Search results
Results from the WOW.Com Content Network
Many of the earliest parlour songs were transcriptions for voice and keyboard of other music. Thomas Moore's Irish Melodies, for instance, were traditional (or "folk") tunes supplied with new lyrics by Moore, and many arias from Italian operas, particularly those of Bellini and Donizetti, became parlour songs, with texts either translated or replaced by new lyrics.
The lyrics were written by Frank Lebby Stanton and published in his Songs of the Soil (1894). The tune was composed by Carrie Jacobs-Bond and published as part of Seven Songs as Unpretentious as the Wild Rose in 1901. Harry T. Burleigh also composed a tune (copyrighted in 1906), [1] but it never approached the popularity of the Jacobs-Bond tune.
The tour featured a re-telling of the story of five missionaries who were killed by the Huaorani people in 1956 while working in Ecuador. Each night after the story, Chapman introduced Steve Saint (the son of the slain missionary Nate Saint ) and Mincaye (a native who killed the missionaries) as his guests on-stage.
However, Foster's output of minstrel songs declined after the early 1850s, as he turned primarily to parlor music. [12] Many of his songs had Southern themes, yet Foster never lived in the South and visited it only once, during his 1852 honeymoon. Available archival evidence does not suggest that Foster was an abolitionist.
This category contains songs that are Parlor music or Parlour music. Pages in category "Parlor songs" The following 17 pages are in this category, out of 17 total.
The song was a hit record for Elsie Baker in 1912 (Victor B-12069). [9]It has since been recorded by numerous artists, including Sophie Braslau (1916), Dusolina Giannini (1926), Al Bowlly (1934), Bing Crosby (1934 and 1945), Erskine Hawkins (1942), Helen Traubel (1946), Jeanette MacDonald (1947), and as duets by Jo Stafford and Nelson Eddy (1951), and Pat and Shirley Boone (1962).
David Playing the Harp by Jan de Bray, 1670.. Knowledge of the biblical period is mostly from literary references in the Bible and post-biblical sources. Religion and music historian Herbert Lockyer, Jr. writes that "music, both vocal and instrumental, was well cultivated among the Hebrews, the New Testament Christians, and the Christian church through the centuries."
Christ songs are hymns to Jesus of Nazareth as the Christ. [2] Literary criticism makes it possible, on the basis of stylistic criteria, to elaborate Christ songs and liturgically used portions in the New Testament. [3] [4] In letters and texts some songs are quoted and mentioned, e.g. For example, the hymn to Christ in Philippians 2:6–11. It ...