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Books on the topic 'Cabaret songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Martinů, Bohuslav. Tři šansony pro Červenou sedmu =: Three chansons for the cabaret Red Seven : 1921, H. 129 : canto e piano. Praha: Tempo, 1993.

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2

Hanenberg, Patrick van den, and Hilde Scholten. De bokken en de schapen: Gezongen geschiedenis van de twintigste eeuw. Amsterdam: Nijgh & Van Ditmar, 2001.

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3

Ghost song. New York: Felony & Mayhem Press, 2012.

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4

Poumet, Jacques. La satire en R.D.A.: Cabarets et presse satirique. Lyon: Presses universitaires de Lyon, 1990.

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5

Rayne, Sarah. Ghost song. London: Simon & Schuster, 2009.

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6

Ghost song. London: Simon & Schuster, 2009.

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7

Ghost song. London: Pocket, 2009.

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8

Nögge, Frieder. Ich singe dieses Lied für Euch: Narrenpoesie. Stuttgart: Urachhaus, 1985.

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9

Waters, Elsie. Song and sketch transcripts of British music hall performers Elsie and Doris Waters. Lewiston, N.Y: Edwin Mellen Press, 2003.

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10

Kimminich, Eva. Erstickte Lieder: Zensierte Chansons aus Pariser Cafés-concerts des 19. Jahrhunderts : Versuch einer kollektiven Reformulierung gesellschaftlicher Wirklicheiten. Tübingen: Stauffenburg Verlag, 1998.

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11

It gives me further pleasure: Further ruminations upon the art of the music hall chairman, plus over six hundred ready-made song introductions. London: Samuel French, 1996.

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12

Jacqueline, Willemetz, and Fonds Albert Willemetz, eds. Albert Willemetz et Maurice Chevalier: Revues, sketchs et chansons au casino de Paris. Paris: Harmattan, 2011.

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13

Margolick, David. Strange fruit: The biography of a song. New York: Ecco Press, 2001.

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14

Chanter pour survivre: Culture ouvrière, travail et techniques dans le textile, Roubaix 1850-1914. Paris: Harmattan, 1996.

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15

Stein, Roger. Das deutsche Dirnenlied: Literarisches Kabarett von Bruant bis Brecht. Köln: Böhlau, 2006.

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16

Strange fruit: Billie Holiday cafe society and an early cry for civil rights. Philadelphia: Running Press, 2000.

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17

Margolick, David. Strange fruit: Billie Holiday, Café Society, and an early cry for civil rights. Philadelphia: Running Press, 2000.

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18

Margolick, David. Strange fruit: Billie Holiday, Café Society, and an early cry for civil rights. Philadelphia: Running Press, 2000.

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19

Cabaret Songs. Hal Leonard Publishing Corporation, 2009.

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20

Benjamin, Britten. Cabaret Songs. Faber & Faber, 2001.

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21

CABARET songs live at Dartington. London: Meridian Records, 1986.

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22

THE CANCIÓN CANNIBAL CABARET & OTHER SONGS. Aztlan Libre Press, 2019.

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23

Laurence, Senelick, ed. Cabaret performance: Sketches, songs, monologues, memoirs. New York: PAJ Publications, 1989.

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24

Cabaret performance: Sketches, songs, monologues, memoirs. Baltimore: Johns Hopkins University Press, 1993.

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25

Laurence, Senelick, ed. Cabaret performance: Sketches, songs, monologues, memoirs. Baltimore Md: John Hopkins University Press, 1993.

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26

Cabaret Songs Complete For Medium Voice And Piano. Edward B. Marks Music Company, 2009.

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27

A Decade of Broadway & Cabaret Songs: 1990-2000. Alfred Publishing Company, 2000.

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28

Bolcom, William. Cabaret Songs - Volumes 3 and 4: Voice and Piano. Marks, 1997.

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29

Bolcom, William. Cabaret Songs - Volumes 1 and 2: Voice and Piano. Marks, 1986.

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30

Senelick, Laurence. Cabaret Performance: Europe 1920-1940 : Sketches, Songs, Monologues, Memoris. PAJ Publications, 2005.

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31

Senelick, Laurence. Cabaret Performance Volume II: Europe1920-1940 Sketches, Songs, Monologues, Memoirs. PAJ Publications, 1992.

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32

Hal Leonard Publishing Corporation (COR). Contemporary Cabaret: 31 Songs in Today's Repertoire Sung by Major Artists. Hal Leonard Corporation, 1998.

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33

Senelick, Laurence. Cabaret Performance Volume II: Europe 1920-1940 Sketches, Songs, Monologues, Memoirs. PAJ Publications, 1993.

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34

Guus, Vleugel, and Meijer Remco, eds. Zij kon het lonken niet laten: Liedteksten uit het Nederlandse Cabaret van 1945 tot nu. Amsterdam: B. Bakker, 1989.

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35

Abbott, Helen. Maurice Rollinat. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0004.

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Poet, musician, and Chat noir cabaret artist Maurice Rollinat set Baudelaire to music a number of times during the 1880s. This chapter analyses two key sets of songs published in 1892: Six Poésies de Baudelaire and Six Nouvelles Poésies de Baudelaire. The analysis covers: (a) the context of composition; (b) the connections established between selected poems; (c) the statistical data generated from the adhesion strength tests; and (d) how the data shapes an evaluation of Rollinat’s settings of Baudelaire. The chapter concludes by suggesting that the settings are neither particularly disruptive nor especially cohesive (adhesion strength: loosely intermingled). A relatively high proportion of unexpected accentual stresses in the poetic line is mitigated by regular phrase lengths and breathing spaces. Rollinat’s settings demand a free approach to interpreting the printed score to achieve an accretive song; if the score is followed to the letter, it may create a dilutive song.

