1.
Single (music)
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In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular, in other cases a recording released as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to also be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them. The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify also following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, however, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc. Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s
2.
Folk rock
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It has also been influential in those parts of the world with close cultural connections to Britain and gave rise to the genre of folk punk. By the 1980s the genre was in decline in popularity. When English bands of the late 1960s and early 1970s defined themselves as electric folk they were making a distinction with the existing folk rock. Folk rock was what they had already been producing, American or American style singer-songwriter material played on instruments, as undertaken by Bob Dylan. They drew the distinction because they were focusing on indigenous songs, the result of this hybridisation was an exchange of specific features drawn from Traditional music and Rock music. For example, electric folk groups, while using traditional material as their source for lyrics and tunes. In the same year, The Beatles began incorporating overt folk influences into their music, the Beatles and other British Invasion bands, in turn, influenced the Californian band The Byrds, who began playing folk-influenced material and Bob Dylan compositions with rock instrumentation. The Byrds recording of Dylans Mr Tambourine Man was released in April 1965 and reached #1 on the U. S. and UK singles charts, setting off the mid-1960s folk rock movement. The Beatles late 1965 album, Rubber Soul, contained a number of songs clearly influenced by the American folk rock boom, such as Nowhere Man and If I Needed Someone. Folk rock became an important genre among emerging English bands, particularly those in the London club scene towards the end of the 1960s. Like the American revival, it was often overtly left wing in its politics, most important among their responses were the foundation of folk clubs in major towns, starting with London where MacColl began the Ballads and Blues Club in 1953. These clubs were usually urban in location, but the songs sung in them often hearkened back to a rural pre-industrial past, in many ways this was the adoption of abandoned popular music by the middle classes. This meant that there were, by the later 1960s, a group of performers with musical skill and knowledge of a variety of traditional songs. The result was an interpretation of the song A Sailors Life. The rapid expansion of electric folk that followed in the wake of Liege, five Hand Reel a band formed out of the remnants of Spencers Feat proved to be one of the more successful and influential folk rock bands. Releasing 4 albums with Topic/RCA records they were popular in Europe. He then quit that and eventually formed the Albion Country Band, later the Albion Band, a much smaller group of English bands were formed in emulation of existing electric rock bands. Fiddlers Dram were often dismissed as one hit wonders for their single Day Trip to Bangor, most of their career, from that point until they disbanded in 1979, was one of declining profile and sales
3.
Songwriter
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A songwriter is an individual who writes the lyrics, melodies and chord progressions for songs, typically for a popular music genre such as rock or country music. A songwriter can also be called a composer, although the term tends to be used mainly for individuals from the classical music genre. The pressure from the industry to produce popular hits means that songwriting is often an activity for which the tasks are distributed between a number of people. For example, a songwriter who excels at writing lyrics might be paired with a songwriter with a gift for creating original melodies, pop songs may be written by group members from the band or by staff writers – songwriters directly employed by music publishers. Some songwriters serve as their own publishers, while others have outside publishers. The old-style apprenticeship approach to learning how to write songs is being supplemented by university degrees and college diplomas, a knowledge of modern music technology, songwriting elements and business skills are necessary requirements to make a songwriting career in the 2010s. Several music colleges offer songwriting diplomas and degrees with music business modules, the legal power to grant these permissions may be bought, sold or transferred. This is governed by international copyright law, song pitching can be done on a songwriters behalf by their publisher or independently using tip sheets like RowFax, the MusicRow publication and SongQuarters. Skills associated with song-writing include entrepreneurism and creativity, songwriters who sign an exclusive songwriting agreement with a publisher are called staff writers. In the Nashville country music scene, there is a staff writer culture where contracted writers work normal 9-to-5 hours at the publishing office and are paid a regular salary. This salary is in effect the writers draw, an advance on future earnings, the publisher owns the copyright of songs written during the term of the agreement for a designated period, after which the songwriter can reclaim the copyright. In an interview with HitQuarters, songwriter Dave Berg extolled the benefits of the set-up, unlike contracted writers, some staff writers operate as employees for their respective publishers. Under the terms of work for hire agreements, the compositions created are fully owned by the publisher. In Nashville, young writers are often encouraged to avoid these types of contracts. Staff writers are common across the industry, but without the more office-like working arrangements favored in Nashville. All the major publishers employ writers under contract, songwriter Allan Eshuijs described his staff writer contract at Universal Music Publishing as a starter deal. His success under the arrangement eventually allowed him to found his own publishing company, so that he could. keep as much as possible, songwriters are also often skilled musicians. In addition to selling their songs and musical concepts for other artists to sing, songwriters need to create a number of elements for a song
4.
