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Laos, Known As the “Land of a Million Elephants,” Is a Landlocked Country in Southeast Asia About the Size of Kansas
DO NOT COPY WITHOUT PERMISSION OF AUTHOR Simon J. Bronner, ed. ENCYCLOPEDIA OF AMERICAN FOLKLIFE. Armonk, NY: M.E. Sharpe, 2005. Rachelle H. Saltzman, Iowa Arts Council, Iowa Department of Cultural Affairs [email protected] LAO Laos, known as the “Land of a Million Elephants,” is a landlocked country in Southeast Asia about the size of Kansas. The elephant symbolizes the ancient kingdom of Lan Xang, and is sacred to the Lao people, who believe it will bring prosperity to their country. Bordered by China to the north, Vietnam to the east, Cambodia to the south, Thailand to the west, and Myanmar (formerly Burma) to the northwest, Laos is a rough and mountainous land interwoven with forests and plateaus. The Mekong River, which runs through the length of Laos and supplies water to the fertile plains of the river basin, is both symbolically and practically, the lifeline of the Lao people, who number nearly 6 million. According to Wayne Johnson, Chief for the Iowa Bureau of Refugee Services, and a former Peace Corps Volunteer, “the river has deep meaning for the ethnic Lao who are Buddhist because of the intrinsic connection of water with the Buddhist religion, a connection that does not exist for the portion of the population who are non-ethnically Lao and who are animists.” Formally known as the Kingdom of Laos, and now known as Lao People’s Democratic Republic, Laos was, in previous centuries, periodically independent and periodically part of the Khmer (Cambodian), Mongol, Vietnamese, and Thai (Siamese) empires. Lao, Thai, and Khmer (but not Vietnamese) share a common heritage evident today in similar religion, music, food, and dance traditions as well as language and dress. -
Kimberlie Rose Dillon Oboe & English Horn Teamdillonmusic.Wordpress.Com
Kimberlie Rose Dillon Oboe & English Horn teamdillonmusic.wordpress.com I. Education & Training McLennan Community College | Teacher Certification in Early Childhood-Grade 12 Music 2013 Baylor University | Teaching Certificate in Higher Education 2012 Baylor University | Master of Music Degree in Oboe Performance 2012 Oboe Professor: Doris DeLoach, DMA University of Minnesota Duluth (UMD) | Bachelor of Music Degree in Oboe Performance 2010 Oboe Instructor: Laurie Van Brunt Jeanne Inc. | Oboe Gouger Assembly & Maintenance Workshop 2009 Other Primary Teachers Julie Gramolini Williams | Minnesota Orchestra 2015-Present Susan Tomkiewicz, DMA | Luther College 2005-2006 Jennifer Gookin, DMA | Luther College 1999-2005 II. Employment UMD Fine Arts Academy | Community Music Teaching Specialist 2014-Present teach weekly private oboe lessons to middle and high school students Rock Hill Community Church | Administrator 2013-2015 assisted pastoral staff with organizational functions coordinated volunteer schedules, supported bookkeeping efforts, and helped with event planning Waco Baptist Academy | Preschool-Grade 6 General Music Educator 2012-2013 taught Prekindergarten – Grade 6 general music classes and directed school performances Baylor University Golden Wave Marching Band | Administrative Assistant 2012 supported the Golden Wave Marching Band Director by serving in an administrative role Baylor University Fine Arts Library | Student Assistant 2011-2012 assisted patrons in research and checking out materials and shelved books and scores Baylor University School of Music | Graduate Assistant 2010-2012 co-instructed oboe methods, taught secondary oboe lessons, and coached chamber music ensembles coordinated student music recitals and performed secretarial tasks III. Performance Experience Ensembles Mesabi Symphony Orchestra, Sub. Oboe & English Horn 2016-Present, 2013 Itasca Symphony Orchestra, Sub. Oboe & English Horn 2013-Present Lake Superior Chamber Orchestra, Sub. -
Public Order Policing in Hong Kong the Mongkok Riot Kam C
