18,565 research outputs found
Ellen Higgins Little Anthony Interview, October 1993
Full text linkEllen Higgins Little Anthony discusses her experiences growing up in Ravalli County, Montana in the early 20th century. She describes her father’s beet farming, the Missoula Sugar Beet Refinery and working at the Red Lodge Canning Company during the Great Depression and World War Two. Anthony also discusses her experiences at a teacher’s college in Dillon, Montana, and teaching in Eastern Montana.https://scholarworks.umt.edu/mtsettlersandhomsteaders_oralhistory/1013/thumbnail.jp
Remembrance and Reconciliation: Understanding the Little Rock Crisis of 1957 video recordings, 1997
No full textCollection contains nine videocassette tapes recording the public symposium, "Remembrance and Reconciliation: Understanding the Little Rock Crisis of 1957," held on 1997 September 26-27, at the University of Arkansas at Little Rock. Participants included: Annie Abrams, Elizabeth Jacoway, Sheldon Hackney, David Goldfield, George Wright, Joel Williamson, John Kirk, Anthony J. Badger, Roy Reed, James C. Cobb, Kermit L. Hall, Tony A. Freyer, and Michael J. Dabrishus. Speakers reflected on the causes of the Central High School desegregation crisis in 1957, race relations in Little Rock, and the lasting effects of the crisis on the public perception of Arkansas.Remembrance and Reconciliation: Understanding the Little Rock Crisis of 1957 video recordings, 199
Sacred Prelude, Op.15 [Full String Orchestra version]
No full textA natural rubato is felt throughout this haunting, single-movement work (initially composed in 1984 for string quintet as "Opus 1", and then newly arranged in 2015 for full string orchestra by Anthony Weeden - in collaboration with the composer - as "Opus 15").
The sound is reminiscent of that of ancient church music. Written in the stile antico, it opens with a “Plainsong”, then comes the main central “Anthem”. There is a brief reprise of the opening theme, before the work closes with a more emphatic “Fantasia” (where the sense of rubato becomes almost improvisatory). The work, as a whole, may be said to comprise a poignant “prayer” for strings.
Ideal duration is ca. 11 mins.
ISMN 9790720171678. ASCAP/MCPS Registered
Harrigan and Hart "The Little Frauds" promotional material
No full textBlack and white photograph promotional material for "the Little Frauds" (Edward Harrigan and Tony Hart (Anthony J. Cannon) pioneers in musical theater, Harrigan would compose and write lyrics with David Braham, while Hart was know for Quick-Change artistry playing multiple roles at onc
Aesop's Fables: The Complete Collection
No full text“5 Minute Bedtime Stories for Kids. More Than 100 Classic Fables and Short Fairy Tales to Help Children & Toddlers Relax and Fall Asleep Fast.” This book, despite its rather high price, is a disappointment. It offers prose narratives of fables in twelve well organized chapters on standard 8½” x 11” paper. There are partial-page colored computer generated cartoons every few fables. Why is it disappointing? For starters, in what sense is it “complete”? Perry’s compendium of Aesop’s fables numbers in the 700’s. The very first fable has the wrong title, confusing “The Tortoise and the Hare” with “The Tortoise and the Eagle.” The subtitle makes reference to fairy tales: Why? Fairy tales and fables are quite distinct, and Aesop belongs generally, I would even say almost exclusively, to the latter. Little problems plague this text. On 63, a picture covers the last part of a sentence. The same page has both mice and rats engaging the lion. Which is it? 108 adds a confusing plus sign in the midst of its prose. 125 refers to “doublons” rather than “doubloons.” Aesop deserves better!Anthony Vanzell
Music in words : the music of Anthony Burgess, and the role of music in his literature
No full textTheý principal focus of the thesis is Anthony Burgess, a prolific novelist whose first and
enduring creative passion was music in general and composition in particular. Burgess
criticism is limited and largely out-of-date, showing little recognition of the aural or musical
elements in his fiction, and virtually no specialist commentary on the music and its
relationships with the literature. The main aim of the thesis, therefore, is to demonstrate the
variety and strength of the widespread musical elements in Burgess's literature, including the
importance he attaches to the sonic basis of language, and to show that these are supported by
the musical sensibility and technical competence evident in his. compositions. It is suggested
that in the inevitable reassessmenot f his work following his death in 1993, the effects of his
musicianship on his literary work should play a greater part than hitherto, and the thesis makes
a contribution to this reassessmenbt oth through its original critical commentaries on his music
and through the music-orientated discussion of his literature.
After an introduction and literature review, the first chapter examines three examples of
Burgess's little-known music. All are associated with verbal texts, though the range is
otherwise wide, and through them it is possible to draw conclusions about the competence of
his handling of musical language and structure. The second and third chapters examine the
more familiar work of Burgess the acclaimed author, but from the unfamiliar viewpoint of its
musical content, including not only surface references but also hidden allusions and technical
puzzles aimed at the musician reader. Two instances of music serving as a structural template
for literature are analysed in detail, and attention is also drawn to Burgess's awareness of
musical elements in the content and language of the, work of some. of his predecessors. The
final core-chapter,e xamines the fusion of Burgess's literary and,m usical skills in the context of
his music and words for stage and radio.
What emerges is the clear intermeshing of his parallel careers;, and the production within his
distinctive literary output of work which, due to the radical extent of its musicalisation, has to
be viewed as musically-aware literature for specialised readers, at times evincing, it is
proposed, a logic which springs primarily from music
Little Anthony and The Imperials in Leone Cole Auditorium 1
No full textOn November 10, 1966 the Jacksonville State University SGA held a big student event in the Leone Cole Auditorium. Little Anthony and the Imperials, a rock group , performed. Shown Jerome Anthony Little Anthony Gourdine, The Imperials, and the band perform on stage.https://digitalcommons.jsu.edu/lib-ac-histimg/20799/thumbnail.jp
Autumn Crocus
No full textProgram from The Little Theatre of Dallas' 1939 production of 'Autumn Crocus,' written by C. L. Anthony and directed by Amy Loomis. Cover art by Leon Dacus
Interview with Anthony F. Janson
No full textAnthony F. Janson is a retired professor and former Department Chair for the UNCW Department of Art and Theatre [retired December 2002]. This interview covers his complete life and career. He discusses his relationship with his art historian father, H.W. Janson, including his relationship as son and co-author and editor of the Janson texts on art history. The interview covers Tony's career as a scholar, book editor, author, art museum curator [at Indianapolis Art Museum and North Carolina Art Museum], and as a professor. Throughout, he comments on important artists in history and his philosophy of art history. He also includes stories of his time in the Vietnam War
Interview with Anthony F. Janson
No full textAnthony F. Janson is a retired professor and former Department Chair for the UNCW Department of Art and Theatre [retired December 2002]. This interview covers his complete life and career. He discusses his relationship with his art historian father, H.W. Janson, including his relationship as son and co-author and editor of the Janson texts on art history. The interview covers Tony's career as a scholar, book editor, author, art museum curator [at Indianapolis Art Museum and North Carolina Art Museum], and as a professor. Throughout, he comments on important artists in history and his philosophy of art history. He also includes stories of his time in the Vietnam War
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