04317nam 2200601 450 991081420220332120231027214446.00-19-021688-30-19-021687-50-19-992949-1(CKB)3710000000329374(EBL)1912517(SSID)ssj0001403224(PQKBManifestationID)11771617(PQKBTitleCode)TC0001403224(PQKBWorkID)11379665(PQKB)10389753(StDuBDS)EDZ0001131828(MiAaPQ)EBC1912517(EXLCZ)99371000000032937420150118h20152015 uy 0engur|n|---|||||txtccrWe'll have Manhattan the early work of Rodgers and Hart /Dominic SymondsNew York, NY :Oxford University Press,[2015]©20151 online resource (355 p.)The Broadway Legacies SeriesDescription based upon print version of record.1-322-88430-7 0-19-992948-3 Includes bibliographical references and index.COVER; WE'LL HAVE MANHATTAN: THE EARLY WORK OF RODGERS AND HART; COPYRIGHT; DEDICATION; CONTENTS; ILLUSTRATIONS; FOREWORD; ACKNOWLEDGMENTS; INTRODUCTION: "WE'LL HAVE MANHATTAN"; winkle town (1922); The Boys from Manhattan; An American form; Highbrow and Lowbrow; Irving Berlin and George Gershwin; A More Personal Influence; Rodgers and Hart; Chapter 1: THE SUMMER CAMPS AND VARSITY SHOWS; "Any old place with you" ; Camp fire days (1908-1921); The akron club shows (1920-1921); The varsity shows (1920-1921); Poor little ritz girl (1920); The institute of musical art (1920-1923)The jazz king (1924)Chapter 2: THE BREAKTHROUGH IN REVUE: THE GARRICK GAIETIES (1925, 1926) AND FIFTH AVENUE FOLLIES (1926); The Fifth Avenue Follies (1926); The Garrick Gaieties (1926); Chapter 3: THE RODGERS AND HART REVOLUTION: DEAREST ENEMY (1925); Sweet rebel; Dearest enemy; Dearest enemy on television (1955); A revolutionary show?; Chapter 4: PLEASING THE PRODUCERS: HERBERT FIELDS, LEW FIELDS, AND THE GIRL FRIEND (1926); Herbert fields; Lew fields; The girl friend (1926); Chapter 5: A LONDON ODYSSEY: LIDO LADY (1926), ONE DAM THING AFTER ANOTHER (1927), EVER GREEN (1930)Lido lady (1926)One dam thing after another (1927); Ever green (1930); Chapter 6: BIG FISH: PEGGY-ANN (1926), ZIEGFELD, AND A FLOP CALLED BETSY (1926); Peggy-ann (1926); Betsy (1926); Chapter 7: A COMMERCIAL SUCCESS: A CONNECTICUT YANKEE (1927); A connecticut yankee (1927); Chapter 8: CASTRATION AND INTEGRATION: CHEE-CHEE (1928); A failure; The music of chee-chee; The libretto and score of chee-chee; The production; Chapter 9: COPING WITH THE CRASH; Spring is here (1929); Heads up! (1929); Simple simon (1930); And so to hollywood; America's Sweetheart (1931); EPILOGUE: THE END OF AN ERANOTESIntroduction; Chapter 1; Chapter 2; Chapter 3; Chapter 4; Chapter 5; Chapter 6; Chapter 7; Chapter 8; Chapter 9; BIBLIOGRAPHY; Musical scores by richard rodgers; Librettos and scripts; Programs; Books and articles; Discography; Filmography; CREDITS; INDEXRichard Rodgers and Lorenz Hart are one of the defining duos of musical theater, contributing dozens of classic songs to the Great American Songbook and working together on over 40 shows before Hart's death. With hit after hit on both Broadway and the West End, they produced many of the celebrated songs of the '20s and '30s--such as ""Manhattan,"" ""The Lady is a Tramp,"" and ""Bewitched""--that remain popular favorites with great cultural resonance today. Yet the early years of these iconic collaborators have remained largely unexamined. We'll Have Manhattan: The Early Work of Rodgers & HartBroadway LegaciesMusicalsUnited States20th centuryHistory and criticismMusicalsHistory and criticism.782.1/40922782.140922Symonds Dominic1625438MiAaPQMiAaPQMiAaPQBOOK9910814202203321We'll have Manhattan3960888UNINA04357nam 22006255 450 991037389430332120230810170124.09783030371296303037129810.1007/978-3-030-37129-6(CKB)4100000010118825(MiAaPQ)EBC6027257(DE-He213)978-3-030-37129-6(Perlego)3480420(EXLCZ)99410000001011882520200121d2020 u| 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierEntrepreneurial Music Education Professional Learning in Schools and the Industry /by Kristina Kelman1st ed. 2020.Cham :Springer International Publishing :Imprint: Palgrave Macmillan,2020.1 online resource (258 pages)9783030371289 303037128X Chapter 1. Making a case for an entrepreneurial music education in schools -- Chapter 2. Current approaches to education, but what about the music industry? -- Chapter 3. Building the emerging professional learning model -- Chapter 4. Designing an entrepreneurial music project -- Chapter 5. Developing social skills for entrepreneurship in the music industry -- Chapter 6. Learning about project management for entrepreneurship in the music industry -- Chapter 7. Acquiring domain knowledge for entrepreneurship in the music industry -- Chapter 8. Design principles to plan entrepreneurial learning in music education."This is a terrific contribution to innovative practices in music education, and makes a profound connection with the musical world outside the classroom." —Emerita Professor Lucy Green, UCL Institute of Education, UK "Entrepreneurial skills are essential for aspiring musicians, artists and composers in the contemporary music economy. The question is how to design a learning experience where young musicians are able to develop such skills. In this important book, Dr Kelman reports on her successful approach to this challenge. Dr Kelman's entrepreneurial education model that allows students grow their own business venture provides crucial insights for music industry educators around the world." —Professor Patrik Wikstrom, Queensland University of Technology, Australia This book addresses the gap between formal music education curricula and the knowledge and skills necessary to enter the professional music industry. It uses extensive data from a long-running research project where high school students were invited to start their own business venture, Youth Music Industries. Not only did this act as a business venture, but it also functioned as a learning environment informed by the concepts of communities of practice and social capital. Exploring how entrepreneurial qualities were developed, their learning was subsequently captured and distilled into a set of design principles: in this way, a pedagogical approach was developed that can be transferred across the creative industries more broadly. This book will be of interest and value to scholars of music education, as well as those preparing students for the creative industries. Kristina Kelman is an independent researcher, teacher, community music facilitator and jazz musician. Her research interests include the education of the aspiring musician through experiential learning.ArtStudy and teachingMusicLearning, Psychology ofEducational psychologyCreativity and Arts EducationMusicInstructional PsychologyEducational PsychologyArtStudy and teaching.Music.Learning, Psychology of.Educational psychology.Creativity and Arts Education.Music.Instructional Psychology.Educational Psychology.780.71780.712Kelman Kristinaauthttp://id.loc.gov/vocabulary/relators/aut984906MiAaPQMiAaPQMiAaPQBOOK9910373894303321Entrepreneurial Music Education2250538UNINA