Stephen Schwartz (composer)
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Stephen Lawrence Schwartz is an American musical theatre lyricist and composer. In a career spanning four decades, Schwartz has written such hit musicals as Godspell, Pippin. He has contributed lyrics for a number of films, including Pocahontas, The Hunchback of Notre Dame, The Prince of Egypt. Schwartz has won the Drama Desk Award for Outstanding Lyrics, three Grammy Awards, three Academy Awards and has been nominated for six Tony Awards and he received the 2015 Isabelle Stevenson Award, a special Tony Award, for his commitment to serving artists and fostering new talent. Schwartz was born in New York City, the son of Sheila Lorna, a teacher, and Stanley Leonard Schwartz and he grew up in the Williston Park area of Nassau County, New York, where he graduated from Mineola High School in 1964. He studied piano and composition at the Juilliard School while attending high school, while attending Carnegie Mellon University, Schwartz composed and directed an early version of Pippin with the student-run theatre group, ScotchnSoda. Schwartz graduated from Carnegie Mellon University in 1968 with a BFA in drama, upon returning to New York City, Schwartz went to work as a producer for RCA Records, but shortly thereafter began to work in the Broadway theatre. He was asked to be the director of the first American rock opera. He was credited as the producer of the album of the soundtrack with the progressive rock group Smoke Rise on Paramount Records. His first major credit was the song for the play Butterflies Are Free. In 1971, he music and lyrics for Godspell, for which he won several awards including two Grammys. For this musicals Toronto production in 1972, he asked Paul Shaffer to be the musical director, thus starting Shaffers career. Godspell was followed by the English-language texts, in collaboration with Leonard Bernstein, for Bernsteins Mass, in 1972, the long-running Pippin premiered on Broadway. Schwartz had begun writing songs for Pippin while in college, although none of the songs from the college version ended up in the Broadway production, both Pippin and Godspell continue to be frequently produced. Two years after Pippin debuted, Schwartz wrote music and lyrics of The Magic Show, by mid-1974, at age 26, Schwartz had three smash hit musicals playing in New York simultaneously. Next were the music and lyrics of The Bakers Wife, which closed before reaching Broadway after an out-of-town tryout tour in 1976 and he also co-directed the television production, which was presented as part of the PBS American Playhouse series. In 1977, Schwartz wrote a book called The Perfect Peach. In the 1980s, Schwartz wrote songs for a musical for children, The Trip
5.
