Notes from the Music Staff April 2012
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Au Ro Rjnqh O Ru a Chrysalis ®Iilcwwis Choirsj CONCORD COMMUNITY of CHOIRS
CONCORD COMMUNITY OF CHOIRS PRESENTS k6Rare eason - .cc-r-H>p;5";^--„l=C.'^^£! .-.flxe comes again.' cow Winter Au Ro RjnQh o Ru a ChRysalis ®iilcwWis ChoiRsj CONCORD COMMUNITY OF CHOIRS (UdcoTTic to OUR Communltg by Anne Rutherford, Council President Our Mission CONCORD To produce quality choral elebrations of the winter season take as many forms music as an instrument COMMUNITY of peace for our audience as the human beings who come together to celebrate. and ourselves, through Many of our cultures have developed traditions of a community of choirs. C ^HOIRS Our goal is to instill gathering to reverence light during the year's darkest time. concord and an awareness A consortium of choirs dedicated of one world in an ever- Aurora and Chrysahs, as well as all of the choruses that make to affirming peace through music. expanding audience. up our Concord Community of Choirs, are enriched by diversity. The image of America as a "melting pot" is challenged by the Concord Choir realization that no heritage is treated justly by being reduced to Peace through Music the lowest common denominator of homogeneity. Yet we yearn DAVID YORK, DIRECTOR for an identity we can share as people of the same nation. We Semi-professional chamber ensemble. CONCORD long for a cord that will unite but not strangle us! CHOIR Members are auditioned every spring. In the Concord Community of Choirs, one of our common "chords" is a behef in the power of voice. During this concert you'll hear the energy of voices raised collectively, and the beauty of a voice raised alone. -
APRIL 29, 2005 Political Leaders Speak at Martinsville Campus PC VIRUS RAVAGES Politics
THE NATION'S OLDEST NOW ON THE WEB! COUNTRY DAY SCHOOL http://record.pingry.org NEWSPAPER VOLUME CXXXI, NUMBER 4 The Pingry School, Martinsville, New Jersey APRIL 29, 2005 Political Leaders Speak at Martinsville Campus PC VIRUS RAVAGES politics. Max Cooper (V) asked both parties. By CAROLINE SAVELLO (VI) know why you want to get into of his visits are to the districtʼs the former governor what it was Despite her conservative po- politics. Understand the issues public schools. In fact, Rep. Frel- SCHOOL COMPUTERS with like to be interviewed by Ali G, litical leanings, Ms. Whitmanʼs DARINA SHTRAKHMAN (III) that you care about and find inghuysen says he visits about 90 a satirical character created by message of forward-thinking out about local campaigns. Get schools in the area each year, in It has hardly been “politics comedian Sacha Cohen Brown. politics and the countryʼs future to know people; let them get to addition to local universities such OVER SPRING BREAK as usual” at Pingry over the past According to the showʼs official appealed to the common political know you. Make sure youʼre part as Fairleigh-Dickinson, Drew, month. A succession of national website, Ms. Whitman chatted ground among students rather of the discussion.” and Rutgers. By MELISSA LOEWINGER (IV) with Brown about “solar energy than their partisan interests. Ms. Congressman Rodney Frel- politicians and guest lecturers has The 20 seniors enrolled in the The W32.Mytob@mm vi- Whitman said that her new book, inghuysen, the Republican rep- brought citizen action and public AP Government class discussed rus entered and infected the policy issues to the forefront of “Itʼs My Party, Too: The Battle resentative of the 11th District of government and public policy for the Heart of the GOP and the schoolʼs entire computer sys- assemblies and classes. -
The Modern Tuba: the Evolution of the Instrument, Key Compositions and Extended Techniques