PUBLIC ORDER POLICING IN HONG KONG THE MONGKOK RIOT KAM C. WONG Palgrave Advances in Criminology and Criminal Justice in Asia Palgrave Advances in Criminology and Criminal Justice in Asia Series Editors Bill Hebenton Criminology & Criminal Justice University of Manchester Manchester, UK Susyan Jou School of Criminology National Taipei University Taipei, Taiwan Lennon Y. C. Chang School of Social Sciences Monash University Melbourne, VIC, Australia This bold and innovative series provides a much needed intellectual space for global scholars to showcase criminological scholarship in and on Asia. Reflecting upon the broad variety of methodological traditions in Asia, the series aims to create a greater multi-directional, cross-national under- standing between Eastern and Western scholars and enhance the field of comparative criminology. The series welcomes contributions across all aspects of criminology and criminal justice as well as interdisciplinary studies in sociology, law, crime science and psychology, which cover the wider Asia region including China, Hong Kong, India, Japan, Korea, Macao, Malaysia, Pakistan, Singapore, Taiwan, Thailand and Vietnam. More information about this series at http://www.palgrave.com/gp/series/14719 Kam C. Wong Public Order Policing in Hong Kong The Mongkok Riot Kam C. Wong Xavier University (Emeritus) Cincinnati, OH, USA Palgrave Advances in Criminology and Criminal Justice in Asia ISBN 978-3-319-98671-5 ISBN 978-3-319-98672-2 (eBook) https://doi.org/10.1007/978-3-319-98672-2 Library of Congress Control -
University of California Santa Cruz the Vietnamese Đàn
UNIVERSITY OF CALIFORNIA SANTA CRUZ THE VIETNAMESE ĐÀN BẦU: A CULTURAL HISTORY OF AN INSTRUMENT IN DIASPORA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by LISA BEEBE June 2017 The dissertation of Lisa Beebe is approved: _________________________________________________ Professor Tanya Merchant, Chair _________________________________________________ Professor Dard Neuman _________________________________________________ Jason Gibbs, PhD _____________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures .............................................................................................................................................. v Chapter One. Introduction ..................................................................................................................... 1 Geography: Vietnam ............................................................................................................................. 6 Historical and Political Context .................................................................................................... 10 Literature Review .............................................................................................................................. 17 Vietnamese Scholarship .............................................................................................................. 17 English Language Literature on Vietnamese Music -
Singing the Lives of the Buddha: Lao Folk Opera As an Educational Medium
DOCUMENT RESUME ED 368 224 FL 800 756 AUTHOR Bernard-Johnston, Jean TITLE Singing the Lives of the Buddha: Lao Folk Opera as an Educational Medium. PUB DATE May 93 NOTE 351p.; Doctoral Dissertation, University of Massachusetts, Amherst. PUB TYPE Dissertations/Theses Doctoral Dissertations (041) EDRS PRICE MF01/PC15 Plus Postage. DESCRIPTORS *Acculturation; Buddhism; Culture Conflict; English (Second Language); Epistemology; *Folk Culture; *Land Settlement; *Lao; Native Language Instruction; *Opera; Refugees; *Teaching Methods; Uncommonly Taught Languages ABSTRACT This dissertation explores the role of Lao folk opera as a medium for constructively addressing problems of cultural conflict and acculturative stress that have risen among lowland Lao refugees and their children in urban America. The central focus of the inquiry is on the ways Lao folk opera currently functions as a learning medium in the resettlement context. The need for validation of such locally produced endogenous media has become increasingly apparent as long term resettlement issues continue to emerge as threats to linguistic and cultural diversity. The review of literature encompasses the role of oral specialists in traditional societies, Buddhist epistemology in the Theravada tradition, and community education in rural Lao culture. These sources provide the background necessary to an understanding of the medium's capacity for encapsulating culture and teaching ethical values in ways that connect past to present, distant to near. (Author) *********************************************************************** -
