Book
xiii, 401 p. : ill. (some col.), music ; 26 cm + 1 sound recording (digital ; 4 3/4 in.)
Music Library
Book
193 p. : music ; 24 cm.
Music Library
Music recording
1 online resource (1 sound file).
  • Raiders of the last art / Williams
  • Out of Africa / Barry
  • Spider-man / Elfman
  • Schindler's list / Williams
  • Gladiator / Zimmer
  • Champions. Theme ; Grand National / Davis
  • The lord of the rings. Suite from The two towers / Shore
  • Chariots of fire / Vangelis
  • The James Bond theme / Norman
  • Titanic / Horner
  • Forrest Gump / Silvestri
  • Dances with wolves / Barry
  • Harry's wondrous world / Williams.
Book
1 online resource.
  • Ballad Opera: Commercial Song in Enlightenment Garb / Berta Joncus
  • After 'Anger': modern Britain in the postwar musical / Elizabeth Wells
  • / Ben Francis
  • Towards a British Concept Musical: the Shows of Anthony Newley and Leslie Bricusse / David Cottis
  • The pop music industry and the British musical / Ian Sapiro
  • / Sarah Browne
  • Les Miserables: from epic novel to epic musical / Kathryn M. Grossman, Bradley Stephens
  • Billy Elliot and Its Lineage: the Politics of Class and Sexual Identity in British Musicals since 1953 / Robert Gordon
  • Humming the set': scenography and the musical from Cats to Lord of the Rings / Christine White
  • Noel Coward: sui generis / Dominic McHugh
  • Joan Littlewood: Collaboration and Vision / Ben Macpherson
  • Between Opera and Musical: Theatre Music in Early Nineteenth-Century London / Christina Fuhrmann
  • Lionel Bart: British Vernacular Musical Theatre / Millie Taylor
  • Tim Rice: the Pop Star Scenario / Olaf Jubin
  • Cameron Mackintosh: Control, Collaboration and the Creative Producer / Miranda Lundskaer-Nielsen
  • Andrew Lloyd Webber: haunted by the Phantom / David Chandler
  • The Beggar's Legacy: Playing with Music and Drama, 1920-2003 / Robert Lawson-Peebles
  • Mamma Mia! and the Aesthetics of the 21st Century Jukebox Musical / George Rodosthenous
  • Attracting the Family Market: Shows with Cross-generations Appeal / Rebecca Warner
  • Genre Counterpoints: Challenges to the Mainstream Musical / David Roesner
  • Some Yesterdays Always Remain: Black British and Anglo-Asian Musical Theatre / Ben Macpherson
  • Comic opera: English society in Gilbert and Sullivan / Carolyn Williams
  • Introduction / Robert Gordon, Olaf Jubin
  • English musical comedy, 1890-1924 / Stephen Banfield
  • English West End Revue: World War I and after / David Linton
  • Musical Comedy in the 1920s and 1930s: Mr Cinders and Me and My Girl as Class-Conscious Carnival / George Burrows
  • West End Royalty: Ivor Novello and English operetta, 1917-1951 / Stewart Nicholls
  • The American invasion: the impact of Oklahoma! and Annie Get Your Gun / Dominic Symonds
  • / John M. Snelson.
The Oxford Handbook of the British Musical provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical's development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay's The Beggar's Opera (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic operas of Gilbert and Sullivan; it then examines Edwardian and interwar musical comedies and revues as well as the impact of Rodgers and Hammerstein on the West End, before analysing the new forms of the postwar British musical from The Boy Friend (1953) to Oliver! (1960). One section of the book examines the contributions of key twentieth century figures including Noel Coward, Ivor Novello, Tim Rice, Andrew Lloyd Webber, director Joan Littlewood and producer Cameron Macintosh, while a number of essays discuss both mainstream and alternative musicals of the 1960s and 1970s and the influence of the pop industry on the creation of concept recordings such as Jesus Christ Superstar (1970) and Les Miserables (1980). There is a consideration of "jukebox" musicals such as Mamma Mia! (1999), while essays on overtly political shows such as Billy Elliot (2005) are complemented by those on experimental musicals like Jerry Springer: the Opera (2003) and London Road (2011) and on the burgeoning of Black and Asian British musicals in both the West End and subsidized venues. The Oxford Handbook of the British Musical demonstrates not only the unique qualities of British musical theatre but also the vitality and variety of British musicals today.