The Modern Tuba: The Evolution of the Instrument, Key Compositions and Extended Techniques Nimrod Haim Ron 1 Listaháskóli Íslands Tónlistardeild Hljóðfæraleikur The Modern Tuba: The Evolution of the Instrument, Key Compositions and Extended Techniques Nimrod Haim Ron Leiðbeinandi: Áskell Másson 2014 2 Abstract The primary goal of this paper is to study the use of the tuba in contemporary music through the history of its repertoire, the evolution of the instrument, and to explore the extended techniques specific to the tuba. In the process of choosing a piece to perform one should ask them how, why, and when it was written. This paper will focus on the historical evolution of the tuba from the Serpent to the Ophicleide concluding with the transition from to the bass tuba. 3 Table of contents The History of the Tuba: Predecessors ....................................................................................... 5 Serpent ........................................................................................................................................ 5 Ophicleide ................................................................................................................................... 7 Bass Tuba .................................................................................................................................... 8 Wagner Tuba ............................................................................................................................. 10 Composers who wrote for the Tuba ......................................................................................... -
©2018 Jenna R. Brager ALL RIGHTS RESERVED
©2018 Jenna R. Brager ALL RIGHTS RESERVED BODIES OF EVIDENCE: THE IMAGE, THE FLESH, AND THE MODERN CRISIS OF THE HUMAN by JENNA R. BRAGER A dissertation submitted to the School of Graduate Studies Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Women’s & Gender Studies Written under the direction of Judith Gerson And approved by New Brunswick, New Jersey MAY, 2018 ABSTRACT OF THE DISSERTATION Bodies of Evidence: The Image, the Flesh, and the Modern Crisis of the Human By JENNA R. BRAGER Dissertation Director: Judith Gerson Bodies of Evidence is a study of the transnational optics of anti-blackness across German and U.S. settler colonial projects, with a particular attention to the afterlives of visual discourses in present-day politics and memory. This dissertation analyzes case studies from the U.S., Germany, and German South West Africa, what is present-day Namibia, to track the trace of settler colonial and racial ideologies across seemingly discrete and ruptural violences. Rather than continue to treat these histories and archives as distinct or hierarchical instances of violence, I argue for the importance of interpreting them as part of a broader, uninterrupted narrative. Bodies of Evidence adopts a transnational scope that places settler colonial violence—including the Herero and Nama genocide in German South West Africa—alongside European genocide, framing these events as part of the same ideological and scopic regime. My interdisciplinary analysis builds upon critical race theory, critical visual studies, postcolonial and Black feminist scholarship, museum studies, biological anthropology, among other interdisciplinary and theoretical threads. -
The Concordiensis, Volume 35, No 14
Union College Union | Digital Works The Concordiensis 1912 The Concordiensis 1910-1919 2-21-1912 The Concordiensis, Volume 35, No 14 Henry A. Schermerhorn Union College - Schenectady, NY Follow this and additional works at: https://digitalworks.union.edu/concordiensis_1912 Recommended Citation Schermerhorn, Henry A., "The Concordiensis, Volume 35, No 14" (1912). The Concordiensis 1912. 5. https://digitalworks.union.edu/concordiensis_1912/5 This Book is brought to you for free and open access by the The Concordiensis 1910-1919 at Union | Digital Works. It has been accepted for inclusion in The Concordiensis 1912 by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. =iiJ~ 'IIFI'F~========;fl~++++ajJJ~. ·A· P '~ : • . &JI F . ww. ilJ . ' .' .rn := . !!J [\![!:w=· ~==· ==~JJJ Q m =: :t±q gg;g;;;::;g; ." !!l l!!!