DOCSLIB.ORG

2018 American Academy of Nursing Fellows

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

American Academy of Nursing 2018 Induction Ceremony Order of Ceremony November 3, 2018 Table of Contents Welcome 01 Order of Ceremony 02 Welcome Recognition of the 03 2018 Transforming Health, 2018 Living Legends Driving Policy Conference Sponsors 04 2018 Living Legends 06 Charter Members and Past Presidents Recognition of the Charter Members and 06 2018 Academy Board of Directors Past Presidents 06 American Academy of Nursing Staff 06 2018 Fellow Selection Committee Recognition of the 07 2018 Health Care Leader Award Recipient Current and Past Academy 08 2018 Honorary Fellows Board of Directors 11 2018 Class of Fellows 11 Alphabetically Recognition of the 13 By State and Country 2018 Health Care Leader 16 Biographies of the Award Recipient 2018 New Fellow Class 114 Messages of Congratulations Induction of the 2018 Class of Fellows 1 Welcome Each year we celebrate our new Fellows along with their families and friends, and we honor their accomplishments and contributions to the health and wellbeing of people worldwide. I am always in awe of the collective power of our fellowship. Our new Fellows will become part of the Academy’s commitment to serving the public and the nursing profession by advancing health policy, practice and science through organizational excellence and effective nursing leadership. The success of the Academy’s mission is dependent on our Fellows bringing together our multiple viewpoints, talents and wisdom. I take great pride and excitement in my association with all of our fellows. I would especially like to welcome our talented new group of colleagues who will join us in our dedication to a more just, prosperous, and progressive society. It is an honor to participate in the Induction Ceremony. While it is a personal honor to be inducted into the Academy, it also represents a significant professional responsibility to make nursing’s contributions visible, sustainable, and impactful. The work before us is immense and will require the talents of all of our Fellows to improve the health of all people. Enjoy this very special evening and welcome to the Academy! Sincerely, KAREN S. COX, PhD, RN, FACHE, FAAN PRESIDENT, AMERICAN ACADEMY OF NURSING 2 AMERICAN ACADEMY OF NURSING ◊ 2018 COMMEMORATIVE PROGRAM Sponsors Thank you to our sponsors for their generous support AMERICAN ACADEMY of the Academy’s 2018 Transforming Health, Driving Policy OF NURSING Conference. The continued support of our exhibitors and 2018 TRANSFORMING HEALTH, program advertisers is also sincerely appreciated. DRIVING POLICY CONFERENCE Premier Sponsor $35,000 $20,000 $15,000 $12,000 $10,000 $8,500 $7,500 $6,000 $5,000 $4,500 $2,500 $1,500 College of Nursing AMERICAN ACADEMY OF NURSING ◊ 2018 COMMEMORATIVE PROGRAM 3 2018 Living Legends Jacquelyn C. Campbell PhD, MS, BSN, FAAN Marilyn P. Chow PhD, RN, FAAN Joanne M. Disch PhD, RN, FAAN Ada K. Jacox PhD, RN, FAAN Beatrice J. Kalisch PhD, RN, FAAN Sally L. Lusk PhD, MPH, BSN, FAAN Ruth McCorkle PhD, RN, FAAN, FAPOS 4 AMERICAN ACADEMY OF NURSING ◊ 2018 COMMEMORATIVE PROGRAM Living Legends Through the Years The American Academy of Nursing is proud to recognize outstanding Fellows, who epitomize nursing’s proud history and serve as role models for all of us. The following nurses have been honored as Living Legends in recognition of the multiple contributions they have made to our profession and society and of the continuing impact of these contributions on the provision of health care services in the United States and throughout the world. 