Bedales Association and Old Bedalian Newsletter, 2018
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The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument
Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2016 The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument Victoria A. Hargrove Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Hargrove, Victoria A., "The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument" (2016). Theses and Dissertations. 236. https://csuepress.columbusstate.edu/theses_dissertations/236 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT Victoria A. Hargrove COLUMBUS STATE UNIVERSITY THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT A THESIS SUBMITTED TO HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE HONORS IN THE DEGREE OF BACHELOR OF MUSIC SCHWOB SCHOOL OF MUSIC COLLEGE OF THE ARTS BY VICTORIA A. HARGROVE THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT By Victoria A. Hargrove A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF MUSIC PERFORMANCE COLLEGE OF THE ARTS Thesis Advisor Date ^ It, Committee Member U/oCWV arcJc\jL uu? t Date Dr. Susan Tomkiewicz A Honors College Dean ABSTRACT The purpose of this lecture recital was to reflect upon the rapid mechanical progression of the clarinet, a fairly new instrument to the musical world and how these quick changes effected the way composers were writing music for the instrument. -
Board Members Declarations of Interests for 2019-20
BETSI CADWALADR UNIVERSITY HEALTH BOARD - BOARD MEMBERS DECLARATIONS OF INTERESTS FOR 2019-20 Name Details of positions held during the Decla Details of interest declared financial year ratio n Directors/Executive Directors Mr G Doherty Chief Executive G Spouse is employed by Health Education England. Mr S Dean Interim Chief Executive G Seconded civil servant employed by Welsh Government. Mr A Thomas Executive Director of Therapies and G Spouse is employed by Boots UK as an Health Sciences Accuracy Checking Technician. Mrs L Acting Associate Board Member A Spouse is the owner of Gwynedd Forklifts and Singleton Director of Mental Health and Learning GFL Access. Disabilities Independent Board Members Mr M Polin Chair G Spouse is employed by the Health Board. OBE QPM Mrs M W Independent Member and Vice Chair F, G Chair of Council, Bangor University. Jones Vice Chair of Arts Council Wales. Trustee of Kyffin Williams Trust. Trustee of Canolfan Gerdd William Mathias. Mrs L Reid Independent Member and Vice Chair C Committee Chair for the Primary Care (01.12.19 - 31.03.20) Appeals Service of NHS Resolution. Magistrate for the North Wales Criminal Bench Director of Anakrisis Ltd which provides specialist training and advisory services to NHS England, NHS Improvement and the Care Quality Commission Cllr C Carlisle Independent Member F, G County Councillor, Conwy Council. Deputy Chair, Clwyd West Conservatives. School Governor, Ysgol Bryn Elian. Member of the Conwy and Denbighshire Adoption Panel Mr J Cuncliffe Independent Member F, G Director of Abernet Ltd. Member of the Joint Audit Committee, North Wales Police and Crime Commissioner. -
DANCING DAY MUSIC FORCHRISTMAS FIFTH AVENUE,NEWYORK JOHN SCOTT CONDUCTOR Matthew Martin (B
DANCING DAY MUSIC FOR CHRISTMAS SAINT THOMAS CHOIR OF MEN & BOYS, FIFTH AVENUE, NEW YORK JOHN SCOTT CONDUCTOR RES10158 Matthew Martin (b. 1976) John Rutter (b. 1945) Dancing Day 1. Novo profusi gaudio [3:36] Dancing Day Part 1 Music for Christmas Patrick Hadley (1899-1973) 17. Prelude [3:35] 2. I sing of a maiden [2:55] 18. Angelus ad virginem [1:55] 19. A virgin most pure [5:04] Benjamin Britten (1913-1976) 20. Personent hodie [1:57] A Ceremony of Carols, Op. 28 Part 2 Saint Thomas Choir of Men & Boys, Fifth Avenue, New York 3. Procession [1:32] 21. Interlude [4:05] 4. Wolcum Yole! [1:24] 22. There is no rose [1:53] 3-15 & 17-24 5. There is no Rose [2:26] 23. Coventry Carol [3:54] Sara Cutler harp [1:46] 1 & 16 6. That yonge child 24. Tomorrow shall be my Stephen Buzard organ 7. Balulalow [1:21] dancing day [3:03] Benjamin Sheen organ 2 & 25-26 8. As dew in Aprille [1:02] 9. This little babe [1:30] Traditional English 10. Interlude [3:32] arr. Philip Ledger (1937-2012) John Scott conductor 11. In Freezing Winter Night [3:50] 25. On Christmas Night [2:00] 12. Spring Carol [1:14] (Sussex Carol) 13. Adam lay i-bounden [1:12] 14. Recession [1:37] William Mathias (1934-1992) [1:41] 26. Wassail Carol Benjamin Britten 15. A New Year Carol [2:19] Total playing time [63:58] Traditional Dutch arr. John Scott (b. 1956) About the Saint Thomas Choir of Men & Boys: 16. -