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36

PARIS after dark: A collection of the finest French cabaret artists and songs from The 1920's to the 1950's. EMI, 1988.

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37

Pollack, Howard. The Boy Wonder of Broadway. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.003.0003.

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After dropping out of Columbia, Latouche attempted to make his career on Broadway. One very early effort included contributions to the satire The Murder in the Old Red Barn. He also worked for a while as a press agent for the Ballet Russes de Monte Carlo. His work on Erika Mann’s Pepper Mill, which included adapting German texts and appearing on stage, marked his growing involvement with the refugee community. His transgressive cabaret songs established a following, but his first big break came with interpolations in the labor musical Pins and Needles.

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38

(Editor), Peter Rolf Lutzeier, ed. Pop and Poetry--Pleasure and Protest: Udo Lindenberg, Konstantin Wecker, and the Tradtion of German Cabaret (German Linguistic and Cultural Studies, V. 13). Peter Lang Publishing, 2003.

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39

Bluhdorn, Annette. Pop And Poetry--pleasure And Protest: Udo Lindenberg, Konstantin Wecker, And The Tradtion Of German Cabaret (German Linguistic and Cultural Studies, V. 13). Peter Lang Publishing, 2003.

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40

Cabaret: The Illustrated Book and Lyrics. Newmarket Press, 1999.

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41

Pollack, Howard. The Ballad of John Latouche. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458294.001.0001.

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Born into a poor Virginian family, John Treville Latouche (1914–1956), in his short life, made a profound mark on America’s musical theater as a lyricist and librettist. The wit and skill of his lyrics elicited comparisons with the likes of Ira Gershwin and Lorenz Hart, but he had too, as Stephen Sondheim noted, “a large vision of what musical theater could be,” and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater, including Cabin in the Sky (1940), Beggar’s Holiday (1946), The Golden Apple (1954), The Ballad of Baby Doe (1956), and Candide (1956). Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, and adapted plays. Meanwhile, as one of Manhattan’s most celebrated raconteurs and hosts, he established friendships with many notables, including Paul and Jane Bowles, Carson McCullers, Frank O’Hara, Dawn Powell, Ned Rorem, Virgil Thomson, and Gore Vidal—a dazzling constellation of diverse artists all attracted to Latouche’s brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche’s diaries and the papers of such collaborators as Leonard Bernstein, Duke Ellington, Douglas Moore, and Jerome Moross to tell for the first time the story of this fascinating man and his work.

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42

Schneider, Ulrich. Die Londoner Music Hall und Ihre Songs 1850-1920. De Gruyter, Inc., 2017.

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43

Ik zou je het liefste in een doosje willen doen: Nederlandse chansons en cabaretliederen 1958-1988. [Amsterdam]: Nijgh & Van Ditmar, 1989.

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44

Jacques, Klöters, and Veer Kick van der, eds. Ik zou je het liefste in een doosje willen doen ; Omdat ik zoveel van je hou : Nederlandse chansons en cabaretliederen 1958-1988. Amsterdam: Nijgh & Van Ditmar, 1999.

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45

Steinlauf, Michael C., and Antony Polonsky, eds. Polin: Studies in Polish Jewry Volume 16. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.001.0001.

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Scholarship on the civilization of Polish Jews has tended to focus on elite culture and canonical literature. This volume focuses on the less explored theme of Jewish popular culture and shows how it blossomed into a complex expression of Jewish life. In addition to a range of articles on the period before the Second World War, there are studies of the traces of this culture in the contemporary world. The volume aims to develop a fresh understanding of Polish Jewish civilization in all its richness and variety. Subjects discussed in depth include klezmorim and Jewish recorded music; the development of Jewish theatre in Poland, theatrical parody, and the popular poet and performer Mordechai Gebirtig; Jewish postcards in Poland and Germany; the early Yiddish popular press in Galicia and cartoons in the Yiddish press; working-class libraries in inter-war Poland; the impact of the photographs of Roman Vishniac; contemporary Polish wooden figures of Jews; and the Kraków Jewish culture festival. In addition, a Polish Jewish popular song is traced to Sachsenhausen, the badkhn (wedding jester) is rediscovered in present-day Jerusalem, and Yiddish cabaret turns up in blues, rock ‘n’ roll, and reggae. There are also translations from the work of two writers previously unavailable in English. Space is given to new research into a variety of topics in Polish Jewish studies. The review section includes an important discussion of what should be done about the paintings in Sandomierz cathedral which represent an alleged ritual murder in the seventeenth century, and an examination of the ‘anti-Zionist’ campaign of 1968.

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46

Show Must Go On!: Popular Song in Britain During the First World. Taylor & Francis Group, 2015.

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47

S, Bratton J., ed. Music hall: Performance and style. Milton Keynes, England: Open University Press, 1986.

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48

Hawkins, Stan, John Mullen, and Derek B. Scott. Show Must Go on!: Popular Song in Britain During the First World War. Taylor & Francis Group, 2015.

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49

Margolick, David, and Hilton Als. Strange Fruit: The Biography of a Song. Harper Perennial, 2001.

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50

Margolick, David, and Hilton Als. Strange Fruit: The Biography of a Song. Harper Perennial, 2001.

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