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Author: Grafiati

Published: 26 July 2024

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1

Productions, Star Trax. Add-a-rap. Guelph, Ont: Star Trax Productions, 1990.

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2

Holly, Karapetkova, ed. Addition pokey (tune, hokey pokey). Vero Beach, FL: Rourke Pub., 2010.

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3

group), Fugazi (Musical. 13 songs. Washington, D.C: Dischord Records, 1989.

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4

Dean, Gene. Country songs and talk songs. [Virginia]: Goodway Pub., 1998.

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5

Babyface. Love songs. New York, NY: Epic, 2001.

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6

Ann, Little Miss. Music for tots. [Place of publication not identified]: [publisher not identified], 2006.

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7

Race, Steve. My music - my songs. London: Novello, 1987.

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8

Baird, Tadeusz. Songs and orchestral music. London: Olympia, 1993.

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9

Hornby, Nick. 31 songs. London: Viking, 2003.

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10

Furia, Philip. America's Songs. London: Taylor and Francis, 2006.

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11

Pollanz, Wolfgang. 33 songs. Graz: Edition Keiper, 2013.

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12

Bohn, James, and Jeff Kurtti. Music in Disney's Animated Features. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812148.001.0001.

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Music in Disney’s Animated Features: Snow White and the Seven Dwarfs to The Jungle Book investigates how music functions in Disney Animated films. The book identifies several techniques used in a number of Disney animated movies. In addition it also presents a history of music in Disney animated films, as well as biographical information on several of the Studios’ seminal composers. The popularity and critical acclaim of Disney animated features is built as much on music as it is on animation. From Steamboat Willie through Bambi, music is the organizing element of Disney’s animation. Songs that establish character and aid in narrative form the backbone of the Studios’ animated features from Snow White and the Seven Dwarfs through The Jungle Book and beyond. In the course of their early animated features the Studios’ composers developed a number of techniques and models that have been used throughout their oeuvre. Instrumental instances of a given film’s songs are used to comment on various character’s thoughts, as well as on the plot and action. Songs featured in Disney films are often transitioned into or out of using rhymed, metered dialog, functioning in much the same way as recitative in opera. The book also explores the use of theme and variation technique, leitmotif, theatrical conventions, and song archetypes.

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13

Harrison, Douglas. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036972.003.0001.

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This introductory chapter offers a scholarly glimpse into the world of southern gospel music from both a sacred and secular point of view. Here the author positions himself as both a gospel-music insider and outsider in discussing methods for how this book approaches and understands southern gospel's cultural functions. In addition, this chapter also functions as a primer on southern gospel music. Broadly defined, southern gospel songs fall into four general types. There are songs of celebration, as well as more commonplace toe-tappers and other upbeat feel-good songs; patriotic and political songs; songs of supplication; and songs of surrender. Across all song styles and types, a tension persists between the music's function as an instrument of conversion and as a vehicle of aesthetic satisfaction.

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14

Snyder, Jean E. “Composer by Divine Right”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0015.

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This chapter examines a selection of art songs that won Harry T. Burleigh renown through their performance by an impressive roster of American and European opera and recital singers, making him one of the most respected American art song composers of the first quarter of the twentieth century. Burleigh's best-known art songs were published by G. Ricordi Music Publishing Company for more than three and a half decades. The first five years of G. Ricordi's publications (1914–1919) represent the majority of the strongest, most memorable, and most enduring of his art song oeuvre. In addition to a dozen or so art songs, more sacred songs appeared in the 1920s, especially from 1924. There were several songs written for historically black colleges such as Talladega College, several novelty songs, and a number of arrangements of folksongs and operatic choruses for choral ensembles. Two songs are especially notable: “Lovely Dark and Lonely One” (1935) and “In Christ There Is No East or West” (1940).

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15

Hage, Erik. The Words and Music of Van Morrison. Greenwood Publishing Group, Inc., 2009. http://dx.doi.org/10.5040/9798216038580.

