sorabji.me: stuff up to which i am
I set this page up for my own use, for to keep an eye on things I am working on, or things that I should be working on. I figured there was no need to keep this page all to
myself, since everything here is public. Not everything here works perfecly, and this page does not comprise everything up to which I am. This
page is not pretty and it is not supposed to be, but I might go ahead and add foofy curves and borders.
Sorabji.ME was intended as a personal start page/portal for myself, and
behind the scenes I use eGroupWare for certain project and resource management. Groupware may seem illogical in this context since there is no "group" here, only me, but it has proven
useful in a number of ways. I wrote a little bit about my interest in groupware for the individual here. For more things to look at try
sorabji.com sitemap. Contact me here.
Accompanying Singers. - September, 1902 It is not easy to give directions for this most rare accomplishment. There are so many sides to it and conditions confronting it that a book could and should be written which would, as far as possible, exhaust the subject. Let us first consider the accompanist, and, because so many more women than men aim to succeed in this field, we will designate her as she.
The Awakening. - September, 1902 Some awakenings are gradual. The dream of success has not been a troubled dream, but a season of repose interspersed with moments of self-sacrificing effort. The gifts, however, were so abundant that even such efforts gave a respectable harvest of tone and encouragement, and a future with brilliant prospects was...
The Technic of Vocal Expression. No. III. Tone-Connection. - September, 1902 The principal varieties of tone-connection in singing may be classified as follows: Legato, Portamento, Marcato, and Staccato. The term Legato is from the Italian legare, to bind, and indicates a tone-connection where the pitch of one tone begins directly at the close of the previous tone without any break of...
Study in Phrasing. I. - September, 1902 Because of the intimate relations of poetry and vocal music there is much light to be cast from verses upon tunes, and from tunes upon verses. As soon as we begin to set words in order, into feet, lines, and stanzas, the question of collocation, the place for separation, and...
Why Am I So Stupid? - September, 1902 This question was asked me some time ago by a pupil who for years had been singing with a very tightly constricted throat, so much so, that the quality was very harsh and poor, and there was very little power. I answered this question, and will give the readers of...
Operatic Voices. - September, 1902 W. J. Henderson clears up some of the fog of adulation that exists around the present-day opera-singers. He writes in his department of the New York Times: The unthinking worship of the opera-singer has its origin in the supposition that the best singers in the world go upon the operatic...
How the Voice Looks. - September, 1902 Prof. E. W. Scripture contributes an article entitled "How the Voice Looks" to a recent number of the Century. Professor Scripture is director of the Psychological Laboratory of Yale University, and if his views are accepted there promises to be a revolution in vocal teaching. The illustrations tell some curious...
Questions and Answers. - September, 1902 The question received relating to accompanying singers was so pertinent to present conditions that I have made an extended allusion to it in the article heading this department. Ida H.—The Baritone, when singing from a treble score, pitches his voice an octave lower, and this unconsciously; for, as a rule,...
True Meaning and Value of Creative Work. - September, 1902 Whip the lagging interest into active curiosity if nothing else. Hermann Ritter is known throughout Europe as a wonderful lecturer on musical history, yet it must be said that he spends three-fourths of the lesson-hour in relating apparently irrelevant stories that seemingly have little bearing on the subject.
Analysis of the Daly Marker Here is the Daly marker shown from the back. This is the approximate angle from which the marker is seen in the film. It is here, also, where things get a little perplexing.
If you recall which way this marker faces in "The Godfather" you might say "That can't be the right Daly marker. It's facing the wrong way."
This is true. In the film the name "Daly" on this marker faces west. Today the name faces east, toward the mausoleums and more in the direction of the BQE/Kosciuszko Bridge.
With all other evidence indicating that this was the location of the Daly marker seen in "The Godfather" I conclude that the tombstone was knocked over, completely or in part, at some time during the 30+ years between the filming of this scene and the day these pictures were taken. This sort of vandalism is common at all cemeteries, and any visit to Calvary or most large cemeteries will include sightings of toppled tombstones.
When the Calvary Cemetery groundskeepers discovered this toppled marker and re-assembled it I think they simply put the top part on backwards.
Looking at side-by-side photos and comparing the details of the marker today and the marker seen in the film, there appear to be chips at a couple of places on the cross today, evidence (perhaps) that this marker took a tumble.
Things change slowly at cemeteries but they do change. While it faces a different direction today, I have no doubt that this is the same Daly marker from the funeral scene of "The Godfather." Everything else adds up: the position of the mausoleums, the BQE/Kosciuszko, even the dot at the end of the name Daly on the tombstone. In album Where was Vito Corleone Buried in "The Godfather"?