(source: Nielsen Book Data)9780199988747 20170206
Music score
1 score (57 p.) ; 30 cm.
  • Invocation ; The narrow bud opens her beauties to the sun / William Blake
  • Answer July / Emily Dickinson
  • Hot sun, cool fire / George Perle
  • Ah, sun-flower! / William Blake
  • Adieu! farewell earth's bliss / Thomas Nashe
  • Ring out, wild bells / Alfred Lord Tennyson.
SAL3 (off-campus storage)
Music score
1 score (47 p.) ; 28 x 43 cm.
  • My Lord, what a beautiful morning!
  • A mountaineer's sad song
  • Weep, all ye little rains
  • Dry bones
  • Put my little shoes away
  • Blowin' in the wind
  • When the saints go marching in
  • Goodbye, old paint
  • O Peter, go ring-a dem bells
  • Where have all the flowers gone?
Music Library
Sound recording
1 online resource (1 sound file).
  • The story of classical music
  • The Medieval period (600-1490)
  • The Renaissance period (1490-1600)
  • The Baroque period (1600-1750)
  • The classical period (1750-1830)
  • The Romantic period (1830-1900)
  • The late romantics, impressionists and others
  • New directions in the 20th century
  • After the second World War
  • Composers of the avant-garde
  • Minimalism
  • Film music
  • Epilogue.
This recording introduces classical music to the entire family. It looks at the music through the lives of the great composers and their environment from the churches and cathedrals that produced the familiar sound of Gregorian chant, to Johann Sebastian Bach and right up to the film music for "Gladiator" and "Lord of the Rings." The CD-ROM features extra information and pictures about the composers, the instruments of the classical orchestra, national anthems and flags, scores, the text of the CDs, musical terms, and more.
Book
viii, 244 p. : ill., music ; 25 cm.
  • Introduction: Finding Fantasy Janet K. Halfyard 1 Fantasy and the Exotic Other: The Films of Ray Harryhausen Mark Brill, University of Texas, San Antonio 2 Numinous Ambience: Spirituality, Dreamtimes and Fantastic Aboriginality Philip Hayward, Southern Cross University, Australia 3 Who Wants to Live Forever: Glam Rock, Queen and Fantasy Film J. Drew Stephen, University of Texas, San Antonio 4 Fantasy Meets Electronica: Legend and the Music of Tangerine Dream Lee Barron, Northumbria University 5 Entering the Labyrinth: How Henson and Bowie Created a Musical Fantasy Liz Giuffre, Macquarie University 6 Superman as Mythic Narrative: Music, Romanticism and the 'Oneiric Climate' Ben Winters, Christ Church, University of Oxford 7 Music and Fantasy Types in Tim Burton's Edward Scissorhands Alexander G. Binns, University of Hull 8 The Tritone Within: Interpreting Harmony in Elliot Goldenthal's Score for Final Fantasy: The Spirits Within Scott Murphy, University of Kansas 9 Scoring Fantasy Girls: Music and Female Agency in Indiana Jones and The Mummy films Janet K. Halfyard and Victoria Hancock 10 Creating Magic with Music: The Changing Dramatic Relationship between Music and Magic in Harry Potter Films Jamie L. Webster 11 Superconductors: Music, fantasy and science in The Sorcerer's Apprentice Janet K. Halfyard.
