Grand Ole Opry at Carnegie Hall. Gaylord Entertainment Company DVD, 2006.

2007 ◽  
Vol 1 (2) ◽  
pp. 293-295
Author(s):  
Jocelyn R. Neal
Keyword(s):  
Performance Tradition ◽  
Carnegie Hall

Backstage at the Grand Ole Opry is one of my favorite places in Nashville. After checking in at the security desk, guests are free to wander the maze of hallways that connect the historic dressing rooms. Onstage, guests crowd into seats between the musicians and the red country-barn backdrop, watching the bustle of the show as the curtain rises and falls between segments. Announcers read famous slogans in advertising copy; legendary singers in sequins and rhinestones chat with up-and-coming performers in the wings; the Carol Lee Singers and house band keep the music humming along. Headliners take the stage and crack jokes with the audience, who, in turn, applaud their approval at the beginning of favorite songs. Square dancers kick up their heels while fans gather at the footlights to snap scrapbook pictures. The live broadcasts of the Grand Ole Opry on WSM, on the air continuously since 1925, represent a collision of country's past and present in a beloved, nostalgic, and slightly chaotic performance tradition.

Pre-Rehearsal Questions of Performance Tradition and Play-Selection

2018 ◽  
Author(s):  
Kathleen Jeffs
Keyword(s):  
Golden Age ◽  
Selection Process ◽  
The United States ◽  
Spanish Golden Age ◽  
Royal Shakespeare Company ◽  
The Public ◽  
Performance Tradition ◽  
Performance Traditions ◽  
Public Consciousness

This chapter asks the questions: ‘what is the Spanish Golden Age and why should we stage its plays now?’ The Royal Shakespeare Company (RSC) Spanish season of 2004–5 came at a particularly ripe time for Golden Age plays to enter the public consciousness. This chapter introduces the Golden Age period and authors whose works were chosen for the season, and the performance traditions from the corrales of Spain to festivals in the United States. The chapter then treats the decision taken by the RSC to initiate a Golden Age season, delves into the play-selection process, and discusses the role of the literal translator in this first step towards a season. Then the chapter looks at ‘the ones that got away’, the plays that almost made the cut for production, and other worthy scripts from this period that deserve consideration for future productions.

The Role of an Actual Brand Positioning: An Analysis of Digital Advertisements

2021 ◽  
pp. 1-10
Author(s):  
June Won ◽  
J. Lucy Lee
Keyword(s):  
Regression Analysis ◽  
Content Analysis ◽  
Brand Positioning ◽  
Focus Group Interviews ◽  
Mediating Role ◽  
Percentage Difference ◽  
Performance Tradition ◽  
Group Interviews ◽  
The Relationship

The purpose of this study was to: (a) investigate the actual positions in digital communications; (b) assess the relationship between position-congruity among intended positions (i.e., how a firm desires to be perceived by consumers), actual brand positions, and perceived brand positions (i.e., the perceptions that customers have in their minds); and (c) understand the role of actual positioning (AP) in the positioning process. Multiple methods (one-on-one and focus group interviews, content analysis) were applied to analyze positions. Brand managers, golf consumers, and digital advertisements in Golf Digest magazine were sampled. Content analysis, frequencies and percentages, percentage difference, and regression analysis were performed for all positions for each research brand. The results revealed that: (a) tangibility-based positions (88.5%: great quality, innovation) outnumbered intangibility-based ones (11.5%: tour performance, tradition) in digital AP, (b) there was no positive correlation between the degree of congruence between intended and AP and the degree of congruence between intended and perceived positioning, and (c) the AP mediated between intended and perceived positioning in the brand positioning model. The study provides empirical evidence for the mediating role of AP and suggests modifications to the previous positioning process.