Murder-Suicide Ruled in Shooting a Homicide-Suicide Label Has Been Pinned on the Deaths Monday Morning of an Estranged St
-* •* J 112th Year, No: 17 ST. JOHNS, MICHIGAN - THURSDAY, AUGUST 17, 1967 2 SECTIONS - 32 PAGES 15 Cents Murder-suicide ruled in shooting A homicide-suicide label has been pinned on the deaths Monday morning of an estranged St. Johns couple whose divorce Victims had become, final less than an hour before the fatal shooting. The victims of the marital tragedy were: *Mrs Alice Shivley, 25, who was shot through the heart with a 45-caliber pistol bullet. •Russell L. Shivley, 32, who shot himself with the same gun minutes after shooting his wife. He died at Clinton Memorial Hospital about 1 1/2 hqurs after the shooting incident. The scene of the tragedy was Mrsy Shivley's home at 211 E. en name, Alice Hackett. Lincoln Street, at the corner Police reconstructed the of Oakland Street and across events this way. Lincoln from the Federal-Mo gul plant. It happened about AFTER LEAVING court in the 11:05 a.m. Monday. divorce hearing Monday morn ing, Mrs Shivley —now Alice POLICE OFFICER Lyle Hackett again—was driven home French said Mr Shivley appar by her mother, Mrs Ruth Pat ently shot himself just as he terson of 1013 1/2 S. Church (French) arrived at the home Street, Police said Mrs Shlv1 in answer to a call about a ley wanted to pick up some shooting phoned in fromtheFed- papers at her Lincoln Street eral-Mogul plant. He found Mr home. Shivley seriously wounded and She got out of the car and lying on the floor of a garage went in the front door* Mrs MRS ALICE SHIVLEY adjacent to -• the i house on the Patterson got out of-'the car east side. -
5-1 Shostakovich's Knowledge and Understanding of the Oboe and Cor
5-1 CHAPTERS MELODIC ASPECTS 5.1 Introduction Shostakovich's knowledge and understanding of the oboe and cor anglais are clearly reflected in the allocation of solo material throughout his 15 symphonies. 5.2 Allocation of solo material to the oboe Although the oboe is clearly not Shostakovich's favourite instrument, the solo material reveals a deft understanding of the instrument's technical and lyrical capabilities. Symphonies No.2, 11 and 13, however, have no solos for the oboe. The oboes are not used in Symphony No. 14 as it is scored for strings, percussion and soloists. As early as Symphony No. 1 Shostakovich establishes himself with insight as an orchestrator of oboe solos. A wide range of dynamic indications accompany the oboe solos, unlike the cor anglais whose predominantly allocated dynamic range is piano. Shostakovich writes very sympathetically for the player by not exhausting his stamina and by allowing sufficient rests in solo passages and avoiding long phrases. Solo passages are sometimes given to the second oboe and cor anglais in unison or in thirds, sixths or otherwise (see Ex. 5-5). Solo passages are also sometimes shared with other woodwind instruments. Oboe solos are generally approximately 8 bars long, although longer solos are found in Symphonies No.1, 4, 7 and 10 with 16 or more bars in length. The first movement of Symphony No.7 has the longest solo of 35 bars in which the bassoon and first oboe have solos in free imitation. Oboe solos are often supported by a characteristic tremolo string accompaniment, or by sustained strings or low woodwinds. -
The Last of the Thai Traditional Music Teachers
