Download American Top 40 Songs

Old American Songs are two sets of songs arranged by Aaron Copland in 1950 and 1952 respectively, after research in the Sheet Music Collection of the Harris Collection of American Poetry and Plays, in the John Hay Library at Brown University.[1] Originally scored for voice and piano, they were reworked for baritone (or mezzo-soprano) and orchestra.

I can barely understand the lyrics of songs in American English, even though I don't have any difficulties understanding regular spoken American English or any songs by British artists (I haven't listened to many songs by speakers of English dialects that aren't parts of the British and the American dialectal spectrums, so I can't definitively say whether I have any issues understanding them or not).

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The Songs of America presentation allows you to explore American history as documented in the work of some of our country's greatest composers, poets, scholars, and performers. From popular and traditional songs, to poetic art songs and sacred music, the relationship of song to historical events from the nation's founding to the present is highlighted through more than 80,000 online items. The user can listen to digitized recordings, watch performances of artists interpreting and commenting on American song, and view sheet music, manuscripts, and historic copyright submissions online. The site also includes biographies, essays and curated content, interactive maps, a timeline and teaching resources offering context and expert analysis to the source material.

Copland's orchestrations of his two sets of American folk song arrangements were both premiered by William Warfield, who said, "If I had to make a choice, it would probably be toward the orchestra versions, especially for I Bought Me a Cat, where you have all these wonderful barnyard sounds in the orchestration." Copland took such pleasure in the popularity of the folksongs that he also approved various arrangements for chorus and orchestra.AuthorVivian PerlisYear1998A new edition of this work, edited by Philip Rothman, is now available from Boosey and Hawkes.

Kenneth Berding is a professor of New Testament at Talbot School of Theology. He is an author of various books, some academic (such as Polycarp and Paul), some semi-academic (such as What Are Spiritual Gifts? Rethinking the Conventional View), others for-the-classroom (such as Sing and Learn New Testament Greek or The Apostolic Fathers: A Narrative Introduction), and still others for-the-church (such as Walking in the Spirit or Bible Revival: Recommitting Ourselves to One Book). He has published articles in such journals as the Journal of the Evangelical Theological Society, Vigiliae Christianae, New Testament Studies, and Journal of Early Christian Studies. He is the director of Bible Fluency: Sing It, See It, Study It. Before coming to Talbot, Berding was a church planter in the Middle East and taught at Nyack College just north of New York City. He has a heart for God and ministry, has written many worship songs, and has served as a worship pastor in local church ministry.

I try to teach a style-agnostic approach to vocal function in general. Some of my students come for technical instruction only, and others come for that in combination with help with repertoire. In either case, I want to work with them on songs at least some of the time, because the bridge between acquiring better function in exercises to USING it in repertoire can be a challenge.

The classic standard often has a 32-bar melody in AABA form, divided into 8-bar chunks for each section. In performance it is common to hear the whole tune repeated with some variation. The list below (by composer) consists of songs that have a modest range, a simple structure, and are generally well-loved:

These have proven to be appealing to students of a wide age range and background, and generally present few technical difficulties when transposed to fit the student. There are thousands more songs suitable for introducing students to the American Songbook! Singers should be encouraged to learn them as naturally as possible with their own voices, respecting the originally published notes and rhythms. After the initial introduction and learning of the musical and lyric structure, listening to recordings and live performances can be a wonderful learning experience. The teacher and student can discuss choices in melody, tempo, key, and rhythm. After knowing the original and hearing various versions, the student may begin to experiment with changes.

NPR's American Anthem series launched on July 4, 2018 with a simple goal: To tell 50 stories about 50 songs that have become galvanizing forces in American culture, each representing a cause or group or identity through music. Those stories are gathered here, along with a handful of web-exclusive essays and a streaming playlist of every featured song in order. Explore the entirety of the series below.

You can turn up the volume on these classics at any time, but they're especially great for when you want to feel tuned in to your country. After all, there's just something about cool '70s songs like "Take Me Home, Country Roads" and rockin' '80s songs like "Born in the U.S.A." that seem like they were made for easy listening while going for a drive with the windows down or hanging out at a cookout.