Heralding a New Enlightenment
Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners. -
Submitted to the Faculty of the Jacobs School of Music in Partial Fulfillment of the Requirements for the Degree, Doctor of Music, Indiana University December, 2015
A HANDBOOK FOR INTRODUCING UNDERGRADUATES TO THE ORGAN AND ITS LITERATURE BY PATRICK EUGENE POPE Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2015 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Katherine Strand, Research Director __________________________________ Christopher Young, Chairperson __________________________________ Mary Ann Hart __________________________________ Marilyn Keiser September 17, 2015 ii Copyright © 2015 Patrick E. Pope iii ACKNOWLEDGEMENTS The writer wishes to acknowledge his organ teachers and professors, whose instruction led to a discerned need for this handbook and its creation: Donnie Beddingfield (1994-1998); William Bates (1998-2002); Marilyn Keiser (2002-2004); Todd Wilson (2008- 2009); and Christopher Young (2009-present). Their love and passion for teaching, performing, and researching has kindled the writer’s interest in the organ, its music, and its literature. The writer is a better musician because of their wisdom and encouragement. The writer wishes to thank the Reverend Kevin Brown, rector, and the parish of Holy Comforter Episcopal Church, Charlotte, North Carolina for their encouragement during the final stages of the doctoral degree. The writer wishes to thank the members of his doctoral research committee and other faculty for their guidance and professional support: Katherine Strand, research director; Christopher Young, chairperson; Janette Fishell; Marilyn Keiser; Mary Ann Hart; and Bruce Neswick. In particular, the writer is grateful to Professor Young for his insightful and energizing classroom teaching in a four-semester organ literature survey at Indiana University, in which the writer was privileged to take part during master’s and doctoral coursework. -
Ensino Individualizado E Escolas De Área Aberta Em Portugal 13
Universidade de Aveiro Departamento de Ciências da Educação 2007 Maria de Lurdes Ensino individualizado e Carvalho Figueiredo escolas de área aberta em Portugal Silva Universidade de Aveiro Departamento de Ciências da Educação 2007 Maria de Lurdes Ensino individualizado e Carvalho Figueiredo escolas de área aberta em Portugal Silva Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências da Educação na área de especialização de Formação Pessoal e Social, realizada sob a orientação científica do Dr. Carlos Meireles Coelho, professor associado do Departamento de Ciências da Educação da Universidade de Aveiro o júri presidente Prof. Dr. Luís de Jesus Ventura de Pinho professor associado da Universidade de Aveiro Prof. Dr. Carlos Alberto Pereira de Meireles Coelho professor associado da Universidade de Aveiro Prof. Dr. José Augusto Branco Palhares professor auxiliar da Universidade do Minho Prof. Dra. Irene da Purificação Gonçalves professora coordenadora da Escola Superior de Educação de Coimbra Ao meu pai e à memória de minha mãe pelo exemplo de força de vida. Ao meu marido Bruno, o meu grande companheiro. Ao meu filho Tiaguinho, um amor incondicional. Aos meus alunos. agradecimentos Ao meu orientador, Prof. Dr. Carlos Meireles Coelho, pela sua amizade, disponibilidade e contributo fundamental, mas também pelo seu exemplo da prática da individualização, assente na dignidade de cada pessoa humana. A todos os professores e colaboradores deste mestrado, pela dedicação e apoio, em particular aos Professores António Vítor Carvalho e Manuel Ferreira Rodrigues. Às Dras. Maria Helena Mendes e Filomena Beja e à Arquitecta Júlia Serra pela amabilidade, disponibilidade, ajuda e testemunho, bem como pelos materiais gentilmente cedidos, que se revelaram essenciais à realização deste trabalho. -
Book-14 Web-Lmsx.Pdf