Uncle Samruay — the Last of the Thai Traditional Music Teachers The SPAFA crew visited the Premjai House of Music to explore its hospital-based concept of a school/repair centre, where Patsri Tippayaprapai interviewed the 69-year-old renowned master musician Samruay Premjai. The people of Thailand have been making indigenous musical instruments since ancient times, during which they also adapted instruments of other countries to create what are now regarded as Thai musical instruments. Through contact with Indian culture, the early Thai kingdoms assimilated and incorporated Indian musical traditions in their musical practices, using instruments such as the phin, sang, pi chanai, krachap pi, chakhe, and thon, which were referred to in the Master Samruay Premjai Tribhumikatha, an ancient book in the Thai language; they were also mentioned on a stone inscription (dated to the time of King Ramkhamhaeng, Sukhothai period). During the Ayutthaya period, the Thai instrumental ensemble consisted of between four and eight musicians, when songs known as 'Phleng Rua' were long and performed with refined skills. The instrumental ensemble later expanded to a composition of twelve musicians, and music became an indispensable part of theatre and other diverse occasions such as marriages, funerals, festivals, etc.. There Illustration ofSukhotai period ensemble of musicians are today approximately fifty kinds of Thai musical instruments, including xylophones, chimes, flutes, gongs, stringed instruments, and others. SPAFA Journal Vol. 16 No. 3 19 Traditionally, Thai musicians were trained by their teachers through constant practising before their trainers. Memory, diligence and perseverance were essential in mastering the art. Today, however, that tradition is gradually being phased out. -
A History of Siamese Music Reconstructed from Western Documents 1505-1932
A HISTORY OF SIAMESE MUSIC RECONSTRUCTED FROM WESTERN DOCUMENTS 1505-1932 This content downloaded from 96.9.90.37 on Thu, 04 Feb 2021 07:36:11 UTC All use subject to https://about.jstor.org/terms Introduction The writing of music history, the chief activity of the musicologist, depends almost entirely on the existence of written documents. Historical studies of various musics of the world have appeared wherever there are such documents: Europe, China, Japan, Korea, India, and in the Islamic cultural area of Western Asia and North Africa. Mainland Southeast Asia, however, has remained much of a musico-historical void since little has remained besides oral traditions and a few stone carvings, although Vietnamese music is an exception to this statement. The fact that these countries have so few trained musicologists also contributes to the lack of research. In the case of the Kingdom of Thailand, known before 1932 as Siam, little has been attempted in the way of music history in languages other than Thai, and those in Thai, also not plentiful, remain unknown to the outside world.l Only the European-trained Prince Damrong has attempted a comprehensive history, but it is based as much on tradition and conjecture as on concrete evidence and is besides quite brief. David Morton's classic study of Thai traditional music, The Traditional Music of Thailand, includes some eighteen pages of history, mostly based on oral traditions, conjecture, circumstantial evidence from neighboring musical cultures (Cambodia, China, and India), and some from the same documents used in this study. At least three reasons can be given for the lack of historical materials originating in Thailand. -
Khmer Arts Ensemble (In Order of Appearance) the Lives of Giants Akaeng Khameaso (Child) Chea Socheata Uma Keo Kunthearom
CAL PERFORMANCES PRESENTS CAST Sunday, October 2, 2011, 3pm The Lives of Giants Zellerbach Hall CAST Khmer Arts Ensemble (in order of appearance) The Lives of Giants Akaeng Khameaso (child) Chea Socheata Uma Keo Kunthearom Tevabot (male angels) Kong Bonich, Lim Chanboramy, Sao Phirom, Sao Somaly Tep Thida (female angels) Long Chantheary, Mot Pharan, Pum Molyta, Som Saymalyrou Akaeng Khameaso (adult) Rin Sreyleak Preah Eyso (Shiva) Chao Socheata Preah Visnu (Vishnu) Sot Sovanndy Instrumentalists Roneat Ek (xylophone) Nil Sinoeun Sralai (quadruple-reed oboe) Touch Sarin Sampho & Skor Thom (drums) Ros Sokun Choreography, Lyrics & Music Arrangements Sophiline Cheam Shapiro Gong Thom (circle gong) Soun Phally Scenic & Lighting Designs Marcus Doshi Singer Cheam Chanthopeas Costume Designs Merrily Murray-Walsh Dresser Sam Ratha Producer Khmer Arts Costume Makers Angkor Thom Handicrafts, Iris