1994 LIVING LEGENDS 2000 LIVING LEGENDS 2006 LIVING LEGENDS 2012 LIVING LEGENDS Faye G. Abdellah Jeanne Benoliel Kathryn E. Barnard Anne J. Davis Myrtle Aydelotte Shirley Chater Sr. Rosemary Donley Mi Ja Kim Mary Elizabeth Carnegie Geraldene Felton Marlene F. Kramer Nola J. Pender Ildaura Murillo-Rohde Thelma Schorr Angela B. McBride Muriel A. Poulin Hildegard Peplau Ellen B. Rudy Jessie Scott 2001 LIVING LEGENDS 2013 LIVING LEGENDS Harriet Werley Susan Gortner 2007 LIVING LEGENDS Clara L. Adams-Ender Mary Starke Harper Marie J. Cowan Hattie Bessent 1995 LIVING LEGENDS Lucie Kelly Phyllis G. Ethridge Margaret Shandor Miles Luther Christman Ruth Lubic Carrie B. Lenburg Jean Watson Rheba de Tornyay Florence Wald Margaret L. McClure Virginia Ohlson Sister Callista Roy 2014 LIVING LEGENDS Rozella Scholtfeldt 2002 LIVING LEGENDS Gloria R. Smith Kathleen A. Dracup Lillian Sholtis Brunner Barbara A. Durand 1996 LIVING LEGENDS Rhetaugh G. Dumas 2008 LIVING LEGENDS Colleen J. Goode Clifford Jordan Virginia K. Saba Gene Cranston Anderson Bernardine M. Lacey Mary V. Neal Gladys E. Sorensen Helen Grace Dorothy M. Smith Margaret A. Newman 2015 LIVING LEGENDS 2003 LIVING LEGENDS Robert Piemonte Diane M. Billings 1997 LIVING LEGENDS Signe S. Cooper Phyllis Stern Marylin J. Dodd Jo Eleanor Elliott Ira P. Gunn Fannie J. Gaston-Johansson Mary Kelly Mullane Ramona T. Mercer 2009 LIVINIG LEGENDS Marie E. Manthey Doris Schwartz Barbara M. Brodie Afaf I. Meleis Mabel Wandelt 2004 LIVING LEGENDS Leah Curtin Mary Woody Florence S. Downs Marjory Gordon 2016 LIVING LEGENDS Anne Zimmerman Juanita W. Fleming Ruby Leila Wilson Linda Burnes Bolton Edith Patton Lewis Ann Wolbert Burgess 1998 LIVING LEGENDS Sally Ann Sample 2010 LIVING LEGENDS Colleen Conway-Welch Claire Fagin Shirley A. Smoyak Billye J. Brown Joyce J. Fitzpatrick Vernice Ferguson Donna K. Diers Martha N. Hill Madeline Leininger 2005 LIVING LEGENDS Norma M. Lange Joyce C. Clifford Barbara L. Nichols 2017 LIVING LEGENDS 1999 LIVING LEGENDS Jean E. Johnson Betty Smith Williams Linda R. Cronenwett Loretta C. Ford Imogene M. King Elaine L. Larson Connie Holleran Joan E. Lynaugh 2011 LIVING LEGENDS Carolyn A. Williams Margretta Madden Styles Patricia E. Brenner Nancy Fugate Woods Grayce Sills Suzanne L. Feetham Connie Henke Yarbro Ada Sue Hinshaw Meridean L. Maas May L. Wykle AMERICAN ACADEMY OF NURSING ◊ 2018 COMMEMORATIVE PROGRAM 5 Charter Members of the Academy 2018 Academy Board 2018 Fellow Selection of Directors Committee Faye G. Abdellah Eloise Lewis Karen Cox Judy Beal Rose M. Chioni Nancy A. Lytle PhD, RN, FACHE, FAAN DNSc, RN, FAAN (Chair) (President) Rheba de Tornyay Gaynelle McKinney Anne Gross Rhetaugh G. Dumas Jean Hayter Novello Eileen M. Sullivan-Marx PhD, RN, NEA-BC, Fernando A. Duran Marjorie E. Sanderson PhD, RN, FAAN (President-Elect) FAAN (Co-Chair) Ellen C. Egan Barbara Schutt Mary E. Foley David M. Keepnews Geraldene Felton Doris R. Schwartz PhD, RN, FAAN (Secretary) PhD, JD, RN, NEA-BC, FAAN (Co-Chair Appointee) Loretta C. Ford