  • (source: Nielsen Book Data)9781908049933 20160609
Fantasy has had a modern resurgence in cinema due largely to the success of superhero narratives and the two major fantasy series, the Lord of the Rings and Harry Potter. Often regarded as mere escapism, this genre has been neglected as the subject of serious academic work. This volume explores the way in which music and sound articulate the fantastic in cinema and contribute to the creation of fantasy narratives. Fantasy invokes the magical within its narratives as the means by which to achieve what would be impossible in our own reality, as compared to sci-fi's as-yet unknown technologies and horror's dark and deadly supernatural forces. Fantasy remains problematic, however, because it defies many of the conventional mechanisms by which genre is defined such as setting, mood and audience. In a way quite unlike its co-genres, fantasy moves with infinite flexibility between locations - the world (almost) as we know it, historical, futuristic or mythic locations; between moods - heroic, epic, magical; and between audiences - children, teens, adults. In English-language cinema, it encompasses the grand mythic narratives of Lord of the Rings, Legend and The Seventh Voyage of Sinbad, the heroic narratives of Superman, Flash Gordon and Indiana Jones and the magical narratives of Labyrinth, Edward Scissorhands and the Harry Potter series, to name just some of films that typify the variety that the genre offers. What these films all have in common is a requirement that the audience accepts the a fundamental break with reality within the diegesis of the filmic narrative, and embraces magic in its many and various forms, sometimes benign, sometimes not. This volume examines music in fantasy cinema across a broad historical perspective, from Bernard Herrmann's scores for Ray Harryhausen, through the popular music scores of the 1980s to contemporary scores for films such as The Mummy and the Harry Potter series, allowing the reader to see not only the way that the musical strategies of fantasy scoring have changed over time but also to appreciate the inventiveness of composers such as Bernard Herrmann, John Williams, Jerry Goldsmith, Danny Elfman and Elliot Goldenthal, and popular musicians such as Queen and David Bowie in evoking the mythic, the magical and the monstrous in their music for fantasy film.
(source: Nielsen Book Data)9781908049933 20160609
Music Library
Book
xvii, 603 pages : portraits ; 26 cm
Beginning with the era of synchronized sound in the 1920s, music has been an integral part of motion pictures. Whether used to heighten the tension of a scene or evoke a subtle emotional response, scores have played a significant-if often unrealized-role in the viewer's enjoyment. In The Invisible Art of Film Music, Laurence MacDonald provides a comprehensive introduction for the general student, film historian, and aspiring cinematographer. Arranged chronologically from the silent era to the present day, this volume provides insight into the evolution of music in cinema and analyzes the vital contributions of scores to hundreds of films. MacDonald reviews key developments in film music and discusses many of the most important and influential scores of the last nine decades, including those from Modern Times, Gone with the Wind, Citizen Kane, Laura, A Streetcar Named Desire, Ben-Hur, Lawrence of Arabia, The Godfather, Jaws, Ragtime, The Mission, Titanic, Gladiator, The Lord of the Rings, Brokeback Mountain, and Slumdog Millionaire. MacDonald also provides biographical sketches of such great composers as Max Steiner, Alfred Newman, Franz Waxman, Bernard Herrmann, Elmer Bernstein, Henry Mancini, Maurice Jarre, John Barry, John Williams, Jerry Goldsmith, Dave Grusin, Ennio Morricone, Randy Newman, Hans Zimmer, and Danny Elfman. Updated and expanded to include scores produced well into the twenty-first century, this new edition of The Invisible Art of Film Music will appeal not only to scholars of cinema and musicologists but also any fan of film scores.
(source: Nielsen Book Data)9780810890589 20160612
Green Library
Book
1 online resource (352 pages) : digital, PDF file(s).
  • 1. Introduction: the leitmotif problem-- Part I. Musical Themes: 2. Motive, phrase, melody, and theme-- 3. Thematic development, thematic identity: musical themes and the prototype model-- Part II. Musical Association: 4. The phenomenon of musical association-- 5. Piece specifics, cultural generics, and associative layering-- 6. From 'Nibelheim' to Hollywood: the associativity of harmonic progression-- Part III. Leitmotifs in Context: 7. The paradigm of Wagner's Ring-- 8. Leitmotif in Western art music outside the Ring-- 9. The modern-day leitmotif: associative themes in contemporary film music.