Color Studio, John Shapiro, Executive Director Kum Sokunthea, Hout Sokleng, Sim Chanmoly, Vuthy Tailors and artists of the Khmer Touring General Manager Lisa Booth Management, Inc. Arts Ensemble Deirdre Valente, Vice President The Lives of Giants premiered in the United States on September 25, 2010, at Technical Director Robert W. Henderson Palmer Auditorium, Connecticut College, New London, Connecticut. The creation of The Lives of Giants has been made possible, in part, with support from the American Recovery Running Time 90 minutes (without intermission) and Reinvestment Act through the National Endowment for the Arts; the MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation and the Rockefeller Foundation; and the National Dance Project of the New England Foundation for the Arts, with lead funding from the Doris Duke Charitable Foundation and additional funding provided by the Andrew W. -
CUHK Papers in Linguistics,Number 1. INSTITUTION Chinese Univ
DOCUMENT AESUME ED 364 067 FL 021 534 AUTHOR Ching, Teresa, Ed. TITLE CUHK Papers in Linguistics,Number 1. INSTITUTION Chinese Univ. of Hong Kong.Linguistics Research Lab. SPONS AGENCY Lingnan Univ. (China).; UnitedBoard of Higher Christian Education in Asia. REPORT NO ISSN-1015-1672 PUB DATE Aug 89 NOTE 118p.; For individualpapers, see FL 021 535-539. PUB TYPE Collected Works - Serials (022) JOURNAL CIT CUHK Papers in Linguistics; nlAug 1989 EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS Children; *English (Second Language);*Evaluation Methods; *Grammar; *HeariagImpairments; Language Acquisition; Mandarin Chinese;*Second Language Learning; *Standard SpokenUsage; Syntax IDENTIIIERS *Linear Ordering;Quantifiers ABSTRACT Papers included in thisvolume include the following: "Prosodic Aspects of Hearing-Impaired Children: AQualitative and Quantitative Assessmer' (Teresa Y. C. Ching); "TheRole of Linear Order in the Acquisit: of Quantifier Scope in Chinese"(ThoLas H. T. Lee); "Some Neglected Syntactic Phenomena inNear-standard English" (Mark Newbrook); "The Effect of ExplicitInstruction on the Acquisition of English Grammatical Structures by ChineseLearners" (Yan-ping Zhou); and "An Essay on Toffee Apple andTreacle Tart, Being an Imitation ofCockney Punning for TOEFL W. Ho). (Author/VWL) and TEASL" (Louise S. *********************************************************************** Reproductions supplied byEDRS are the best thatcan be made from the original document. *********************************************************************** CUBIC -
Danses Et Musiques Khmères
DANSE CLASSIQUE KHMÈRE SAKOU SAKOU SAMOTH bNÑaKarGgþr Samoth Le présent ouvrage retrace l’historique de Danse classique, du DANSE CLASSIQUEKHMERE Recueil folklore et de la musique khmère. Certaines oeuvres émanant de spécialistes et professionnels dans ce domaine ont été publiées Danse classique khmère au Cambodge par le passé. Ceci ayant pour but de mettre en lu- mière la culture khmère, sa danse et sa musique. Le dernier évènement dramatique qui a frappé le Cambodge pendant les trente dernières années a dénaturé l’aspect culturel du Cambodge. Cette altération pourrait s’accentuer, tenant compte du fait que l’avancée des nouvelles technologies évoluent sans cesse, au détriment du passé et de l’art classique. Les multiples efforts des Cambodgiens de France, d’Europe ou de l’étranger, leur aide permanente apportée, demeure un consi- FOLKLORE dérable appui, encourageant et poussant par conséquent, les Cambodgiens du Cambodge à ne jamais se décourager et conti- nuer à transmettre les bases de la culture khmère à leurs géné- rations futures. Cette dernière étant la culture dominante de l’Asie du sud-est. LOKHON Pour preuve, l’UNESCO a inscrit le 7 novembre 2003, le “Ballet Royal du Cambodge” sur la liste du Patrimoine oral et imma- Folklore tériel de l’Humanité, de même que le “Sbèk Thom” ou le théâtre d’ombres khmer dont les personnages du Reamker sont sculptés MUSIQUE KHMERE sur cuir, le 25 novembre 2005. C’est un immense honneur pour le peuple khmer d’être mis en lumière par l’UNESCO et de pouvoir préserver sa culture bien Lakhon menacée à nombreux égards par le passé.