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Article

Bootleg  

Dave Laing

legitimate releases. In all cases, the recordings are issued without the permission of the copyright owners of the music or the performance. The earliest bootleg recordings were said to have been made at the Metropolitan Opera in New York in 1901–3 and many subsequent bootleg discs were circulated in the USA before Congress granted copyright protection to sound recordings in 1951 . Elsewhere, ineffective copyright laws in Italy (which protected performances for only 20 years) enabled the manufacture and export of numerous bootleg recordings of opera performances and radio

Article

John Cline

). V. Vale explored similar terrain in the early 1990s. Outsider music does not involve any definite stylistic qualities; criteria for inclusion are generally either negational or relational. Much outsider music exhibits idiomatic characteristics of established genres, ranging from opera (Florence Foster Jenkins) to country music (the Legendary Stardust Cowboy), although in an idiosyncratic fashion. Other examples defy precedent, leaving the critical listener understanding initially only what the music is not (as with Fischer’s a cappella compositions). The term “outsider”

Article

Kate Van Winkle Keller

theater was the one place where all levels of society heard the same repertory. During the war, British-held towns were entertained by active theatrical seasons, the musicians of the army playing in the pit and the officers taking roles along with the few professionals who stayed after Congress banned the theater throughout the colonies. For the patriots the ban was somewhat cosmetic. People needed entertainment and talented amateurs found ways to circumvent the authorities by staging “lectures” with music and dancing, and a farce or ballad opera as an extra attraction. Even

Article

Charles Hamm, Robert Walser, Jacqueline Warwick and Charles Hiroshi Garrett

by Arnold, Kelly, Dibdin, and Shield. James Hewitt came to the United States in 1792 ; he composed and conducted ballad and comic operas. The songs written by these composers enjoyed considerable success and were an important part of the first body of popular song printed in the United States. Among the most popular songs in the first decades of the 19th century were those of John Braham, including the duet “All’s well” from his opera The English Fleet in 1342 , and the ballad “Is there a heart that never lov’d?” The songs of Henry R. Bishop were even more popular

Article

Cecilia Sun

proposed radically novel musical material in all facets of music including harmony and counterpoint, and form. In a particularly influential section on rhythm, he detailed his invention of a rhythmic notation that divides the whole note into fifteen equal parts, a system he used in a number of his pieces, including the Quartet Romantic ( 1915 ­–17). Cowell’s occasional unorthodox use of traditional instruments would find resonance in later experimental compositions. Examples include The Banshee ( 1925 ), a piano piece in which all sounds are made inside the instrument

Article

Allan F. Moore

was counterbalanced by Moon's manic drumming, who seized more space and presence than any rock drummer had done previously. The release of Townshend's Tommy (Track, 1969 ) seemed to indicate a change of direction. Following the Pretty Things' S.F. Sorrow it was an early rock opera concerned with the search for identity, and was filmed to great success in 1975 . Like the Beatles' Sgt. Pepper album two years earlier, the response to Tommy was particularly overblown in the USA. A second piece, Quadrophenia (Track), followed in 1973 and, although similar

Article

Rock  

Susan Fast

Waters. These powerful singers exploit the upper range of the voice and lace the sound with distortion, often singing full out, using the chest voice, not falsetto. Some metal singers, such as Iron Maiden’s Bruce Dickinson, developed this style of singing to include techniques from opera (less distortion and more vibrato), the genre of classical music associated with the most powerful kind of vocal production. This singing style is generally associated with hard rock and metal, and signifies power and control. The second kind of rock singing, also derived from blues

Article

Richard Zimmerman and Maristella Feustle

twelve eighth notes—corresponding to a four-bar phrase in 2/4 time—would delineate four groups of three. From 1911 through 1916 , Botsford published a number of works in collaboration with songwriter Jean Havez, and in 1914 , launched an unsuccessful venture to perform miniature operas staged with three or four performers. A charter member of ASCAP in 1914 , he has remained best known for his ragtime works, but also managed harmony and quartet department for the music publisher Jerome H. Remick & Co., worked as music director for various stage productions, and directed

Article

Paul Rinzler and Henry Pleasants

stage career, though she remained active as a singer. In 1969 she and Dankworth founded the Wavendon Allmusic Plan, an educational institution devoted to all styles of music. They performed together again in 1971 , and in 1972 toured Australia as well as undertaking the first of a series of tours of the USA. Dankworth also worked as her arranger, composer and musical director. Laine has recorded and performed opera, lieder and pop music as well as jazz, and in the 1980s was the only singer to have been nominated for Grammy awards in the female popular, classical and

Article

taught to sing by her mother, an opera singer, but she eventually chose not to pursue a career in classical music. She married Dennis Benatar in 1972 and took health education courses at the State University of New York at Stony Brook with the intention of becoming a teacher. In 1973 she began working as a performing waitress at the Roaring Twenties Café in Enon, Virginia. She later returned to New York to pursue a professional music career and recruited Rick Newman as her manager; he took her to Chrysalis Records to front an all-male rock band. She subsequently

Article

Marysol Quevedo

Vilató, Orestes ( b Camagüey, Cuba , May 12, 1944 ). Cuban percussionist . His father, an opera singer, encouraged him to follow his passion for music. He began studying percussion with the bongos, developing his skills on all Latin percussion instruments, especially the timbales. His family moved to New York in 1956 , where he played a crucial role in the developing salsa scene. He performed with the Orquesta Típica of Belisario López, the Orquesta de Fajardo, and later Johnny Pacheco’s ensemble, participating in Fania label’s first recording