SHOTGUN JIMMIE – TRANSISTOR SISTER 2 LABEL: YOU’VE CHANGED RECORDS CATALOG: YC-039 FORMAT: LP/CD RELEASE DATE: AUGUST 2, 2019 Are you ready for the new sincerity?! Shotgun Jimmie’s new album Transistor Sister 2 is full of genuine pop gems that champion truth and love. Jimmie is joined by long- time collaborators Ryan Peters (Ladyhawk) and Jason Baird (DoMakeSayThink) for this sequel to the Polaris Prize nominated album Transistor Sister from 2011. José Contreras (By Divine Right) produced and recorded the record in Toronto, Ontario at The Chat Chateaux and joins the band on keys. In characteristic Shotgun Jimmie fashion, the songs on Transistor Sister 2 focus largely on family and friends with a heavy dose of nostalgia. Jimmie’s hyperbolic takes on the everyday reconstruct familiar scenarios, from traffic on the 401 (the beloved and scorned mega- highway through Toronto known to all touring musicians Blues Riffs as the place where punctual arrival at soundcheck goes Tumbleweed to die) to cooking dinner. Hot Pots Ablutions The album’s lead single Cool All the Time is a plea for Fountain people to abandon ego and strive for authenticity, Suddenly Submarine featuring contributions by Chad VanGaalen, Steven Piano (with band) Lambke and Cole Woods. The New Sincerity serves as The New Sincerity the album’s manifesto; it renounces cynicism and Cool All The Time promotes positivity. Sappy Slogans Highway 401 Jack Pine Sorry We’re Closed Shotgun Jimmie: IG: @shotgunjimmie FB: @shotgunjimmie Twitter: @jimmieshotgun You’ve Changed Records: www.youvechangedrecords.com CD – CD-YC-039 LP with download – LP-YC-039 Twitter: @youvechangedrec IG: @youvechangedrecords FB: @youvechangedrecords Also available from You’ve Changed Records: Partner – Saturday The 14th (YC-038) 12”EP/CD You’ve Changed Records Steven Lambke – Dark Blue (YC-037) LP 123 Pauline Ave. -
What's Wrong with the Duluth Model? Bert H
What's Wrong with the Duluth Model? Bert H. Hoff Batterer treatment programs around the world are adopting the "Duluth model," perhaps the most widespread of the male-patriarchy batterers' programs, with trainings in hundreds of cities across the country and a recent series of Marine Corps contracts. It promotes a gender- polarizing view that battering is a conscious strategy by men to assert male dominance over women. What is the Duluth Model? It was created by the Duluth, Minnesota Domestic Abuse Intervention Project. It's described in detail in Pence, E., and Paymer, M. Education Groups For Men Who Batter: The Duluth Model. The "Power and Control Wheel," central to the model, "depicts the primary abusive behaviors experienced by women living with men who batter." [emphasis added] There's no doubt that it reflects a feminist ideology of male oppression of women. What's wrong with it? Here's what experts have to say: • It's about blaming and shaming men, more than giving them the insights and support to help them stop their abusive behavior. The Duluth Model preaches that men who batter don't have a personal problem, but are simply reflecting "a culture that teaches men to dominate." John Everingham, co-author of Men Healing Shame and a professor at the University of Illinois at Chicago, calls this "shame of male for being male." But shaming is a cause of rage, not a cure for it. Is wife-beating an accepted cultural norm? Think about it: do you know any man who thinks that beating your wife is "normal" or "OK"? Psychologist Donald G. -
Personal Histories of the Second Wave of Feminism
Personal Histories of the Second Wave of Feminism summarised from interviews by Viv Honeybourne and Ilona Singer Volumes One and Two 1 Feminist Archive Oral History Project Foreword by the Oral History Project Workers Ilona Singer and Viv Honeybourne The Oral History Project has been a fantastic opportunity to explore feminist activism from the 1970's onwards from the unique perspectives of women who were involved. We each conducted ten in depth qualitative interviews which were recorded (the minidisks will be kept at the archive as vital pieces of history themselves) and written up as an oral history. We used the open-ended questions (listed as an appendix), so as to let the women speak for themselves and not to pre-suppose any particular