Red Clay Review2017 • Volume 10
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Jazz Quartess Songlist Pop, Motown & Blues
JAZZ QUARTESS SONGLIST POP, MOTOWN & BLUES One Hundred Years A Thousand Years Overjoyed Ain't No Mountain High Enough Runaround Ain’t That Peculiar Same Old Song Ain’t Too Proud To Beg Sexual Healing B.B. King Medley Signed, Sealed, Delivered Boogie On Reggae Woman Soul Man Build Me Up Buttercup Stop In The Name Of Love Chasing Cars Stormy Monday Clocks Summer In The City Could It Be I’m Fallin’ In Love? Superstition Cruisin’ Sweet Home Chicago Dancing In The Streets Tears Of A Clown Everlasting Love (This Will Be) Time After Time Get Ready Saturday in the Park Gimme One Reason Signed, Sealed, Delivered Green Onions The Scientist Groovin' Up On The Roof Heard It Through The Grapevine Under The Boardwalk Hey, Bartender The Way You Do The Things You Do Hold On, I'm Coming Viva La Vida How Sweet It Is Waste Hungry Like the Wolf What's Going On? Count on Me When Love Comes To Town Dancing in the Moonlight Workin’ My Way Back To You Every Breath You Take You’re All I Need . Every Little Thing She Does Is Magic You’ve Got a Friend Everything Fire and Rain CONTEMPORARY BALLADS Get Lucky A Simple Song Hey, Soul Sister After All How Sweet It Is All I Do Human Nature All My Life I Believe All In Love Is Fair I Can’t Help It All The Man I Need I Can't Help Myself Always & Forever I Feel Good Amazed I Was Made To Love Her And I Love Her I Saw Her Standing There Baby, Come To Me I Wish Back To One If I Ain’t Got You Beautiful In My Eyes If You Really Love Me Beauty And The Beast I’ll Be Around Because You Love Me I’ll Take You There Betcha By Golly -
Jazz Drum Set Audition Requirements for MA Degree in Jazz Studies
Jazz Drum Set Audition Requirements for MA Degree in Jazz Studies 1. Perform a prepared jazz drum set transcription from a published transcription or from the applicant’s own transcription work. 2. Improvise 1 to 2 choruses over a jazz standard from the list below. 3. Show familiarity with time-keeping skills and segmented soloing (in 4 or 8 bar phrases), demonstrating both familiarity and feel, in the following styles: a. swing (various tempos) b. funk c. Latin (samba, bossa nova, mambo – clave based, songo, Afro Cuban 6/8) d. Odd meters (3/4 waltz, 5/4 swing etc.) 4. Sight read a standard big band chart, setting up horn figures, following the road map and accurately hitting given rhythmic figures. List of Standards Tenor Madness Just Friends Lady Bird Groovin’ High Alice In Wonderland Black Orpheus What Is This Thing Called Love? Anthropology No Moe Lady Bird Someday My Prince Will Come Nica’s Dream I Hear A Rhapsody Softly as In a Morning Sunrise I’ll Remember April Nardis Isotope Stablemates How High the Moon Night and Day Solar Song For My Father Inner Urge Samba de Orfeu I’ll Remember April Witch Hunt Monk’s Dream Have You Met Miss Jones Scrapple from the Apple Dolphin Dance Green Dolphin Street Impressions No Greater Love Red Clay Look to the Sky The Days of wine and Forest Flower Oleo Rosses Well You Needn’t It Could Happen to You Wave Billy’s Bounce Speak No Evil Afro Blue In Walked Bud Joy Spring All the Things You Are Rhythm-a-ning Four The Days of Wine and Roses Alone Together Out of Nowhere Moment’s Notice Blue Bossa Recorda-me Nica’s Dream . -
Over the Hump a Guide to Connecticut