=-c:==:::====:==:$::=-!!!w;;:!!!:d!l - . ·' VOL. 35~ FEBRUARY 21~ 1912~ No.. 14 F =m 6f il fiF? = -• Iii LF . - iiJ liF ::;a [!::::: : : zi!l l!!:: · :· _· :: :: :m t!2s : :: :!7~ m::::= === ==M L:: a . *=e-d •' ~ i I ·~ 8 ~- ~g ll ~~- ~••• -~~- -~~· ~~-,":_ ~~- I ~-,, ~--- '"•'II•• ·.1 ''•' .... , .... , •' ·., •' ...... ''•' . I I. ·- I . I .I ·I t ~· 8 8 0 0 ~ -~ 0 0 0 0 0 () 0 0 0 0 ~ \1 ~ 0 0 --~-~ ~ .. , .. - ,..,. ... '1"_,,. _...."" .. ,... ...................... __~~---------- .... _.."'"---------..-----.....__..._ __ ......._.. __--,.~--.- .... -------------..- 'fHE CONCORDIENSIS ==~~==================~~==~=====================· =··==~==~~~.:::..__.., RESERVED The best light to read T'HALMAN'.S by or study by is the Cakes, Pastries mellow, steady light of · and Ice Cr-eam the modern gas burner (90 C. P. 2/5 of a cent per hour). One burner UNlO STUDENT~ on fixture or table lamp are invited to open a cl1eck will serve a w h o 1e account with us. -
Dulcie Taylor Amy Mantis & the Space Between Asa Brebner
•Our 35th Year Proudly Promoting All Things Music• FREE! December 2020 Asa Brebner Tribute Elvin Bishop Dulcie Taylor Amy Mantis & The Space Between Reboot: Elvin Bishop - November 2005 In the business of music, you’d be hard who played blues in Oklahoma. It was pretty Pepper Shakers. As I got a little better, I was able at that time so we gravitated right for each other. pressed to find a more down-to-earth guy than hard getting started. I had those little pawn shop to get gigs with people like JT Brown. He was kind METRONOME: What year did you go solo? Elvin Bishop. Since the age of eighteen, he’s been guitars with the strings two inches off the neck. of a known saxophone player around Chicago. Late sixties maybe. I’m not good with dates. quietly storing away stories and tales of a career It’s a tribute to human persistence that I stuck Hound Dog Taylor... you’ve probably heard of METRONOME: Was it The Elvin Bishop Band? filled with larger-than-life events. From playing with it at all. him. Junior Wells gave me a few gigs. He was nice Yeah. with great Chicago bluesmen like Muddy Waters, METRONOME: What was your first pro gig? enough to. Then I got with Butterfield. METRONOME: What was the name of your Lightnin’ Hopkins and Albert Collins to jamming Before I got with [Paul] Butterfield, I played with METRONOME: How did you meet Paul? first record? with Jimi Hendrix, Elvin Bishop has done it all some little bands. -
Soul Music in American Culture
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra anglistiky a amerikanistiky Hynek Hanzlík Soul music in American culture Bakalářská práce Vedoucí práce: Mgr. Jiří Flajšar, Ph.D. Olomouc 2014 Prohlašuji, že jsem tuto bakalářskou práci vypracoval samostatně a uvedl jsem všechny použité podklady a literaturu. V Přerově dne 5. 5. 2014 …............................... Hynek Hanzlík Rád bych poděkoval Mgr. Jiřímu Flajšarovi, Ph.D. za vedení mé bakalářské práce a za poskytnutí informací a rad souvisejících s její tvorbou. Content 1 Introduction ................................................................................................................. 1 2 What is soul ................................................................................................................. 2 3 Development of soul music ......................................................................................... 5 3.1 Early developments ....................................................................................... 6 3.2 Sam Cooke's crossover .................................................................................. 8 3.3 From soul to funk .......................................................................................... 9 4 Black American society at the birth of soul ................................................................ 11 4.1 The Civil Rights Movement ........................................................................ 11 4.2 Soul music and the civil rights movement ................................................. -
