música de P. I. Txaikovski, "Symphony in three movements" amb coreografia de N. Christe i música d'I. Stravinsky, "Masque of separation" amb coreografia de R. Cohan i música de B. Alcántara i "Venusberg" amb coreografia d'A. Leclair i música de R. WagnerEl "London Contemporary Dance Theatre", dirigit per R. Cohan, S. Davies i J. Eager, va interpretar "Canso trobar", amb coreografia de C. Bannerman i música de M. Best, realitzada per B. Pheloung, "Agora" de R. Cohan i música de J. S. Bach, "Run like thunder", amb coreografia de T. Jobe i B. Pheloung, "Stabat mater" amb coreografia de R. Cohan i música d'A. Vivaldi, "New Galileo" amb coreografia de S. Davies i música de J. Adams i "Class" amb coreografia de R. Cohan i música de J. Keliehor. També inclou el programa d'un concert de M. Caballé amb M. Zanetti en benefici de la Creu Roja que va tenir lloc el dia 27 d'abril de 1984 i que va incloure àries de V. Bellini, L. Cherubini, G. Pacini, S. Mercadante, G. Rossini, Saint-Saëns, G. Bizet, F. Mompou i E. Toldr
CAN UNIFORM SELECTION RETARD RANDOM GENETIC DIVERGENCE BETWEEN ISOLATED CONSPECIFIC POPULATIONS?
No full text
Transmission in the Origins of Bacterial Diversity, From Ecotypes to Phyla
No full textABSTRACT
Any two lineages, no matter how distant they are now, began their divergence as one population splitting into two lineages that could coexist indefinitely. The rate of origin of higher-level taxa is therefore the product of the rate of speciation times the probability that two new species coexist long enough to reach a particular level of divergence. Here I have explored these two parameters of disparification in bacteria. Owing to low recombination rates, sexual isolation is not a necessary milestone of bacterial speciation. Rather, irreversible and indefinite divergence begins with ecological diversification, that is, transmission of a bacterial lineage to a new ecological niche, possibly to a new microhabitat but at least to new resources. Several algorithms use sequence data from a taxon of focus to identify phylogenetic groups likely to bear the dynamic properties of species. Identifying these newly divergent lineages allows us to characterize the genetic bases of speciation, as well as the ecological dimensions upon which new species diverge. Speciation appears to be least frequent when a given lineage has few new resources it can adopt, as exemplified by photoautotrophs, C1 heterotrophs, and obligately intracellular pathogens; speciation is likely most rapid for generalist heterotrophs. The genetic basis of ecological divergence may determine whether ecological divergence is irreversible and whether lineages will diverge indefinitely into the future. Long-term coexistence is most likely when newly divergent lineages utilize at least some resources not shared with the other and when the resources themselves will coexist into the remote future.</jats:p
- …
