...Texts in advertisements for the performing arts often use rhetorical strategies to allude to certain elements of productions and appeal to specific target audiences. The official Gershwin website rightly calls the Gershwin brothers the “songwriting team whose voice was synonymous with the sounds and style of the Jazz Age” ("The Gershwin Brothers"). George Gershwin, praised by Encyclopedia Britannica as one of the “most significant and popular American composers of all time,” rivalling Copland and Ives, is famous for both his musical virtuosity and compositions, especially Rhapsody in Blue and An American in Paris (“George Gershwin”). Ira Gershwin was famed for his “glib, witty lyrics” and his meticulous efforts as a songwriter, earning him...
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...performer, euphonized perfectly with the orchestra. The fortissimo explodes while the piano and orchestra makes a resplendent and unified sound. The audience watches spellbound by the phenomenal performance, shocked with waves of musical euphoria. The self-composing pianist, smiles, happy with his performance. This is George Gershwin, an admirable composer who pioneered the 20th century through his music. He was gifted, and started miraculously in his pre-teens age. Surprisingly, he had no love for music beforehand, which was found through jazz. He quit his schooling early, at the age of fifteen, in order to reach his maximum potential. He also had a great relationship with Charles Hambitzer, who was his piano teacher. Mr. Hambitzer cultivated Gershwin’s already humongous talent to the level of a virtuoso. His sibling, Ira Gershwin, also spent his time with music, writing the lyrics for many of George Gershwin’s popular songs. George Gershwin grew from a clueless young child into an influential and powerful jazz pioneer. The jazzy composing style of George Gershwin had a heartfelt effect on...
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...Ariana Duenas Wednesday, 17 October 2012 Music Report “Rhapsody in blue” On September 29, 2012, the symphony Orchestra at Moorpark College had their first concert of the fall semester with special guest the horn player, Jennifer Bliman and Esther Keel on Piano. The Symphony Orchestra collectively performed three pieces during the concert. The hall was much more crowded than I expected. At the beginning of the concert, the orchestra was seated on the stage; the men wore tuxedos, and the women wore black dresses or pants. The concertmaster came out to tune the orchestra, and then the conductor made his entrance and gave a brief description of the piece that was about to be played. Alexander Borodin’s piece Symphony No. 2 in B minor was composed in the romantic period. He was a member of the group of composers called The five (or "The Mighty Handful"), who were dedicated to producing a specifically Russian kind of art music. It has a homophonic texture and its genre is classical music. There is a wide variety of instruments used in this piece. Among the wind instruments (woodwinds and brass) heard were bassoon, oboe, French horn, and trumpet. The strings played included the violin, viola, cello, and bass. Finally, the percussion instrument used for this piece was the timpani. This movement is broken down into four sections by tempo: Allegro, scherzo, andante, and Allegro. The allegro section begins with a fast introduction at a forte dynamic. This section is in a B minor...
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...Blues vs Country music According to Etta James in an interview with American Chronicle: "The Blues and country are first cousins ... What I look for in a song is for the story to be for real. I like a blood and guts kind of thing. That's what you find in the lyrics of country music." Blues and country music both developed in the 19th century in the Southern United States. They share a similar history. For this reason, they share many of the same musical and lyrical characteristics. Read more: How to Compare Blues & Country Music | eHow.com http://www.ehow.com/how_5888119_compare-blues-country-music.htInstructions 1. * 1 Learn the history behind blues and country music. They are both forms of American folk music influenced by earlier styles brought overseas. Blues music grew out of field hollers and chants sung by African slaves. Irish and Scottish balladeers borrowed the guitar and banjo of blues and thus created "country". According to Reebee Garofalo in "Rockin' Out: Popular Music in the USA", "Terms like country and blues are only used to separate the same kind of music made by blacks and whites ... designations like race and hillbilly intentionally separated artists along racial lines and conveyed the impression that their music came from mutually exclusive sources." Country is an offshoot of blues. They are essentially the same thing. In the PBS special, "Rhythm, Country and Blues," country is referred to as "white man's blues." * 2 Listen to...
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...thus using race, national identity, and cultural value as key aspects in making jazz one of the nation’s most subsidized arts. Led by new cultural institutions and educational programs, millions of Americans have engaged with the history and canon of jazz that represent the values endorsed by the JPA. Record companies, book publishers, archivists, academia, and private foundations have also contributed to the effort to preserve jazz music and history. Such preservation has not always been a simple process, especially in identifying jazz with black culture and with America as a whole. This has required a careful balancing of social and musical aspects of jazz. For instance, many consider two of the most important aspects of jazz to be the blues aesthetic, which inevitably expresses racist oppression in America, and the democratic ethic, wherein each musician’s individual expression equally contributes to the whole. Balanced explanations of race and nationality are useful not only for musicologists, but also for musicians and teachers wishing to use jazz as an example of both national achievement and confrontation with racism. Another important aspect of the JPA is the definition of jazz as a ‘‘ high ’’ art. While there remains a vocal contingent of critics arguing against the JPA’s definitions of jazz, such results will not likely see many calling for an end to its programs, but rather a more open interpretation of what it means to be America’s music. On...