  • (source: Nielsen Book Data)9781107098398 20160618
The musical leitmotif, having reached a point of particular forcefulness in the music of Richard Wagner, has remained a popular compositional device up to the present day. In this book, Matthew Bribitzer-Stull explores the background and development of the leitmotif, from Wagner to the Hollywood adaptations of The Lord of The Rings and the Harry Potter series. Analyzing both concert music and film music, Bribitzer-Stull explains what the leitmotif is and establishes it as the union of two aspects: the thematic and the associative. He goes on to show that Wagner's Ring cycle provides a leitmotivic paradigm, a model from which we can learn to better understand the leitmotif across style periods. Arguing for a renewed interest in the artistic merit of the leitmotif, Bribitzer-Stull reveals how uniting meaning, memory, and emotion in music can lead to a richer listening experience and a better understanding of dramatic music's enduring appeal.
(source: Nielsen Book Data)9781107098398 20160618
  • Zadok the priest, HWV 258 (Tallis Chamber Choir ; Royal Academy Consort ; Jeremy Summerly, conductor) (5:52)
  • Music for the royal fireworks, HWV 351. La paix (Aradia Ensemble ; Kevin Mallon, conductor) (3:26)
  • Concerto grosso no. 12 in B minor, HWV 330 (op. 6). Larghetto, e piano - variatio (Capella Istropolitana ; Jozef Kopelman, conductor) (3:43)
  • Messiah, HWV 56. I know that my Redeemer liveth (Kym Amps, soprano ; Scholars Baroque Ensemble) (6:10)
  • Judas Maccabaeus, HWV 63. See, the conqu'ring hero comes! (Capella Istropolitana ; Richard Edlinger, conductor) (3:07)
  • Water music. Suite no. 1 in F major, HWV 348. Overture (Aradia Ensemble ; K. Mallon, conductor) (3:09)
  • Rinaldo, HWV 7a. Lascia ch'io pianga = Let me lament (Susanne Rydén, soprano ; London Baroque ; Charles Medlam, conductor) (3:41)
  • Keyboard suite no. 5 in E major, HWV 430. Air and variations : "The harmonius blacksmith" (Alan Cuckston, harpsichord) (4:12)
  • Ode for the birthday of Queen Anne, HWV 74. Eternal source of light divine (S. Rydén, soprano ; Niklas Eklund, trumpet ; London Baroque ; C. Medlam, conductor) (3:36)
  • Music for the royal fireworks, HWV 351. Le réjouissance (Aradia Ensemble ; K. Mallon, conductor) (3:07)
  • Concerto grosso no. 6 in D major, HWV 317 (op. 3). Vivace (Northern Sinfonia ; Bradley Creswick, conductor) (2:42)
  • Dixit Dominus, HWV 232. Dominus Domino meo (Scholars Baroque Ensemble) (5:36)
  • Saul, HWV 53. Dead march. Grave (Frankfurt Baroque Orchestra ; Joachim Carlos Martini, conductor) (3:07)
  • 6 recorder sonatas, op. 1. No. 4 in A minor, HWV 362. Allegro (László Czidra, recorder ; Pál Kelemen, cello ; Zsuzsa Pertis, harpsichord) (3:11)
  • Messiah, HWV 56. How beautiful are the feet (Angus Davidson, counter-tenor ; Frances Jellard, contralto ; Scholars Baroque Ensemble) (3:28)
  • Water music. Suite no. 1 in F major, HWV 348. Allegro ; Andante (Aradia Ensemble ; K. Mallon, conductor) (7:02)
