Academic literature on the topic 'Singers, biography'

Abstract That was Edith Wilson singing ‘There’ll Be Some Changes Made,’ accompanied by Eubie Blake,” I back-announced on a 1976 Saturday morning of my radio show “I Thought I Heard Buddy Bolden say...” ‘We have Edith here with us in the studio. She performed last night for the Folklore Society of Greater Washington and we’re going to be talking with her about her career and playing a few more selections from some of her recordings. Edith, I’d like to get you to do some biography, to tell us where you came from and how you grew up in music and that sort of thing.”

Abstract If the best American songs came out of Broadway musical theater and the movies, it was because the best young composers gravitated to these media, which promised performance of their work and, if they made it, enormous incomes. No slot machine pays off like Broadway when the lemons at last line up. But it was always a gamble in which only the rich could indulge. Countless Hollywood movies have applied the Horatio Alger rags-to-riches fantasy to musical theater-including My Gal Sal (1942), a putative biography of Paul Dresser starring Victor Mature that had little to do with Dresser’s reality. Irving Berlin seemed to embody it, but he was an exception.

Chapter 2 explores the evolution of the African American gospel music community in Newark, and how Lawrence and Bootsy Roberts, as well as prominent Angelic Choir members such as Connie Pitts and Freeman Johnson, fit within that community. Readers are introduced to Newark gospel groups with national followings, such as the Coleman Brothers, the Drinkard Singers, and the Gospel Clefs. Since many Newark gospel artists, including the Angelic Choir, signed recording contracts with Savoy Records, the chapter includes a biography of Savoy founder Herman Lubinsky and a history of the company from its inception in 1942 to the late 1950s. Roberts’s formation of his first gospel group, the Gospel Chordettes / Lawrence Roberts Singers, and his joining Savoy’s gospel division, close the chapter.

Abstract Until recently, the question ‘who was Pierre de la Rue?’ seemed an easy one to answer. Any thorough synopsis of his life would have gone as follows: he was almost certainly born in Tournai, probably around 1452, and started employment as a part-time singer (a tenor) in Brussels (1469). Additional employment was found in Ghent (1471–2) and then Nieuwpoort (1472 to before 2 February 1477), and at one unspecified time he held a canonicate at St Ode.

The chapter begins with a brief biography of Piaf’s early years as a singer but focuses primarily on how the Piaf myth—the imagined Piaf that France and the world would come to know--was invented. The process of invention was the work initially of Piaf herself, who fabricated a life story almost from the beginning. But she was soon joined in this task by her first impresario, Raymond Asso, who wrote the lyrics for many of her early songs, and Marguerite Monnot, who composed the music. This team, progressively joined by others, worked together to produce a new iteration of the well-known realist song genre: Piaf’s songs were read through the narratives of the singer’s life, but, at the same time, those narratives were themselves read through the songs. This reciprocal identification between song and life would form the core meaning of Piaf’s stardom.

This chapter discusses the life and work of Harry Crews. Born on June 7, 1935, in Alma, a rural town in Bacon County, Georgia, Crews described the poverty and despair of his upbringing in A Childhood: The Biography of a Place (1979). In 1968 he published his first novel, The Gospel Singer. When Crews died on March 28, 2013, he had more than twenty-five titles to his credit: novels, chapter collections, screenplays, and novellas. He published his best works between 1974 and 1979. In addition to The Gospel Singer, Crews wrote Naked in Garden Hills, This Thing Don't Lead to Heaven, Karate Is a Thing of the Spirit, Car, The Hawk Is Dying, and The Gypsy's Curse.

O pensamento computacional (PC) é um dos eixos estabelecidos nas orientações normativas sobre o ensino de computação na educação básica - complemento à BNCC, homologado em 2022. As orientações do documento oportunizam aos professores conhecerem e estudarem sobre as habilidades abstração, raciocínio algorítmico, decomposição e reconhecimento de padrões que podem ser desenvolvidas por meio de atividades plugadas e desplugadas. A inserção do ensino de computação na educação básica é novo e há muitos problemas para serem mitigados, por exemplo, como a formação inicial e continuada de professores que não são da área de computação, podem desenvolver o eixo PC no ambiente escolar? E é neste contexto, por meio de um recorte da dissertação O Raciocínio Computacional no desenvolvimento de competências disciplinares de Língua Inglesa: práticas pedagógicas com BYOD, o autor Rezende (2018) mostrou como desenvolver o PC em atividades pedagógicas com mapas conceituais na disciplina de língua inglesa, 2ª série do ensino médio, em uma escola pública de Salvador. Por meio dessa disciplina e do conteúdo do gênero Biography of hip hop singers foram planejadas duas aulas. Na primeira, abordou-se os elementos essenciais desse gênero e explicações de como elaborar um mapa conceitual. Na segunda, os alunos formaram equipes e escolheram os seguintes cantores: Chris Brown, Pregador Luo, Emicida, Camero Abril Thomaz e a banda Quares. Cada mapa foi construído a partir de elementos oriundos do gênero estudado. A avaliação dos mapas foi pautada no modelo do Consórcio Nacional de Educação em Ciência Computacional que está estruturado nas seguintes categorias: Estrutura; Conteúdo; Cooperação da equipe. Cada categoria está organizada com os seguintes critérios: Exemplar; Excede os Padrões; Adequado aos Padrões; Abaixo dos Padrões. Mediante as duas aulas realizadas, Rezende (2018) analisou cinco mapas conceituais, como resultado, foi possível inferir que ocorreu o desenvolvimento da habilidade abstração porque os alunos precisaram focalizar em informações específicas para que os mapas conceituais tivessem elementos básicos do gênero biografia, por exemplo, nome do cantor, onde nasceu, se faleceu, principais músicas, álbuns gravados entre outras ações importantes dos cantores que caracterizam informações para pautar na vida do mesmo e na construção da biografia dos cantores. A outra habilidade observada foi o reconhecimento de padrões porque esse gênero contém elementos padronizados para que o mesmo seja considerado uma biografia, por exemplo: local de nascimento, início da carreira, como se tornou famoso, datas de lançamentos dos álbuns. Mediante, nesse recorte, podemos concluir que na dissertação de Rezende (2018) é possível que os professores de língua inglesa ou de outro componente curricular possam desenvolver o PC com outros conteúdos curriculares através de mapas conceituais e computação desplugada.

Abstract In the dedication to her first compilation of pieces, the composer identified herself as a noble Venetian brought by an unnamed person to Paris, as a pensioner supported by Louis XIV to live at Notre Dame de Bonne Nouvelle, and as a singer with some talent (doc.). Effectively serving as an autobiography gleaned from her six manuscripts of music, these details long remained the sole source of information about her; apparently no further testimony survives in France. In 1992 the discovery of a packet of documents at the Archivio di Stato in Venice corroborated her words and launched the biography of the person now known by her full name, Antonia Padoani Bembo 1 Thanks to the careful preservation of further documents held in several more Italian institutions, dozens of new archival findings have since surfaced. The vital interplay between the emergence of her story and the analysis of her compositions makes possible a reconstruction of her extraordinary career.