The Partnership Begins

2019 ◽  
pp. 53-60
Author(s):  
Con Chapman
Keyword(s):  
New York ◽  
New Orleans ◽  
Mixed Race ◽  
Early Years ◽  
Duke Ellington ◽  
Carnegie Hall

This chapter describes the early years of Hodges’s association with Duke Ellington beginning in 1928, when the band strove to play “jungle music” that would titillate white patrons of the segregated Cotton Club, where the group served as house band. Hodges’s seductive approach added a new dimension to the growls, hot rhythms, and strange harmonies that characterized Ellington’s early efforts; the warmth of his tone, his flatted “blue” notes and his plaintive phrasing brought an element of New Orleans to Ellington’s New York band that it had lacked after the brief tenure of Sidney Bechet ended. Noteworthy performances of the 1930s are described, including Hodges’s participation in Benny Goodman’s 1938 mixed-race concert at Carnegie Hall. Goodman and Ellington were rivals, and Ellington was upset that Goodman got to Carnegie Hall before he did and that Hodges showed an independent streak by participating.

A New Source for Schubert’s Hebrew Psalm 92 (D. 953)

2016 ◽  
Vol 13 (1) ◽  
pp. 71-81
Author(s):  
David Rees ◽  
Alon Schab
Keyword(s):  
Early Stage ◽  
Hebrew Text ◽  
Franz Schubert ◽  
Oral Performance ◽  
Starting Point ◽  
New Variant ◽  
Performance Tradition ◽  
Manuscript Dating

In the summer of 1828, Franz Schubert composed his one and only piece in Hebrew: an excerpt of Psalm 92, set for four-part choir and Solo Baritone. The main sources available until now for this composition, a manuscript in the Gesellschaft der Musikfreunde (A-Wgm Sammlung Witteczek-Spaun Bd. 31) and a printed version in Salomon Sulzer’s compendium of Viennese synagogal music, Schir Zion (Song of Zion), date to 1834/35 and 1839/40, respectively. A newly discovered manuscript, dating from 1832, represents an early stage in the compilation of Schir Zion and contains the earliest known source of Schubert’s piece. New variant readings with regard to pitch, ornamentation and text underlay suggest that Schubert’s lost autograph may not be the immediate parent of the best sources known until now. With its title in Hebrew calligraphy, moreover, this manuscript was clearly intended for Jewish use; it thus challenges the authority of Schir Zion with regard to the underlay of the Hebrew text. The manuscript demonstrates a starting point in the adaptation by later editors, including Salomon Sulzer’s son Joseph, of Schubert’s Hebrew composition from the living, essentially oral performance tradition of an expert cantor to the formal written requirements of publication for a far-flung audience.

“The Fools Don’t Think I Play Jazz”

2018 ◽  
Vol 35 (3) ◽  
pp. 397-430
Author(s):  
Benjamin Givan
Keyword(s):  
African American ◽  
American Identity ◽  
Black American ◽  
Thought Processes ◽  
Avant Garde ◽  
The Past ◽  
Swing Era ◽  
Historical Trajectory ◽  
Unpublished Manuscripts ◽  
Carnegie Hall

Cecil Taylor (1929–2018), who was associated with the postwar black musical avant-garde, and Mary Lou Williams (1910–81), who had roots in jazz’s swing era, met in a notorious 1977 Carnegie Hall recital. These two African American pianists possessed decidedly different temperaments and aesthetic sensibilities; their encounter offers a striking illustration of how conflicts between coexisting performance strategies can reveal a great deal about musicians’ thought processes and worldviews. Evidence from unpublished manuscripts and letters, published interviews and written commentary by the performers, the accounts of music critics, and musical transcriptions from a commercial recording (the album Embraced) reveals that, in addition to demonstrating the performers’ distinct musical idiolects, the concert engaged longstanding debates over jazz’s history and definition as well as broader issues of black American identity. In particular, it dispelled still potent notions of jazz as a genre with a unilinear historical trajectory, and it encapsulated the inherent ambivalence toward the past often exhibited by the jazz avant-garde.

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