  • Solomon, HWV 67. Sinfonia : "Arrival of the Queen of Sheba" (Budapest Strings) (3:28)
  • Ode for St. Cecilia's Day, HWV 76. What passion cannot music raise and quell (Dorothee Mields, soprano ; Concerto Polacco ; Wolfgang Helbich, conductor) (8:20)
  • Oboe concerto no. 3 in G minor, HWV 287. Sarabande (Anthony Camden, oboe ; City of London Sinfonia ; Nicholas Ward, conductor) (3:04)
  • Messiah, HWV 56. He was despised (A. Davidson, counter-tenor ; Scholars Baroque Ensemble) (5:02)
  • Concerto grosso no. 6 in G minor, HWV 324 (op. 6). Larghetto e affettuoso (Capella Istropolitana ; J. Kopelman, conductor) (3:30)
  • Organ concerto no. 13 in F major, HWV 295 : "The cuckoo and the nightingale." Allegro (Johann Aratore, organ ; Handel Festival Chamber Orchestra ; John Tinge, conductor) (3:19)
  • Violin sonata no. 7 in D major, HWV 371. Larghetto (Bin Huang, violin ; Hyun-Sun Kim, piano) (3:36)
  • Concerto a due cori no. 3 in F major, HWV 334. A tempo ordinario (Capella Istropolitana ; František Vajnar, conductor) (4:09)
  • Messiah, HWV 56. For unto us a child is born (Scholars Baroque Ensemble) (4:08)
  • Water music. Suite no. 1 in F major, HWV 348. Air (Aradia Ensemble ; K. Mallon, conductor) (1:58) ; Suite no. 2 in D major, HWV 349. Alla hornpipe (Aradia Ensemble ; K. Mallon, conductor) (2:56)
  • Serse = Xerxes, HWV 40. Ombra mai fù : "Largo" (Serse) (Jozsef Mukk, tenor ; Budapest Camerata ; László Kovács, conductor) (3:26)
  • Concerto grosso no. 3 in G major, HWV 317 (op. 3). Allegro (Northern Sinfonia ; B. Creswick, conductor) (2:32)
  • Te Deum in D major, HWV 283 : "Dettingen." Vouchsafe, o Lord, to keep us this day (Ulrike Andersen, contralto ; Concerto Polacco ; W. Helbich, conductor) (2:14)
  • Concerto grosso in C major, HWV 318 : "Alexander's feast." Allegro (Capella Istropolitana ; J. Kopelman, conductor) (3:24)
  • Messiah, HWV 56. Hallelujah (Scholars Baroque Ensemble) (3:45).
Music recording
1 online resource (1 sound file)
  • Christmas oratorio. Bereite dich, Zion / J.S. Bach
  • Messiah. He was despised / G.F. Handel
  • Elijah. O rest in the Lord / F. Mendelssohn
  • Alto rhapsody, op. 53 / J. Brahms
  • Ich bin der Welt abhanden gekommen / G. Mahler
  • L'invitation au voyage / H. Duparc
  • Requiem, op. 9. Pie Jesu / M. Durufle
  • Sea pictures, op. 37 ; Dream of Gerontius. Angel's farewell / E. Elgar
  • Linden Lea / R. Vaughan Williams
  • Corpus Christi carol / B. Britten
  • Pretty ring time / P. Warlock
  • Prison ; Soir ; Clair de lune / G. Faure
  • Ave Maria (Ellens Gesang III) ; Gretchen am Spinnrade ; Wiegenlied (Schlafe, schlafe)
  • Die Forelle ; Auf dem Wasser zu singen ; An die Musik ; An Sylvia ; Nacht und Träume ; Heidenröslein
  • Du bist die Ruh' / F. Schubert
  • Auf Flügeln des Gesanges / Mendelssohn
  • Liederkreis, op. 39. Mondnacht ; Frauenliebe und -leben, op. 42. Du Ring an meinem Finger / R. Schumann
  • Geistliches Wiegenlied, op. 91/2 / J. Brahms
  • Befreit, op. 39/4 ; Morgen!, op. 27/4 / R. Strauss.