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...Moldenhauer Archives at the Library of Congress | Table of Contents Music History from Primary Sources An Introductory Essay Alfred Mann A vellum leaf, 22 by 17 cm., from a prayer book. The letter forms of early Gothic script suggest the twelfth century, or a period even earlier. Neumes (marked in red) are placed above the first four lines of the Latin text. The entire page is richly illuminated in black, red, and blue, with a heavy gold layer decorating the initial A for the phrase beginning "Adoro te." The leaf was obtained for the Moldenhauer Archives from the music dealer and publishing firm Schneider, Tutzing. The Art of Musical Notation In its primary sources, music merges with the representational arts. Oral tradition has played a fundamental role in all ages, but in its formal sense, history--and the history of music--begins with the visual record. Musical notation, having emerged on a wide scale in all civilizations, produced in itself a highly individual record of artistic endeavor. The medieval monks who compiled the missals and other liturgical books for the service of worship rose from their function as scribes to artists in their own right; among the greatest documents of Baroque art are the holographs by Bach; and an entirely novel phase in artistic musical score design was initiated in the twentieth century. The primary sources of music reproduced in this volume rely on various aspects of the graphic arts, but foremost among them stands the representation...
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...stored in a database or retrieval system, without the prior written permission of the publisher. 0-07-144606-0 The material in this eBook also appears in the print version of this title: 0-07-144001-1. All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill eBooks are available at special quantity discounts to use as premiums and sales promotions, or for use in corporate training programs. For more information, please contact George Hoare, Special Sales, at george_hoare@mcgraw-hill.com or (212) 904-4069. TERMS OF USE This is a copyrighted work and The McGraw-Hill Companies, Inc. (“McGraw-Hill”) and its licensors reserve all rights in and to the work. Use of this work is subject...
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...MARKETING 7E People real Choices This page intentionally left blank MARKETING 7E People real Choices Michael R. SAINT JOSEPH S SOLOMON ’ U OLLINS NIVERSITY Greg W. MARSHALL R C OLLEGE Elnora W. THE UNIVERSITY OF SOUTH CAROLINA UPSTATE STUART Prentice Hall Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Editorial Director: Sally Yagan Editor in Chief: Eric Svendsen Acquisitions Editor: Melissa Sabella Director of Editorial Services: Ashley Santora Editorial Project Manager: Kierra Bloom Editorial Assistant: Elisabeth Scarpa Director of Marketing: Patrice Lumumba Jones Senior Marketing Manager: Anne Fahlgren Marketing Assistant: Melinda Jensen Senior Managing Editor: Judy Leale Project Manager: Becca Richter Senior Operations Supervisor: Arnold Vila Creative Director: Jon Christiana Senior Art Director: Blair Brown Text and Cover Designer: Blair Brown Media Project Manager, Production: Lisa Rinaldi Media Project Manager, Editorial: Denise Vaughn Full-Service Project Management: S4Carlisle Publishing Services Composition: S4Carlisle Publishing Services Printer/Bindery: Courier/Kendalville Cover Printer: Courier/Kendalville Text Font: Palatino Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on appropriate page within text. Microsoft®...
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...MARKETING 7E People real Choices This page intentionally left blank MARKETING 7E People real Choices Michael R. SAINT JOSEPH S SOLOMON ’ U OLLINS NIVERSITY Greg W. MARSHALL R C OLLEGE Elnora W. THE UNIVERSITY OF SOUTH CAROLINA UPSTATE STUART Prentice Hall Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Editorial Director: Sally Yagan Editor in Chief: Eric Svendsen Acquisitions Editor: Melissa Sabella Director of Editorial Services: Ashley Santora Editorial Project Manager: Kierra Bloom Editorial Assistant: Elisabeth Scarpa Director of Marketing: Patrice Lumumba Jones Senior Marketing Manager: Anne Fahlgren Marketing Assistant: Melinda Jensen Senior Managing Editor: Judy Leale Project Manager: Becca Richter Senior Operations Supervisor: Arnold Vila Creative Director: Jon Christiana Senior Art Director: Blair Brown Text and Cover Designer: Blair Brown Media Project Manager, Production: Lisa Rinaldi Media Project Manager, Editorial: Denise Vaughn Full-Service Project Management: S4Carlisle Publishing Services Composition: S4Carlisle Publishing Services Printer/Bindery: Courier/Kendalville Cover Printer: Courier/Kendalville Text Font: Palatino Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on appropriate page within text. Microsoft®...
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...c MARKETING 7E People real Choices This page intentionally left blank MARKETING 7E People real Choices Michael R. SAINT JOSEPH S SOLOMON ’ U OLLINS NIVERSITY Greg W. MARSHALL R C STUART OLLEGE Elnora W. THE UNIVERSITY OF SOUTH CAROLINA UPSTATE Prentice Hall Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo Editorial Director: Sally Yagan Editor in Chief: Eric Svendsen Acquisitions Editor: Melissa Sabella Director of Editorial Services: Ashley Santora Editorial Project Manager: Kierra Bloom Editorial Assistant: Elisabeth Scarpa Director of Marketing: Patrice Lumumba Jones Senior Marketing Manager: Anne Fahlgren Marketing Assistant: Melinda Jensen Senior Managing Editor: Judy Leale Project Manager: Becca Richter Senior Operations Supervisor: Arnold Vila Creative Director: Jon Christiana Senior Art Director: Blair Brown Text and Cover Designer: Blair Brown Media Project Manager, Production: Lisa Rinaldi Media Project Manager, Editorial: Denise Vaughn Full-Service Project Management: S4Carlisle Publishing Services Composition: S4Carlisle Publishing Services Printer/Bindery: Courier/Kendalville Cover Printer: Courier/Kendalville Text Font: Palatino Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook...
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