John-Michael Tebelak
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John-Michael Tebelak was an American playwright and director. He was most famous for creating the musical Godspell based on the Gospel of Saint Matthew, the music was by Stephen Schwartz. Some of the lyrics are original, with others taken from either the Bible or traditional hymns in the 1940 Episcopal Hymnal, Tebelak originally produced Godspell at age 21 as his masters thesis project, under the tutelage of Lawrence Carra, at Carnegie Mellon University in December 1970. He had been studying Greek and Roman mythology, with the deadline for his thesis two weeks away, but became fascinated by the joy he found in the Gospels. He attended an Easter Vigil service in 1970 at Pittsburghs St. Paul Cathedral, wearing his usual overalls, a police officer frisked him for drugs after the service. He wrote of this experience, I left with the feeling that, rather than rolling the rock away from the Tomb, I went home, took out my manuscript, and worked it to completion in a non-stop frenzy. Though he never completed his coursework at the university, Carnegie Mellon nevertheless awarded him a degree, subsequently, Tebelak directed productions of Godspell at La MaMa Experimental Theatre Club, the Cherry Lane Theatre, the Promenade Theatre, and on Broadway. He was named Theatre Man of the Year by Elliott Norton of the Boston-Record American and he was also named an Outstanding Ohioan by then-Governor John J. Gilligan. John Michael Tebelak graduated from Berea High School in 1966, in 1972 Tebelak directed the Broadway play Elizabeth I, the off-Broadway play, The Glorious One in 1975, and Ka-Boom in 1980. He also directed Lope de Vegas Fuenteovejuna in Madrid in 1975 and he co-wrote with David Greene the 1973 film version of Godspell. Tebelak once said that he walked into a theatre at the age of nine and he was a lifelong member of the Episcopal Church, possibly thought about becoming a priest, and may have attended an Episcopal seminary for a time. He was dramaturge for the Cathedral of Saint John the Divine in New York City, according to Rev. James Parks Morton, whether it was a sermon series or a two-day conference on the environment, he turned it into theater. In 1980, Tebelak was sued in State Supreme Court in Manhattan by his former live-in companion, the lawsuit was an early effort to define the rights of cohabiting homosexual couples. John-Michael returned to his native Berea, Ohio, to direct the 10th Anniversary production of Godspell at the Berea Summer Theater, Summer of 1980 and he subsequently directed Cabaret there, Summer 1981. Tebelak died on April 2,1985, of an attack in New York City at age 35. He was survived by his parents, John and Genevieve Tebelak, his sister Trudy Williams, john-Michael Tebelak at the Internet Broadway Database John Michael Tebelak at musicalschwartz. com, Biography and interview
6.
Godspell
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Godspell is a musical, composed by Stephen Schwartz with the spoken parts by John-Michael Tebelak. Several cast albums have been released over the years and one of its songs, Day by Day from the original cast album, the structure of the musical is that of a series of parables, mostly based on the Gospel of Matthew. The parables are interspersed with a variety of music set primarily to lyrics from traditional hymns. It started as a project performed by students at Carnegie Mellon University. It was then re-scored for a production which became a long-running success. A junior one-act version with songs and monologues removed has also been made under the title Godspell Junior. The show originated in 1970 as Tebelaks masters thesis project, under the direction of Lawrence Carra, at Carnegie Mellon University in Pittsburgh, a version was performed at Carnegie Mellon in 1970, with several of the cast members from the CMU Music Department. Tebelak then directed the show, with much of the student cast, for a two-week, ten performance run at La MaMa Experimental Theatre Club, New York City, opening February 24,1971. It was brought to the attention of producers Edgar Lansbury, Joseph Beruh, and Stuart Duncan by Carnegie alumnus Charles Haid, the producers hired Stephen Schwartz, another alumnus of Carnegie Mellons theater department, to write a new song score. Schwartzs songs incorporated a variety of styles, from pop to folk rock, gospel. One song, By My Side, written by CMU students Jay Hamburger, as with the original score, most of the non-Schwartz lyrics were from the Episcopal Hymnal. The original cast defined the personalities of each character as the show was developed, most of the characters names are simply the first name of the actor, so the characters are more easily identified by the song they sing. The only two named roles are Jesus, and John the Baptist, who doubles in the show as Judas Iscariot. The stage version applies the following names and traits to the group of characters who act out the parables and sing, Gilmer, Herb, Jeffrey, Joanne, Lamar, Peggy. All ten actors are on stage throughout the show, the show begins with Gods Voice, spoken by Jesus, declaring his supremacy, My name is Known, God and King. I am most in majesty, in whom no beginning may be, the company then enters and takes the role of various philosophers throughout the ages. They sing fragments of their philosophies, first as solos. In response to these philosophers, John the Baptist enters blowing a shofar to call the community to order and he then beckons them to Prepare Ye, The Way of the Lord
7.