Music recording
1 online resource (1 sound file)
  • Christmas oratorio, BWV 248. Bereite dich, Zion / Bach (5:04)
  • Messiah. He was despised and rejected of men / Handel (12:33)
  • Elijah, op. 70. O rest in the Lord / Mendelssohn (3:37)
  • Alto rhapsody, op. 53 / Brahms (11:45)
  • Ruckert-Lieder. Ich bin der Welt abhanden gekommen / Mahler (6:52)
  • L'invitation au voyage / Duparc (4:37)
  • Requiem, op. 9. Pie Jesu / Durufle (3:15)
  • Sea pictures, op. 37 / Elgar (23:48)
  • The dream of Gerontius, op. 38. The angels farewell / Elgar (6:52)
  • Linden Lea / Vaughan Williams (2:50)
  • Corpus Christi carol / Britten (2:47)
  • Pretty ring time / Warlock (1:19)
  • Prison, op. 83, no. 1 (2:19) ; Soir, op. 83, no. 2 (2:12) ; Clair de lune, op. 46, no. 2 (3:05) / Faure
  • Ellens Gesang III, op. 52, no. 6, D. 839 (6:46) ; Gretchen am Spinnrade, op. 2, D. 118 (3:40) ; Wiegenlied, op. 98, no. 2, D. 498 (2:57) ; Die Forelle, D. 550 (2:02) ; Auf dem Wasser zu singen, op. 72, D. 774 (3:18) ; An di Musik, op. 88, no. 4, D. 547 (2:47) ; Gesang, op. 106, no. 4, D. 891 (2:56) ; Nacht und Traüme, D. 827 (4:34) ; Heidenröslein, op. 3, no. 3, D. 257 (1:50) ; Du bist die Ruh, op. 59, no. 3, D. 776 (4:28) / Schubert
  • 6 Gesange, op. 34, no. 2. Auf Flugeln des Gesanges / Mendelssohn (3:17)
  • Lliederkreis, op. 39, no. 5. Mondnacht (4:07) ; Frauenliebe und leben, op. 42, no. 4. Du Ring an meinem Finger (2:51) / Schumann
  • 2 Gesange, op. 91, no. 2. Geistliches Wiegenlied / Brahms (5:43)
  • 5 Lieder, op. 39, TrV 189, no. 4. Befreit (5:30) ; 4 Lieder, op. 27, TrV 170, no. 4. Morgen (4:13) / Strauss.
  • Carmina Burana. O Fortuna : (from "Excalibur") / Carl Orff (Slovak Philharmonic Chorus ; Slovak Radio Symphony Orchestra ; Stephen Gunzenhauser, conductor) (2:44)
  • Tristan and Isolde. Prelude : (from "Excalibur") (Polish National Radio Symphony Orchestra ; Johannes Wildner, conductor) (8:59) ; Götterdämmerung. Siegfried's funeral march : (from "Excalibur") (Slovak Radio Symphony Orchestra ; Uwe Mund, conductor) (8:18) / Richard Wagner
  • Harpsichord suite no. 11. Sarabande : (from "Barry Lyndon") / George Frideric Handel (Alan Cuckston, harpsichord) (4:42)
  • Piano trio no. 2. Andante con moto : (from "Barry Lyndon") / Franz Schubert (Stuttgart Piano Trio) (8:44)
  • Miserere : (from "Chariots of fire") / Gregorio Allegri (Oxford Camerata ; Jermey Summerly, conductor) (10:14)
  • Te Deum, H. 146. Prélude (arr. for organ) : (from "Richard III") / Marc-Antoine Charpentier (Simon Lindley, organ) (2:28)
  • Songs of the Auvergne. Baïlèro : (from "Henry V") / Joseph Canteloube (Denisa Šlepkovská, mezzo-soprano ; Slovak Radio Symphony Orchestra ; J. Wildner, conductor) (5:17)
  • Enigma variations, op. 36. Nimrod / Edward Elgar (Bournemouth Symphony Orchestra ; George Hurst, conductor) (3:30)
  • String quintet, G. 275. Minuet : (from "Greystoke, the legend of Tarzan, Lord of the apes") / Luigi Boccherini (Capella Istropolitana) (4:32)
  • Symphony no. 1, op. 55. Beginning : (from "Greystoke, the legend of Tarzan, Lord of the apes") (BBC Philharmonic Orchestra ; G. Hurst, conductor) (3:31) ; Pomp and circumstance march no. 4 in G major, op. 39 (Slovak Radio Symphony Orchestra ; Adrian Leaper, conductor) (4:44) / E. Elgar.
Music score
ix, 67 p. 29cm.
Music Library
Music recording
1 online resource (1 sound file).