WHAT’S Your Guide to Conn | 4 The Lingo | 6 Getting Here | 14 INSIDE What to Pack | 18 Your Key to Camel Life | 22 So Much to Do | 26 Explore the Region | 28 The Camel Ways | 34 What to Eat On Campus | 38 What to Eat Off Campus | 42 Academic Calendar | 46 Who Ya Gonna Call? (or Email?) | 48 Staying Safe | 52 Insider Map | Inside Back Cover Contents Your Guide to Conn | 4 The Lingo | 6 Getting Here | 14 What to Pack | 18 Your Key to Camel Life | 22 So Much to Do | 26 Explore the Region | 28 The Camel Ways | 34 What to Eat On Campus | 38 What to Eat Off Campus | 42 Academic Calendar | 46 Who Ya Gonna Call? (or Email?) | 48 Staying Safe | 52 Insider Map | Inside Back Cover YOUR GUIDE TO CONN WELCOME, CAMELS! OVER THE HUMP is your guide to all things Conn. In the following pages, you’ll find suggestions for items to bring to campus, places to eat, things to do and a whole lot more. You’ll also learn the lingo, so you’ll know what people mean when they say, “Hey! After my ConnCourse, I’m going to hit up Blue Camel and meet my PICA friends in the Arbo.” From your Camel Moment to the last time you ring the gong, you’ll discover new YOUR things about Conn every day. Over the Hump just gives you a head start. And to stay ahead of the game, here are a few important things to do: LOG IN TO YOUR CONN EMAIL ACCOUNT. -
Download a PDF of Our Community Brochure
Engagement with the communities of Oxford and Oxfordshire Did you know? St Giles’ Fair began as the parish feast of St Giles, first recorded in 1624. From the 1780s it became a toy fair, with general amusements for children. In the next century its focus shifted towards adults, with entertainment, rides and stalls. In the late 1800s there were calls for the fair to be stopped on the grounds that it encouraged rowdy behaviour. During Victorian times engineering advances brought the forerunners of today’s rides. Today the huge pieces of machinery fill St Giles’ with sparkling lights for a few days each year, and whizz within feet of ancient college buildings. The stone heads around the Sheldonian Theatre now number thirteen (there were originally fourteen, but one was removed to make way for the adjoining Clarendon Building.) It is not known what they were intended to represent – they might be gods, wise men, emperors or just boundary markers. The original heads were made by William Byrd and put up in 1669. Did you Replacements put up in 1868 were made in poor stone, know? which crumbled away; in 1972 the current set, carved by Michael Black of Oxford, were erected. More on page 4 STARGAZING AND SPIN-OUTS PAGE 1 Contents 2 Introduction from the Vice-Chancellor 3 Foreword from the Chair of the Community Engagement Group 5 Part 1: Part of the fabric of the city Part of the fabric 6 800 years of history of the 8 Economic impact city 9 Science Parks 1 0 Saïd Business School 11 Oxford University Press PART 1 PART 1 2 The built environment 13 -
Young V. Red Clay Consol. Sch. Dist., 122 A.3D 784 (Del
IN THE COURT OF CHANCERY OF THE STATE OF DELAWARE REBECCA YOUNG, ELIZABETH H. ) YOUNG and JAMES L. YOUNG, ) ) Plaintiffs, ) ) v. ) C.A. No. 10847-VCL ) RED CLAY CONSOLIDATED ) SCHOOL DISTRICT, ) ) Defendant. ) OPINION Date Submitted: February 23, 2017 Date Decided: May 24, 2017 Richard H. Morse, AMERICAN CIVIL LIBERTIES UNION OF DELAWARE, Wilmington, Delaware; John W. Shaw, Karen E. Keller, Jeffrey T. Castellano, David M. Fry, Nathan R. Hoeschen, SHAW KELLER LLP. Counsel for Plaintiffs. Barry M. Willoughby, William W. Bowser, Michael P. Stafford, Margaret M. DiBianca, YOUNG CONAWAY STARGATT & TAYLOR, LLP, Wilmington, Delaware. Counsel for Defendant. LASTER, Vice Chancellor. In February 2015, Red Clay Consolidated School District (“Red Clay”) held a special election in which residents were asked to approve an increase in the school-related property taxes paid by owners of non-exempt real estate located within the district (the “Special Election”). Red Clay prevailed in the Special Election, with 6,395 residents voting in favor and 5,515 against. The plaintiffs are residents of Red Clay who did not vote in the Special Election because they were unable to access the polls. They filed suit, asserting that Red Clay violated the provision of the Delaware Constitution which guarantees that “[a]ll elections shall be free and equal.”1 They also contend that Red Clay’s actions violated the Due Process and Equal Protection Clauses of the Fourteenth Amendment of the United States Constitution.2 This court previously held that the plaintiffs’ theories stated claims on which relief could be granted.3 This decision only addresses their state law claim. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Shortlidge Academy Priority Plan