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Van Morrison is primal but sophisticated; he's accessible but inscrutable; he's a complex songwriter and a raw blues shouter; he's a steady influence on the musical scene but wildly unpredictable as well, and it's these complex and often conflicting qualities that make him such a compelling subject for the Singer-Songwriter series. Journalist Erik Hage here eschews a cold, empirical study of structures and influence, and seeks instead more natural and intuitive means of appreciating all that is unique, eclectic, and surprising about Van Morrison's impressive output. In addition to covering almost all of Van Morrison's musical work and offering new readings of many iconic songs, Hage also provides a biographical introduction and a complete discography that can help listeners find new perspective on Morrison's body of work. Even in his darkest and most naked moments-in Astral Weeks for instance-Van Morrison's songs can still suggest something uplifting. Sometimes these two poles are present simultaneously, and at other times they each find distinct expression in a different musical moment. Even on his first solo album, Blowin' Your Mind (which contained the iconic Brown-Eyed Girl) Van Morrison was wrestling with something thornier and deeper, as evidenced by the wrenching T.B. Sheets - a nine-minute opus about the discomfort of visiting a lover in a small room as she lies in bed, wracked with Tuberculosis. Those two songs, at artistic odds with each other and on the same album, are representative of the oppositional forces that fuel much of his work. Hage here provides a guide through all the layers of emotional meaning and musical resonance present in Morrison's work.

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16

Cardwell, Nancy. The Words and Music of Dolly Parton. ABC-CLIO, LLC, 2011. http://dx.doi.org/10.5040/9798216038399.

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This insightful biography provides a closer look at one of the entertainment world's biggest stars, with a focus on what got her to the top’and what has kept her there. Dolly Parton has an enviable record of accomplishment as a performer, songwriter, recording artist, businesswoman, and philanthropist. She has triumphed on Broadway, in the movies, and even with her own theme park. The Words and Music of Dolly Parton probes its subject's unique singing voice and prolific abilities as a songwriter, as well as her impressive business savvy, fearless attitude, and an imagination as towering as the Smoky Mountains among which she grew up. This book focuses on Parton's most important albums and songwriting style, examining her career from her early days in the east Tennessee mountains through her national television exposure on the Porter Wagoner Show, her crossover success in pop music, and her return to her acoustic/bluegrass roots. In addition, it explores Parton's story songs and characters, the spirituality reflected in her music, and her important collaborations with other artists.

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17

Addition Songs (Learning Beat). Kidzup Productions, 2002.

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18

Thompson, Kim Mitzo, Ken Carder, and Karen Mitzo Hilderbrand. Songs That Teach Addition (Songs That Teach). American Education Publishing, 2006.

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19

Manning, Jane. Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.001.0001.

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In this new follow-up to her highly regarded New Vocal Repertory, volumes 1 and 2, English concert and opera soprano Jane Manning provides a seasoned expert’s guidance and insight into the vocal genre she calls home. Manning’s comprehensive selection of contemporary art songs in Vocal Repertoire for the Twenty-First Century ranges from the avant-garde to the more easily accessible, including substantial song cycles, shorter encore pieces, and songs suitable for auditions and competitions. Each of the selections is accompanied by a highly detailed performance guide, music examples, levels of difficulty, and a brief encapsulation of vocal characteristics or challenges contained in the piece. A supplemental companion website provides composer biographies and an up-to-date list of recommended recordings. With a focus on younger composers in addition to prominent figures, Manning encourages singers to refresh and expand their recital repertoire into less familiar territory, and discover the rewards therein.

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20

Hicks, Michael, and Christian Asplund. Something More Specifically “Musical”: 1973–1984. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037061.003.0005.

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This chapter recounts yet more milestones and developments in Wolff's musical career, as well as the changes within his household which in turn enacted further changes into his opus. As Wolff settled into life at Dartmouth, he once again found himself diverging politically from the paths set by Cage and Cardew. But beyond the social consciousness of his performance collective, Wolff turned to a new technique: the veiled embedding of old worker's songs and political tunes in the fabric of his counterpoint. In addition, Wolff would also create another landmark piece in his career: Wobbly Music, which was his first choral work. It established his canon of musico-political sources: the worker's music championed by folk revivalists of the 1950s and 1960s, and exploited a technique that had long fascinated him: hocket.