Article

Stefanija Z. Leskova

acclaimed composers. The hits ‘Čija si’ (To Whom Do You Belong) and ‘Igri bez granici’ (Games without Borders) were ranked first on the top lists for weeks across the entire Balkan Peninsula. His live performances broke all records of attendance, filling the biggest concert arenas with all generations. He played the leading role in the Macedonian opera Despina and Mr. Dox by D. Bužarovski ( 2001 ). His international career began as a Macedonian representative at the Eurovision song contest ( 2004 ). Toše released seven albums sung in Macedonian, and some in the Serbian

Article

Edward A. Berlin

in which it existed, has become an important document on the time and the music. In 1914 he became a contributing editor of the black newspaper the New York Age. In 1915 , he translated the libretto for Enrique Granados’s opera Goyescas into English; the translation was sold at the New York première performance by the Metropolitan Opera the following year. In 1916 he joined the NAACP as Field Secretary, later becoming Executive Secretary. At the same time, in the 1920s, he became a leading figure in the Harlem Renaissance. Concerned with the preservation of

Article

Douglas B. Green

father of well-known actor John Ritter ( 1948–2003 ). Bibliography J. Bond : The Tex Ritter Story (New York, 1976) L. Adams and B. Rainey : Shoot-em-ups: the Complete Guide to Westerns of the Sound Era (New Rochelle, NY, 1978) P. Stanfield : Horse Opera: the Strange History of the 1930s Singing Cowboy (Urbana, IL, 2002)

Article

Charles K. Wolfe and Gregory N. Reish

of bluegrass into a versatile and eclectic idiom. Bibliography D. Rhodes : “The Stability and Versatility of the Seldom Scene,” Bluegrass Unlimited , 15/1 (1980), 14–19 P. Parsons : “The Seldom Scene: All This and Fun, Too,” Bluegrass Unlimited , 29/6 (1994), 16–29 B. Weintraub : “The Seldom Scene: Still Picking After All These Years,” Bluegrass Unlimited , 38/4 (2003), 28–32 External references The editorially selected link below is provided by our partner Alexander Street Press (ASP) and requires a subscription to their site

Article

Michael Birenbaum Quintero, Jason Stanyek, Melissa Gonzalez, Jorge Arévalo Mateus, Mario Rey, Sydney Hutchinson, Lois Wilcken, Roberto Avant-Mier, John Koegel and Edgardo Díaz Díaz

notation, and chance operations with a strong rhythmic drive. His music incorporates expressive color blendings, new sonorities through electronic sound generation, and virtuosic, extended manipulations of traditional instruments. His vast catalog of compositions encompasses all media except opera, and his work has been performed by leading orchestras and soloists throughout the world. Julian Orbón de Soto ( 1925–91 ), of Spanish birth, has been influenced by a wide range of musical practices, including Spanish Renaissance music, Gregorian chant, and Afro-Cuban rhythms

Article

Jessica Bissett Perea

A-Tasket.” She was also renowned for mimicking other jazz greats (most notably Armstrong) as well as instruments (such as singing bass lines). In fact, her legendary rendition of the title track from Mack the Knife: Ella in Berlin ( 1960 )—a song from Kurt Weill’s The Threepenny Opera ( 1928 ) that was popularized by Armstrong and Bobby Darin in the mid-1950s—where she forgot the lyrics and improvised new ones, displays a spontaneity and inventiveness that charmed and endeared audiences. This album subsequently received two Grammy Awards upon its release: best album

Article

Marisol Negrónh

released by the newly formed Fania Records. Affectionately nicknamed “ El judío maravilloso ” (the marvelous Jew) by fellow musicians, he became a member and producer of the original Fania All-Stars, an ensemble band that achieved international acclaim for its live concerts. In 1973 Harlow brought Latin music to Carnegie Hall with the opera Hommy (inspired by the Who’s rock opera Tommy ), and in 1974 he released Salsa , considered one of his best recordings. In addition, La Raza Latina: a Salsa Suite ( 1977 ), which narrated the diasporic histories of salsa

Article

S. Timothy Maloney

Hades. In the same year he performed on a John Coltrane tribute album with the David Murray Octet and collaborated on Murray and Bob Weir’s opera Satchel Paige . He has also written two operas, Quebecité and Trudeau: Long March/Shining Path , which premiered in Canada in 2003 and 2006 , respectively, and the musical comedy Depressed, Depressed , which was first performed in Chicago in 2006 . He wrote the music for all 26 episodes of “The Ocean Room,” a Canadian children’s television show, and has also composed for “The Wonder Pets,” another children’s show

Article

Marcello Piras

He was a professional at 13 and was considered the best pianist in town at 15. He was much in demand in the red-light district because of his musical memory and vast repertoire, embracing classical, light classical, opera, cake-walk (which he danced while playing), popular songs from the United States, Europe, and Latin America, blues, and, above all, ragtime. He could read and improvise, sing in a powerful operatic style in any range from baritone to soprano, and even adopt blues inflections. His attire was widely imitated. Jelly Roll Morton considered him a great