Joelyn Sciba Paula Milone-Nuzzo PhD, RN, FHHC, FAAN (Treasurer) Joan Shinkus Clark Athleen B. Godfrey Lorraine D. Singer DNP, RN, NEA-BC, CENP, FACHE, Debra J. Barksdale Dorothy Gregg Shirley A. Smoyak FAAN (Advisor) PhD, FNP-BC, CNE, FAANP, Winifred H. Griffin Frances J. Storlie FAAN, ANEF Susan Apold Jeanette Grosicki Gayle Travera PhD, ANP-BC, FAAN, FAANP Kaye W. Bender Ann G. Hargreaves Phyllis J. Verhonick PhD, RN, FAAN Richardean Benjamin Elizabeth Harkins Harriet H. Werley PhD, MPH, PMHNP-BC, FAAN Ramón Lavandero Margaret J. Heins Mary M. Williams MA, MSN, RN, FAAN Carlton Brown PhD, RN, AOCN, NEA-BC, FAAN Katherine J. Hoffman Marilyn D. Willman Ellen Olshansky Mary Ann Lavin Mary F. Wood PhD, RN, WHNP-BC, FAAN Deborah Parham Hopson PhD, MSPH, RN, FAAN Myra E. Levine Linda D. Scott PhD, RN, NEA-BC, FAAN Janice Humphreys PhD, RN, FAAN Kenneth R. White Past Presidents of the Academy PhD, AGACNP-BC, ACHPN, Nora Montalvo-Liendo FACHE, FAAN PhD, RN, FAAN 1973–1974 1991–1993 Susan Orsega Rheba de Tornyay Nola J. Pender MSN, RN, FNP-BC, FAANP, FAAN 1974–1975 1993–1995 American Academy William J. Puentes Faye G. Abdellah Angela B. McBride of Nursing Staff PhD, RN, PMHCNS-BC, FAAN 1975–1976 1995–1997 Mary Dee Hacker, MBA, RN, Jane W. Swanson Ellen C. Egan Barbara A. Donaho NEA-BC, FAAN PhD, RN, NEA-BC, FAAN 1976–1977 1997–1999 Interim Chief Executive Officer Cheryl Taylor Mary E. Reres Joyce J. Fitzpatrick Jocelyn Cunic PhD, RN, FAAN 1977–1978 1999–2001 Chief Operating Officer Tener Goodwin Veenema Donna C. Aguilera Ada Sue Hinshaw Tawanna Barnes PhD, MPH, MS, RN, FAAN 1978–1979 2001–2003 Executive Assistant Carolyn Yucha Mary Elizabeth Margaret L. McClure Kim Czubaruk, Esq. PhD, RN, FAAN Carnegie 2003–2005 Policy Manager Donna Zazworsky 1979–1980 Joan L. Shaver Elena Dixon MS, CCM, RN, FAAN Linda H. Aiken 2005–2007 Events Manager Julie Zerwic 1980–1981 Linda Burnes Bolton Rachael James, RN PhD, RN, FAAN Mary E. Conway 2007–2009 Manager, Council for the Lin Zhan 1981–1983 Pamela Mitchell Advancement of Nursing PhD, RN, FAAN Vernice Ferguson 2009–2011 Science 1983–1985 Catherine Gilliss Joshua Poole Carolyn A. Williams 2011–2013 Member Engagement Manager 1985–1987 Joanne Disch Matthew Williams, JD Gladys E. Sorensen 2013–2015 Policy Manager 1987–1989 Diana J. Mason Rhetaugh G. Dumas 2015–2017 1989–1991 Bobbie Berkowitz Nancy F. Woods 6 AMERICAN ACADEMY OF NURSING ◊ 2018 COMMEMORATIVE PROGRAM 2018 Health Care Leader Award Recipient Pamela F. Cipriano is the 35th president of the American Nurses Association (ANA), the largest nurses organization in the United States, representing the interests of the nation’s four million registered nurses. Shortly after assuming the presidency in 2014, she became the public face of nursing in response to the arrival of Ebola on U.S. shores. In dozens of interviews for print, TV, and online media outlets, she was a credible voice who reduced misinformation about the outbreak and advocated for evidence-based policies, earning ANA the American College of Medical Quality’s 2015 Institutional Leadership Award. Dr. Cipriano was also elected to the board of directors of the International Council of Nurses in 2017 and serves as the first vice president. Prior to Pamela F.
Recommended publications
  • Victory and Sorrow: the Music & Life of Booker Little