type of answer. We tried to involve our interviewees as much as possible in every stage of the research process. Many interviewees chose to review and amend the final write-ups and we were happy to let them do this so that they could have control over how they wished to be represented. The use of a snowball sampling method and the fact that our interviewees were willing volunteers means that these histories (herstories) are not meant to be representative in a strictly scientific sense. Some women were more publicly active in the period than others, but all our of interviewees had important stories to tell and vital reflections on the period. The oral histories have been included in alphabetical order. They are of differing lengths because some women spoke for longer than others and we felt that to strive excessively to limit their words would be imposing an artificial limit on their account of their own lives . -
Violent Femmes of Monsters and Men Billy Branch & The
THOM YORKE NF SPOON BILLY BRANCH & THE SONS OF BLUES VIOLENT FEMMES ANIMA THE SEARCH EVERYTHING HITS AT ONCE: THE BEST OF SPOON ROOTS AND BRANCHES HOTEL LAST RESORT XL CCMG MATADOR ALLIGATOR RECORDS PIAS AMERICA Radiohead frontman Thom Yorke follows up his Chart-topping Michigan rapper, singer, and songwriter Like Neil Young, Spoon have created an impressive As heir apparent to the Chicago blues harmonica Violent Femmes’ tenth studio album, Hotel Last 2018 score to Suspiria with his third full-length solo NF returns with his fourth studio album, The Search. catalog of songs out of deceptively simple bag of throne, Billy Branch is perfectly suited to shine a Resort resides among the groundbreaking band’s effort, Anima. Produced by longtime collaborator Powerful lead single – and title track – gives fans plenty tricks. It’s a language of its own – but one that never bright new light on the timeless music of Little Walter finest work, simultaneously refining and redefining Nigel Godrich, Yorke notes that Anima was inspired to unpack as NF lays bare his psyche, shining light seems to run out of melodies, hooks, and unexpected – a transcendent artist revered by millions and an their one-of-a-kind take on American music, mingling by dystopia, anxiety, and reaching a crisis point in our on some his darkest corners while mapping out the blasts of amp magic (Britt Daniel and Jim Eno’s inspiration to every harmonica player who followed in front porch folk, post punk, spiritual jazz, country social system. “If you suffer from anxiety it manifests ambitious quest that lies ahead. -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
The Essential Guide ~ an Introduction to Advocating for Survivors of Family
Table of Contents Introduction: History of the Battered Women’s Movement .......................................................................... 3 Chapter 1: Dynamics of Family Violence ........................................................................................................ 9 Chapter 2: Basics to Providing Advocacy ...................................................................................................... 14 Chapter 3: Navigating the Legal System and Legal Options for Survivors .................................................... 24 Chapter 4: Economic Options for Survivors .................................................................................................. 35 Chapter 5: Housing Advocacy ....................................................................................................................... 43 Chapter 6: Crime Victims’ Compensation Benefits ....................................................................................... 51 Chapter 7: Connecting Survivors to Community Resources ......................................................................... 55 Chapter 8: Coordination of Community Response (CCR) to Family Violence ............................................... 58 Chapter 9: Battering Intervention & Prevention Programs (BIPP) ............................................................... 61 Chapter 10: Doing the Work ......................................................................................................................... 63 Additional Resources