Godspell (film)
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Godspell is the 1973 film adaptation of the Off-Broadway musical Godspell created by John-Michael Tebelak with music and lyrics by Stephen Schwartz. Directed by David Greene with stars Victor Garber as Jesus and David Haskell as Judas/John the Baptist, John-Michael Tebelak is credited as co-writer of the screenplay and served as the creative consultant, although director David Greene said Tebelak did not write the screenplay. The structure of the musical is, in part, retained. Many of the scenes take advantage of sites around an empty. John the Baptist gathers a band of youthful disciples to follow. These disciples then proceed to form a roving acting troupe that enacts Jesuss parables through the streets of New York and they often make references to vaudeville shtick. While the play very little stage dressing, the film places emphasis on dramatic location shots in Manhattan. Vocally, the chorus is much in the same style. Notably, in All Good Gifts, whereas Lamar Alford had used a tenor voice, Merrell Jackson uses a lighter voice. Regarding the band, all four of the musicians from the stage production. These musicians were Steve Reinhardt on keyboards, Jesse Cutler on acoustic and lead guitar and bass, Richard LaBonte on rhythm guitar and bass, ruhlmann describes Schwartz as being better able to realize the scores pop tendencies than he had on the cast album. This was a complete version of the score, but it was much better performed and produced. The film was entered into the 1973 Cannes Film Festival, Godspell received generally positive reviews in 1973. Allmovie Guide currently gives the film a three out of five rating, various bands have covered songs from the film/musical. The film is recognized by American Film Institute in these lists,2006, AFIs 100 Years
8.
Richard of Chichester
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Richard of Chichester, also known as Richard de Wych, is a saint who was Bishop of Chichester. In Chichester Cathedral a shrine dedicated to Richard had become a richly decorated centre of pilgrimage, in 1538, during the reign of Henry VIII, the shrine was plundered and destroyed by order of Thomas Cromwell. St Richard of Chichester is patron saint of Sussex in southern England, since 2007, Richard was born in Burford, near the town of Wyche and was an orphan member of a gentry family. On the death of their parents Richards elder brother was heir to the estates but he was not old enough to inherit, so the lands were subject to a feudal wardship. On coming of age his brother took possession of his lands, but was required to pay a medieval form of duty that left the family so impoverished. His brother also made Richard heir to the estate, according to Richards biographers, friends tried to arrange a match with a certain noble lady. However Richard rejected the proposed match, suggesting that his brother might marry her instead, he also reconveyed the estates back to his brother, preferring a life of study, educated at the University of Oxford, Richard soon began to teach in the university. From there he proceeded to Paris and then Bologna, where he distinguished himself by his proficiency in canon law, on returning to England in 1235, Richard was elected Oxfords chancellor. His former tutor, Edmund of Abingdon, had become archbishop of Canterbury, Richard shared Edmunds ideals of clerical reform and supported papal rights even against the king. In 1237, Archbishop Edmund appointed Richard chancellor of the diocese of Canterbury, Richard joined the archbishop during his exile at Pontigny, and was with him when the archbishop died circa 1240. Richard then decided to become a priest and studied theology for two years with the Dominicans at Orléans, upon returning to England, Richard became the parish priest at Charing and at Deal, but soon was reappointed chancellor of Canterbury by the new archbishop Boniface of Savoy. In 1244 Richard was elected Bishop of Chichester, Henry III and part of the chapter refused to accept him, the king favouring the candidature of Robert Passelewe. Archbishop Boniface refused to confirm Passelew, so both sides appealed to the pope, the king confiscated the sees properties and revenues, but Innocent IV confirmed Richards election and consecrated him bishop at Lyons in March 1245. Richard then returned to Chichester, but the refused to restore the sees properties for two years, and then did so only after being threatened with excommunication. Henry III forbade anyone to house or feed Richard, at first, Richard lived at Tarring in the house of his friend Simon, the parish priest of Tarring, visited his entire diocese on foot, and cultivated figs in his spare time. Richards private life was supposed to have displayed rigid frugality and temperance, Richard was an ascetic who wore a hair-shirt and refused to eat off silver. He kept his diet simple and rigorously excluded animal flesh, having been a vegetarian since his days at Oxford, Richard was merciless to usurers, corrupt clergy and priests who mumbled the Mass. He was also a stickler for clerical privilege, when the men of Lewes dragged a thief out of sanctuary and hanged him, he made them cut down the corpse and bury it in the sanctuary