  • Romeo and Juliet. A time for us / Nino Rota
  • Memoirs of a geisha. The chairman's waltz / John Williams
  • Dances with wolves. Two socks
  • the wolf theme & the John Dunbar theme / John Barry
  • Cinema Paradiso. Love theme / Ennio Morricone
  • Lord of the rings. Concerning hobbits / Howard Shore
  • Titanic. My heart will go on / James Horner, Will Jennings
  • English patient. Convento di Sant'Anna / Gabriel Yared
  • Far and away. Suite Far and away / John Williams
  • Casualties of war. Main theme / Ennio Morricone
  • Hable con ella. Soy Marco / Alberto Iglesias
  • Scent of a woman & Some like it hot. Por una cabeza, La cumparsita / Carlos Gardel, Gerardo Matos Rodriguez
  • Hana-bi. Hana-bi / Joe Hisaishi
  • Adventures of Robin Hood. Marian and Robin / Erich Wolfgang Korngold
  • Wizard of Oz. Over the rainbow / Harold Arlen
  • Modern times. Smile / Charlie Chaplin. Bonus tracks: Princess Mononoke / Joe Hisaishi ; A Fairy tale / François Dompierre ; The Deer hunter
  • cavatina / Stanley Myers ; Schindler's list / John Williams ; The mission / Ennio Morricone.
Music recording
1 online resource (1 sound file)
  • See, see the shepheards queene / Thomas Tomkins (2:14)
  • Can she excuse my wrongs / John Dowland (2:52)
  • Lord Willoughby / anonymous (5:23)
  • Essex last good-night / anonymous (4:51)
  • The queenes treble / John Johnson (2:09)
  • When dasies pied / anonymous (2:49)
  • O mistris mine / Thomas Morley (2:27)
  • Ring out your bels / anonymous (2:37)
  • Nuttmigs and ginger / anonymous (1:40)
  • Wooe her and win her / Thomas Campion (1:16)
  • Time stands still & The Lady Frances Sidneys almayne / John Dowland & Richard Allison (5:32)
  • Say love if ever thou didst find / John Dowland (2:07)
  • Courant, of harte diefje waerom zoo stil / Jakob van Eyck (3:09)
  • Each lovely grace / William Corkine (2:20)
  • Where are all thy beauties now? / Thomas Campion (2:50)
  • The sacred end pavin / Thomas Morley (3:31)
  • In eighty-eight / anonymous (2:40)
  • The Queenes alman / William Byrd (2:52)
  • With fragrant flowers / Francis Pilkington (2:55)
  • His golden locks / John Dowland (3:35)
  • All creatures now / John Bennet (2:12)
  • Fly love / Thomas Morley (1:53).
Music recording
1 online resource (1 sound file).
  • Les choristes = The choir. Vois sur ton chemin (2:26)
  • Carmen. Chœur des gamins (2:14) / Bizet
  • 1492 : The conquest of paradise = 1492 : La conquete du paradis. The conquest of paradise (5:28)
  • Les choristes = The choir. Cerf-volant (2:02)
  • Schindler's list = La liste de Schlinder. Oyf'n pripetshik (3:11)
  • The lord of the rings : Return of the king. Into the West (6:30)
  • C.R.A.Z.Y. Emmenez-moi (3:36)
  • Le matou. Monsieur Émile (2:05)
  • Les invasions barbares = Barbarian invasions. L'amitie (3:15)
  • The sound of music = La melodie du bonheur. The sound of music (4:04)
  • Fiddler on the roof = Un violon sur le toit. If I were a rich man (2:22)
  • Evita. Don't cry for me Argentina (5:20)
  • Empire of the sun = L'Empire du soleil. Exsultate justi (3:30) ; Suo gan (3:34)
  • The mission. On earth as it is in heaven (3:42)
  • Les triplettes de Belleville = The triplets of Belleville. Belleville rendez-vous (3:06)
  • Yellow submarine. Yellow submarine (2:07)
  • The lion king = Le roi lion. Can you feel the love tonight? (3:08)
  • An American in Paris. I got rhythm (1:16).
Music recording
1 online resource (1 sound file).