Zzz 2015 - 2016 Shortlidge Academy Priority Plan Red Clay Consolidated School District SHORTLIDGE PRIORITY SCHOOL PLAN – RED CLAY CONSOLIDATED SCHOOL DISTRICT TABLE OF CONTENTS Introduction: Community Engagement in Planning 4 Principle One: School Model and Planning 1.1. Executive Summary 11 1.2. Theory of Action 16 1.3. Plan to Address Subgroups 18 1.4. Statement of Goals 22 1.5. Reporting Template 29 Principle Two: Leadership 2.1. Leadership Recruitment 32 2.2. Leadership Hiring 32 2.3. Leadership Professional Development 37 2.4. Leadership Evaluation 44 2.5. Leadership Succession 48 Principle Three: Staffing 3.1. Staffing Plan 51 3.2. Staff Recruitment 51 3.3. Staff Hiring 57 3.4. Staff Evaluation 60 3.5. Staff Rewards and Incentives 64 3.6. Staff Support 67 3.7. Professional Development Plan 73 3.8. PLCs and Collaboration 76 3.9. Staff Culture 80 Principle Four: School Program 4.1. School Calendar 86 4.2. School Schedule 90 4.3. Curriculum 93 4.4. Long-term, Unit, Lesson Planning 103 4.5. Social-Emotional Learning 120 4.6. Additional Programs 132 4.7. Assessment and Assessment Schedule 134 4.8. Grading Policies 136 4.9. Special Education, Student Supports and RTI 139 4.10. Data Plan 147 Principle Five: School Culture 5.1. School Culture Plan – Building a Culture of Achievement 150 5.2. Structural Expectations and Learning Environment 155 5.3. Discipline and Management Plan 158 5.4. Family and Community Engagement Plan 167 5.5. School Adversary Team 171 5.6. School Communication 175 5.7. -
Jeff Rupert Saxophone Master Class
Jeff Rupert Saxophone Master Class I Saxophone Assembly and maintenance Holding the instrument. The neck and mouthpiece assembly. Checking key mechanisms. Checking for leaks, and clogged vents. Maintaining the lacquer. Setting the instrument down. II Posture The Back and neck. Legs and knees. III Breathing and Breath flow Inhaling. Exhaling. Breath solfège IV The Oral Cavity and the Larynx. V Embouchures for playing the saxophone. Variance in embouchure technique. The embouchure and breathing. VI Daily Routines for practicing the saxophone. Daily routines and rituals. Playing the mouthpiece. Playing the mouthpiece with the neck. Overtone exercises. VII Articulation Single tonguing. Doodle tonguing. Alternate articulations specific to jazz. Double tonguing. VIII Practice patterns for scales. Scales and Arpeggios Major, minor (dorian, natural minor, ascending jazz melodic minor, harmonic minor) and diminished. Resources for jazz scales. IX Equipment Different horns. Mouthpieces. Reeds. Ligatures. Neckstraps. X Resources for saxophonists Recordings. Web resources. Books and educational CD's and DVD's. Saxophonists in jazz and pop music. XI Conclusion. ©2009 Rupe Music Publishing 001 saxophone master class, Jeff Rupert pg2 I Saxophone Assembly and maintenance Neck and mouthpiece assembly: Putting the saxophone together is something we've all been doing since day one. It may seem trite to even address assembly of the instrument, but its been a common flaw not to develop good habits. I've seen broken mouthpieces, bent rods and necks several times from seasoned professionals who should have known better! This is precisely why its important to develop good habits when putting your instrument together. Prior to putting the mouthpiece on the neck, make certain that the cork is lubricated. -