A Guide to Band Instruments Picking the Right Instrument for Your Student Is a Big Decision
A Guide to Band Instruments Picking the right instrument for your student is a big decision. Use the descriptions below in If you’ve never played an instrument before, you should choosing your top 3 instrument choices! pick an instrument from this side Flute: One of the highest sounding instruments in the band. Very small, and can often fit into a student’s backpack! Despite its size, the flute takes as much air to play as the tuba. Clarinet: Sometimes called the violin of the band. Also very easy to carry! Clarinet players need to be aware that they will need to purchase a supply of reeds. We can never have too many clarinets in the band! Clarinetists can easily switch to saxophone and bass clarinet once they have played clarinet for a year. Alto Saxophone: a higher sounding instrument in the band. They play some melody and some harmony in the band. Alto sax cases are about the size of a trumpet case. Please remember all saxes will need to buy a supply of reeds. Trumpet: The highest sounding brass instrument. The sound is made by the students buzzing their lips in the mouthpiece. Trumpet players can switch to the French Horn later on in band. Trombone: a low brass instrument and easily carried home for practice! It might be the coolest instrument in the band, being the only one that changes notes using a slide! Students begin by learning bells and music reading Percussion: , and later learn snare drum, bass drum, timpani, cymbals, and many other percussion instruments. -
Choosing the Best Band Instrument for You FLUTE
Choosing the Best Band Instrument for You There are may factors to consider in choosing an appropriate instrument to play in the Elementary Band Program. The following information is designed as a guide to help your child make a smarter choice. Each section below explains the different instruments in the band program. Both the positive aspects of each instrument, and those aspects that might make the instrument more of a challenge for your child are presented. In the end, your child should choose the instrument that sound best pleases them. Students are more likely to practice if they enjoy the sound of the instrument they choose. FLUTE Physical Consideration: The flute requires all 10 fingers to work independently, while being held off to the side. It can be difficult to make a sound at first. It takes some coordination and lots of practice. Students must use lots of air to make a sound, and therefore it may not be appropriate for students with asthma or upper respiratory difficulties. Students often experience difficulties in the when first learning to play the flute until they become accustomed to using enough air support. Sound Quality: The flute is a woodwind instrument. It has a soft, delicate sound. It plays the highest notes in the band and often plays the melody. At first, it may sound “airy” until the student learns to control their lips. Other Considerations: The flute is the smallest band instrument which makes it easy to carry. The case does not have room for the lesson book, so students must have a separate bag for that. -
The Brass Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Brass Family 1 Table of Contents PART 1: Let’s Meet the Brass Family ................................. 3 PART 2: Let’s Listen to Sonata for Horn, Trumpet and Trombone ......................................................... 6 PART 3: Music Learning Lab ................................................ 