  • Peter, go ring dem bells / arr. Margaret Bonds (2:20)
  • Steal away / arr. Maria Thompson Corley (4:24)
  • Amazing grace / arr. Hale Smith (2:53)
  • Mary wore three links of chain / arr. George Walker (2:28)
  • I cannot stay here by myself : (a slave's lament) (3:45) ; "I got to lie down" : from Son of Man (3:02) / arr. Hall Johnson
  • Sometimes I feel like a motherless child / arr. Moses Hogan (3:36)
  • Lord, I'll go / arr. Jacqueline Hairston (3:40)
  • Ezekiel saw the wheel / arr. Margaret Bonds (2:47)
  • Deep river / arr. Harry T. Burleigh (3:12)
  • Nobody knows de trouble I see / arr. Deon Nielsen Price (3:20)
  • "Lament (This may be my las' time)" : from Lyric suite / arr. Robert Morris (3:31)
  • I'll reach to heaven (4:04) ; Go tell it on the mountain (2:31) / arr. Margaret Bonds
  • I want to die easy / arr. Hale Smith (3:52)
  • Guide my feet / arr. Jacqueline Hairston (4:16)
  • Climbing high mountains / arr. Betty Jackson King (3:55)
  • Git on board : (humoresque) / arr. Thomas H. Kerr, Jr. (2:11)
  • He never said a mumbalin' word : (crucifixion) / arr. Moses Hogan (6:04)
  • Is there anybody here? / arr. Roland Carter (1:57).
Book
xvi, 320 p. : ill. ; 24 cm.
  • List of Illustrations Preface Acknowledgments Introduction Part I. The Proverbial Trees: Patterns of Change in African American Music Making 1. "Blest Be the Tie That Binds": Part I: Congregational Singing as a Worship Ethos for Dr. Watts Hymns 2. "Blest Be the Tie That Binds": Part II: Regional Style Traditions of Dr. Watts Hymn Singing 3. "Our God, Our Help in Ages Past": The Tradition of Dr. Watts in English Historical Perspective 4. "Father, I Stretch My Hands to Thee": The Tradition of Dr. Watts in African Historical Perspective 5. "I Love the Lord, He Heard My Cries": The Role of Dr. Watts Hymns in the Musical Acculturation of African Americans 6. "Go Preach My Gospel, Saith the Lord": Words as Movers and Shakers in African American Music Part II. The Proverbial Forest: Webs of Significance in African American Music Making 7. "I Heard the Voice of Jesus Say": The Singing Life of the Reverend Doctor C.{ths}J. Johnson (1913-90) 8. "Come Ye That Love the Lord": The Lining Out-Ring Shout Continuum and the Five-Key Sequence 9. "God Moves in a Mysterious Way": The Lining Out-Ring Shout Continuum beyond Church Walls Conclusion Appendix A. Selection of Transcribed and Discussed Performances Appendix B. Partial Annotated List of Recorded Lining-Out Performances Held in the Archive of Folk Culture, Library of Congress Notes Bibliography Discography Index.
  • (source: Nielsen Book Data)9780520234482 20160528
This book, a milestone in American music scholarship, is the first to take a close look at an important and little-studied component of African American music, one that has roots in Europe, but was adapted by African American congregations and went on to have a profound influence on music of all kinds - from gospel to soul to jazz. 'Lining out', also called Dr. Watts hymn singing, refers to hymns sung to a limited selection of familiar tunes, intoned a line at a time by a leader and taken up in turn by the congregation. From its origins in seventeenth-century England to the current practice of lining out among some Baptist congregations in the American South today, William Dargan's study illuminates a unique American music genre in a richly textured narrative that stretches from Isaac Watts to Aretha Franklin and Ornette Coleman. "Lining Out the Word" traces the history of lining out from the time of slavery, when African American slaves adapted the practice for their own uses, blending it with other music, such as work songs. Dargan explores the role of lining out in worship and pursues the cultural implications of this practice far beyond the limits of the church, showing how African Americans wove African and European elements together to produce a powerful and unique cultural idiom. Drawing from an extraordinary range of sources - including his own fieldwork and oral sources - Dargan offers a compelling new perspective on the emergence of African American music in the United States.
(source: Nielsen Book Data)9780520234482 20160528
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