Encyclopedia of Arts and Humanities Through the Eras
AHTTE.MdvlErp.tpgs 9/14/04 12:12 PM Page 1 ARTS & HUMANITIES Through the Eras AHTTE.MdvlErp.tpgs 9/14/04 12:12 PM Page 3 ARTS & HUMANITIES \ Through the Eras Medieval Europe 814–1450 Kristen Mossler Figg and John Block Friedman, Editors 69742_AHTE_MEfm_iv-xxx.qxd 9/21/04 1:49 PM Page iv Arts and Humanities Through The Eras: Medieval Europe (814–1450) Kristen Mossler Figg and John Block Friedman Project Editor Indexing Services Product Design Rebecca Parks Barbara Koch Michelle DiMercurio Editorial Imaging and Multimedia Composition and Electronic Prepress Danielle Behr, Pamela A. Dear, Rachel J. Randy Bassett, Mary K. Grimes, Lezlie Light, Evi Seoud Kain, Ralph G. Zerbonia Mike Logusz, Kelly A. Quin Manufacturing Editorial Support Services Rights and Acquisitions Wendy Blurton Mark Springer Margaret Chamberlain, Shalice Shah-Caldwell © 2005 Thomson Gale, a part of the This publication is a creative work fully Cover photographs by permission of Corbis Thomson Corporation. protected by all applicable copyright laws, as (seated statue of Pharaoh Djoser) and well as by misappropriation, trade secret, AP/Wide World Photos (“The Creation of Thomson and Star Logo are trademarks and unfair competition, and other applicable laws. Adam and Eve” detail by Orvieto). Gale is a registered trademark used herein The authors and editors of this work have under license. added value to the underlying factual Since this page cannot legibly accommo- material herein through one or more of the date all copyright notices, the acknowledge- For more information, contact following: unique and original selection, ments constitute an extension of the Thomson Gale coordination, expression, arrangement, and copyright notice. -
Cultural and Linguistic Issues of Sitcom Dubbing: an Analysis of "Friends"
CULTURAL AND LINGUISTIC ISSUES OF SITCOM DUBBING: AN ANALYSIS OF "FRIENDS" Tanja Vierrether A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2017 Committee: Kristie Foell, Advisor Geoffrey Howes © 2017 Tanja Vierrether All Rights Reserved iii ABSTRACT Kristie Foell, Advisor In this thesis, I analyze the different obstacles of audiovisual translation, in particular those of dubbing, by reference to the German dubbing of the American Sitcom Friends. One of the main reasons why audiovisual translation is so complex is that it requires interdisciplinary knowledge. Being fluent in the source and target language is not enough anymore, Translation Studies must open up to Communication Studies, Media and Film Studies, Cultural Studies, as well as to Semiotics, Sociology, Anthropology” (Gambier and Gottlieb xii), and possibly other disciplines, in order to provide a sufficient translation that does not lose the entertaining value of the source text, within the new environment of the target language. The following analysis investigates the balance between translating cultural and linguistic aspects, and their effects on humor retention in the target text. Therefore, the first part of this thesis provides an overview of translation theory, and in particular humor translation, and translation of culture-bound references. In the next part, I analyze a selection of dubbing examples from the fourth season of Friends, divided into intra-linguistic culture-bound references and extra-linguistic culture-bound references. After comparing those results, my final claim is that giving precedence to the translation of stylistic devices over cultural references, often results in loss of humor, context, and sometimes even sense. -
Contents of the Southwell and Nottingham Guild of Church Bellringers Library