9 2 PART 1: Let’s Meet the Brass Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the brass family! Brass instruments have been around since ancient times. Horns have been pictured on the walls of primitive dwellings and Egyptian tombs, and described on crumbling scrolls and clay tablets. They have been made of bone, cane, an animal’s horn, and metal. Brass instruments have played important roles throughout history from communicating messages over long distances, to announcing the arrival of dignitaries and royalty, to war, hunting, and celebrations. The members of the brass family – from highest to lowest in the pitches that they are able to produce – are: Trumpet French Horn Trombone Tuba 3 How brass instruments work Brass instruments have a metal mouthpiece. A player puts her lips together and buzzes air through them into the metal mouthpiece. This starts the air vibrating through the hollow metal tube, which comes out of the “bell” at the far end of the tubing. The more metal tubing there is and the larger the bell, the lower the sound - just like in the other instrument families in which the larger instruments produce the lowest sounds! Have you ever tried buzzing your lips? Close your mouth with your lips loosely touching. -
The New York Times Magazine – 14 March 2021
THE SONGS, SOUNDS THE MUSIC ISSUE THE MUSIC ISSUE AND SINGERS THAT GOT THE MUSIC ISSUE US THROUGH A THE MUSIC ISSUE YEAR OF ISOLATION. MARCH 14, 2021 MARCH 14, 2021 MARCH 14, 2021 MARCH 14, 2021 MARCH 14, 2021 MARCH 14, 2021 MARCH 14 2021 THE MUSIC ISSUE #1 ‘QUIÉN ME LA PAGA,’ LA DOÑA BY CARINA DEL VALLE SCHORSKE • PAGE 14 #2 ‘CARDIGAN,’ TAYLOR SWIFT BY STEVEN HYDEN • PAGE 17 #3 ‘HARD TO FORGET,’ SAM HUNT BY JAMIE LAUREN KEILES • PAGE 18 THE NOISE MADE BY PEOPLE BY MIKE POWELL • PAGE 19 #4 ‘KYOTO,’ PHOEBE BRIDGERS INTERVIEW BY DAVID MARCHESE • PAGE 20 #5 ‘WAP,’ CARDI B (FEAT. MEGAN THEE STALLION) BY JENNA WORTHAM • PAGE 24 SHOWSTOPPER BY DESSA • PAGE 25 #6 ‘BODIES (INTRO),’ JAZMINE SULLIVAN BY NIELA ORR • PAGE 26 #7 ‘SLEEPING ON MY DREAMS,’ JACOB COLLIER BY JODY ROSEN • PAGE 29 #8 ‘IMMATERIAL,’ SOPHIE BY ALEXANDRA KLEEMAN • PAGE 30 #9 ‘HARD LIFE,’ SAULT BY LOVIA GYARKYE • PAGE 31 #10 ‘RIVER DREAMS,’ BEVERLY GLENN-COPELAND INTERVIEW BY JEREMY GORDON • PAGE 32 STREET MUSIC BY JAZMINE HUGHES • PAGE 33 #11 ‘BABY GROOT,’ J. D. BECK AND DOMI BY RYAN BRADLEY • PAGE 34 #12 ‘TOOSIE SLIDE,’ DRAKE BY ISMAIL MUHAMMAD • PAGE 38 JASON MANTZOUKAS’S ‘SECOND GO AT BEING A TEENAGER’ INTERVIEW BY JEREMY D. LARSON • PAGE 39 #13 ‘VIRILE,’ MOSES SUMNEY BY LIZZY GOODMAN • PAGE 40 #14 ‘OUR JOY (MERCEDES),’ JYOTI BY ZANDRIA F. ROBINSON • PAGE 44 #15 ‘SKINNY SUGE,’ FREDDIE GIBBS BY JACKSON HOWARD • PAGE 45 4 (Continued on Page 6) THE MUSIC ISSUE THE MUSIC ISSUE THE SONGS, SOUNDS THE MUSIC ISSUE AND SINGERS THAT GOT THE MUSIC ISSUE US THROUGH A THE MUSIC ISSUE YEAR OF ISOLATION. -
Acoustic Sounds Catalog Update
STEREO BOX SET NOV. 2012 AEMI 33809 • $349.00 (Price good until Dec. 31, 2012) 16 discs Sourced from the original master tapes and cut at Abbey Road Studios Pressed on 180-gram vinyl; the Beatles’ studio albums North American LP debut in stereo Optimum audiophile-quality sound from a first-rate team of producers and engineers The BEATLES ON VINYL - DONE RIGHT! • All of the albums return to their ORIGINAL glory and details right down to the • Magical Mystery Tour, Sgt. Pepper’s Lonely Hearts Club Band, the White Album album poster in The Beatles/White Album and the Sgt. Pepper cutouts. Includes and Past Masters packaged in gatefold jackets. extras such as the pink, white and red inner sleeve that came with Sgt. Pepper’s Lonely Hearts Club Band, the 24-page booklet that came with Magical Mystery Tour • The lineup: Please Please Me, With The Beatles, Hard Day’s Night, Beatles For and the poster and portrait cards that came with the White Album. Sale, Help, Rubber Soul, Revolver, St. Pepper’s Lonely Hearts Club Band, Magical Mystery Tour, The Beatles (White Album, two discs), Yellow Submarine, Let It Be, • The box set edition is limited to 50,000 copies worldwide, plus it includes a Abbey Road, Past Masters (two discs). 252-page hard-bound coffee table book by the award-winnning BBC radio producer Kevin Howlett. It also features in introduction by Sir George Martin, previously un- • Available for the first time on 180-gram vinyl; unsurpassed clarity of sound. seen photos and Abbey Road Studios memorabilia.