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21

Productions, Twin Sisters. Addition Workbook & Music CD. Twin Sisters Productions, 2006.

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22

Maslon, Laurence. The Jewish Population of Tennessee. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199832538.003.0002.

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At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.

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23

Marovich, Robert M. Sing a Gospel Song. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0009.

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This chapter discusses some important developments that enabled gospel music gain a greater foothold in Chicago during the 1940s. Migration from the South continued unabated into the 1940s, leading to increased membership in church congregations. In addition, gospel singers and musicians were popping up on the South and West Sides. This chapter first examines the contributions of the First Church of Deliverance and its stable of soloists, including Myrtle Jackson, Edna Mae Quarles, Elizabeth Hall, and R. L. Knowles, to Chicago gospel music. It then looks at “song battles” between two or more gospel quartets, groups, or singers, along with the First Church of Deliverance's Candle Lighting Service and Gospel Music Festival. It also provides a background on Mahalia Jackson's reputation and career as a gospel singer before concluding with an assessment of three popular Chicago-based gospel groups that plied their singing trade during and immediately after the war years: the Roberta Martin Singers, the Lux Singers, and the Gay Sisters.

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24

Design, Sketchhouse. Musician's Addition Practice Book. Spotlite Media, 2022.

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25

Inc, Segal Works. Seudenu Songs 2.0: Songs. Iconic Art Inc, 2022.

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26

Bailey, Olivia. Victorian Songs & Music. Caxton, 2004.

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27

ROMANO, Dominick. Songs Without Music. Independently Published, 2017.

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28

Gay, Dannelle. Music: My Songs. Independently Published, 2018.

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29

Serafin, Curtis. Songs Without Music. BookBaby, 2018.

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30

Gay, Dannelle. Music: My Songs. Independently Published, 2018.

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31

Piotrowski, Troy. Songs Without Music. Trafford Publishing, 2006.

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32

Songs Without Music. Blurb, 2019.

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33

Songs Without Music. Independently Published, 2020.

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34

Songs Without Music. Blurb, 2019.

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35

Thompson, Kim M. Addition Songs: You Never Forget What You Sing. Audio Memory Publishing, 1993.

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36

Freed, Damon. Catastrophe Poems with an Addition of Songs & Essays. Lulu Press, Inc., 2021.

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37

Wedding Songs. Leonard Corporation, Hal, 2010.

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38

Niver, Heather Moore. Songs. Enslow Publishing, LLC, 2018.

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39

Niver, Heather Moore. Songs. Enslow Publishing, 2018.

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40

Staff, Hal Leonard Corp. Christmas Songs. Leonard Corporation, Hal, 2011.

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41

Hal Leonard Publishing Corporation (COR). Essential Songs - Christmas (Essential Songs). Hal Leonard Corporation, 2005.

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42

Thompson, Kim Mitzo, and Karen Mitzo Hilderbrand. Addition Sing Along Activity Book with CD: Songs That Teach Addition (Sing Along Activity). School Specialty Publishing, 2005.

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43

Staff, Hal Leonard Corp. Christmas Songs. Leonard Corporation, Hal, 2012.

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44

Staff, Hal Leonard Corp. Christmas Songs. Leonard Corporation, Hal, 2005.

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45

Staff, Hal Leonard Corp. Christmas Songs. Leonard Corporation, Hal, 2002.

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46

Staff, Hal Leonard Corp. Christmas Songs. Leonard Corporation, Hal, 2012.

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47

Staff, Hal Leonard Corp. Christmas Songs. Leonard Corporation, Hal, 2002.

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48

Staff, Hal Leonard Corp. Christmas Songs. Leonard Corporation, Hal, 2013.

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49

Staff, Hal Leonard Corp. Christmas Songs. Leonard Corporation, Hal, 2012.

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50

Staff, Hal Leonard Corp. Christmas Songs. Leonard Corporation, Hal, 2002.

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