Contents Of The Southwell And Nottingham Guild Of Church Bellringers Library BELLRINGING BOOKS / BELL MUSIC AND OTHER RINGING MEMORABILIA All of this collection is in the ownership of The Southwell and Nottingham Guild of Church Bell Ringers It is located at Saddlers Cottage, Farm Lane, East Markham, NG22 0QH Note: Errors may have been inserted but every effort has been made to be correct. Last Update 18th January 2021 1 CONTENTSU OF THIS LIST ITEMS IN PAPER FORMAT – BOOKS AND LEAFLETS CENTRAL COUNCIL PUBLICATIONS 3 A.R.T. - ASSOCIATION OF RINGING TEACHERS 9 JASPER SNOWDON CHANGE RINGING SERIES 10 SHERBOURNE TEACHING AIDS 11 GENERAL BOOKS ON BELLS 12 LEAFLETS AND/OR ARTICLES FROM BOOKS 19 CHURCH GUIDES, CHURCH BOOKS AND PARISH MAGAZINES 21 RELIGEOUS BOOKS AND NON BELLRINGING 23 NEWSPAPER ARTICLES 24 VARIOUS GUILD AND ASSOCIATION BOOKS 25 DEDICATION OF BELLS SERVICE SHEETS 33 RINGER’S FUNERAL SERVICE SHEETS 33 ITEMS OF NON-BOOK FORMAT GRAMAPHONE RECORDS 8 INCH RECORDS 33 10 INCH 78’s 34 12 INCH 78’s 35 7 INCH 45’s AND 33’s 36 7 INCH BBC SOUND EFFECTS CHURCH BELLS 38 7 INCH BBC SOUND EFFECTS CLOCK BELLS 40 10 INCH 33 1/3rpm RECORDS 42 12 INCH 33 1/3rpm CHURCH BELLS 43 HANDBELLS 44 CARILLON CHURCH BELLS 51 SCHULMERICH ELECTRONIC CARILLON BELLS 54 OTHER VARIOUS TYPES OF BELLS 56 NON RINGING RELIGON 58 COMPACT DISCS BELLS VARIOUS AND COPY OF RECORDS 59 DOCUMENTS – MS WORD AND OTHER FORMATS 69 BOOKS IN PDF FORMAT 70 VHS PAL VIDEO 75 DVD’S 75 CASSETTE TAPES 76 PROJECTOR SLIDES AND LANTERN SLIDES 76 COMPUTER PROGRAMS 77 BELLRINGING MEMORABILIA 78 LIST OF BRITISH TOWER BELLS ON RECORDINGS 81 LIST OF FOREGN BELLS ON RECORDINGS 82 LIST OF HANDBELL TEAMS ON RECORDINGS 84 LIST OF CHURCH BELL CARILLONS ON RECORDINGS 89 LIST OF ELECTRONIC CARILLON BELLS ON RECORDINGS 91 Note: The Whitechepel Foundary closed down in 2018 The Library can be used by all ringers and must be authorised by the Guild Librarian in the first instance. -
MARCH, 2008 St. Ann's Roman Catholic Church Nyack, New York Cover Feature on Pages 34–35
THE DIAPASON MARCH, 2008 St. Ann’s Roman Catholic Church Nyack, New York Cover feature on pages 34–35 Mar 08 Cover.indd 1 2/11/08 10:19:43 AM WWW.TOWERHILL-RECORDINGS.COM LATEST RELEASE NORTH AMERICAN Christopher Houlihan SOURCE FOR CDS BY Louis Vierne, Second Symphony for Organ ensemble amarcord also includes Vierne: Carillon de Westminster Widor: Allegro from Sixth Symphony in G minor, op. 42, no. 2 Andante sostenuto from Gothic Symphony in c minor, op. 70 And so it goes Rel#: RK ap 10102 Introducing Christopher Houlihan, a young American organist on his way to becoming an important talent who will make a significant contribution to the organ performance scene in this Rel#: TH-72018 The Book of Madrigals country. Rel#: RK ap 10106 ORGAN CDS FROM TOWERHILL French Symphonic Organ Works Stewart Wayne Foster Pierre de la Rue - Incessament at First (Scots) Presbyterian Church Rel#: RK ap 10105 Charleston, South Carolina Rel#: TH-71988 The French Romantics John Rose at Cathedral of St. Joseph Hartford, Connecticut Rel#: TH-900101 Nun Komm der Heiden Heiland Rel#: RK ap 10205 Festive and Fun Stephen Z. Cook at Williamsburg Presbyterian Church Williamsburg, Virginia Rel#: TH-72012 Star Wars John Rose In Adventu Domini at Cathedral of St. Joseph Rel#: RK ap 10101 Hartford, Connecticut Rel#: TH-1008 also available: This Son So Young Hear the Voice Rel#: apc 10201 John Rose, Organ Liesl Odenweller, Soprano Primavera Rebecca Flannery, Harp Bach, Grieg, Elgar, Poulenc et al. Rel#: TH-71986 Rel#: AMP 5114-2 WWW.TOWERHILL-RECORDINGS.COM For those who may not be aware of the some justifi able pride on the church’s source, this fl owery description is ex- website (www.fi shchurch.org), which THE DIAPASON cerpted from a much longer article that however makes no mention of what went A Scranton Gillette Publication Dr.