The King of Soul wrote this famous song that went on to become an anthem for the Civil Rights Movement. In 2007, it was chosen for preservation in the Library of Congress. It was dubbed one of the most important songs of the Civil Rights Era by NPR and ranked number 12 on Rolling Stone's 500 Greatest Songs of All Time.

John Adams thought that a third of the colonists supported the Revolution, a third remained loyal to Britain, and a third was undecided or neutral. The popular songs of the Revolutionary reflect a deep divided within the colonial population.

Baritone William Warfield sang the premiere performance of Copland's folk song arrangements at Town Hall in 1951. He said, "The songs were a tremendous success. Aaron was an excellent pianist and, of course, knowing the flavor of them so well, it was a tremendous experience working with him."

The Boatmen's Dance, a minstrel show tune by Daniel Decatur Emmett, composer of "Dixie," is a lively tune with imitation banjo playing in the accompaniment. The Dodger is a satirical political song found by Copland in a collection by John and Alan Lomax. It dates from the political campaign of 1884 when Grover Cleveland defeated James G. Blaine. Long Time Ago is a setting of a lyrical nostalgic ballad discovered by the composer in the Harris Collection at Brown University. Simple Gifts is the Shaker song used in Appalachian Spring arranged in a straightforward style closer to the

original folk version. I Bought Me a Cat, a children's nonsense song, repeats a refrain adding a farm animal as it proceeds. The harmony and accompaniment simulate barnyard sounds.

-Vivian Perlis, 1998

Great American stories of hardship, struggle, family, and life in the mountains are woven into folk songs passed through generations. Some songwriters with strong Appalachian roots are still gathering the stories of their elders and crafting them into songs that tell about life in a different time. Catskill Mountain folk-rock singer-songwriter, Theodore Leland Finkle collaborated with his cousin Jody Nebesnik and her family friend, Dr. Heidi Moore, on the lyrics of this song. His wife, Pamela West, wrote the haunting, old-timey melody. The story is one of many their great-aunt Helen told of growing up on Beach Hill in Andes, New York, during the time of the depression. The chestnut tree in this song is an iconic symbol of a way of life that, much like the chestnut tree, has widely died out in American culture, yet the roots remain in the words of Helen's story.

The2023 song contest offers the chance to win great prizes, gainrecognition and promote your songs with publishers and producers in themusic industry. The Great American Song Contest is also the only majorsongwriting contest that provides entrants written critiques from thecontest judges.

NACOGDOCHES, TEXAS - Dr. Juan Carlos Urea, Stephen F. Austin State University assistant professor of modern languages, will give a lecture/demonstration on poetry and music in Central America at 2 p.m. Friday, Oct. 7, in the Music Recital Hall on the SFA campus.

The presentation is part of the SFA School of Music's monthly Robert G. Sidnell Lecture Series in Music Education. The lecture's title, "Trovar: Memoria Potica de la Concin Hispanoamericana," is the same as Urea's book from which the lecture material is drawn.

Urea, who is also an acclaimed composer and musician, will begin his presentation with an overview of the whole book-an analysis of traditional, folk, protest and popular songs from Spain and Latin America, from medieval times to the 21st century.

The majority of the lecture will concentrate on the impact song has had on historical transformations in Central America since the 1970s. Urea will perform samples of the music during his presentation.

Urea earned his doctoral degree in Hispanic studies from Texas A&M University, his master's in music education from SFA and his bachelor's degree in music education from the Universidad de Costa Rica in San Jos, Costa Rica.

A member of the SFA faculty since 2004, Urea taught Costa Rican university students for three years. He also has 16 years of experience teaching music and Spanish to public school students in Costa Rica and Texas.

He has numerous written publications and musical recordings to his credit and was nominated for two Latin American Music Awards by the Academy of Country Music in 2000.

The lecture is free and open to the public. The Music Recital Hall is located in Room 160 of the Tom and Peggy Wright Music Building, 2210 Alumni Drive.

For more information, please call Dr. Mark E. Turner, coordinator of the Sidnell Lecture Series, at (936) 468-4051. ff782bc1db