    Victory and Sorrow: the Music & Life of Booker Little

    ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P.
  • Vindicating Karma: Jazz and the Black Arts Movement

    Vindicating Karma: Jazz and the Black Arts Movement

    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
  • Associations and the Establishment of Musical Expression Dissertation

    Associations and the Establishment of Musical Expression Dissertation

    Known by the Company It Keeps: Associations and the Establishment of Musical Expression Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ryan Clifford Jordan, M.A. Graduate Program in Philosophy The Ohio State University 2009 Dissertation Committee: Lee B. Brown, Co-advisor Daniel Farrell, Co-advisor Diana Raffman Sukjae Lee Donald Hubin Copyright by Ryan Clifford Jordan 2009 Abstract I argue for an association theory of musical expression, whereby music acquires its expressive character through associations with extra - musical content. Musical works can be roughly categorized into two groups: absolute works—works, such as Bach’s “Invention No. 13 in A minor” and Scriabin’s “Prelude in B major, Op. 2, No.2”, that are not accompanied by any descriptive title, text, or program—and non-absolute works—works, such as Schubert’s “Ave Maria” and Williams’ Theme from Harry Potter, that are. I argue that the best approach to developing a theory of musical expression begins with an analysis of non-absolute music. Analyzing non-absolute music, I show that musical expression is intimately tied up with associations that stem from those texts, titles, and programs. The benefit of this approach is that it straightforwardly explains not only non-absolute music’s expressive properties, but also how absolute music has its expressive properties. I argue that expression is tied up not only with whole pieces but also with musical elements such as timbre, rhythm, tempo, and melodic gestures. These musica l elements are the same in both absolute and non-absolute music, so associations established with non-absolute music simply carry through to the absolute musical ii works.
  • The Complete Clifford Jordan Strata-East Sessions

    The Complete Clifford Jordan Strata-East Sessions

    RECORD REV!EWS TAfrZ celebrated or discussed. Martin Bough's jaw-dropping photos from the rI actual sessions transport us precisely to that time and place. fiiflvsJ The booklet also reproduces a full- page ad in support of the albums, eJ. 'Ware's minus Sup,sv Bass and Shades of Edward Blackwell, the late drummer's L968 debut, issued here for the first time ever. These rarities greatly increase the set's historical value. So does the five-minute interview with 'Ware CLIFFORD JORDAN (even if "Wilbur" is misspelled in The Complete Clifford lordan Strata- 'the track listing). East Sessions A Chicago riitirr.,Jordan came of Clifford Jordan, Charles Brackeen, Sonny Fortune, age in bands led by Horace Silver, Max Luqman Lateel Cecil Payne, Pharoah Sanders, Roach, and Charles Mingus, but he saxophones; Don Cherry, Kenny Dorham, was out there as a leader by his mid- trumpets; Julian Priester, trombone; Howard Johnson, tuba; Stanley Cowel!, 20s. His agile lines, sinewy tone, and Wynton Kelly, Lonnie Liston Smith, Cedar Walton, deep blues feeling mark him as one of piano; guitar; Sonny Sharrock, Richard Davis, the era's great tenors. A creative risk- Charlie Haden, Sam Jones, Bill Lee, Cecil McBee, Sirone, Wilbur Ware, bass; Ed Blackwell, Dennis taker, too: he used fwo bassists and Charles, Billy Hart, Roy Haynes, Albert Heath, drummers on In the World, an imperflect Ttte Haven for Billy Higgins, Majeed Shabazz, drums; record that nonetheless allows us to Chief Bey, others, percussion; Leon Thomas, hear Don Cherry and'W.ynton Kelly Music Lorers in the Mosa ic M D6-2sJ?:'l S$:liirlt',no rd r orda n, in the same band.
  • HAMMERHEAD's MOZAIC Album Review by John Clare Personnel

    HAMMERHEAD's MOZAIC Album Review by John Clare Personnel

    HAMMERHEAD’S MOZAIC Album review by John Clare Personnel: Jason Bruer – tenor & alto saxophone Ray Cassar – trumpet and flugel horn Andrew Robertson – alto& baritone saxophones and flute Duncan Archibald - drums Tim Bruer - piano Matt Gruebner – double bass ________________________________________________________ [This review appeared on www.australianjazz.net on Tuesday, August 12, 2014, at this link http://australianjazz.net/2014/08/album-review-mozaic-hammerhead-by-john- clare/.] e can’t always assume that we are right when we speculate on the self- identity of people who play or listen to the various idioms of music. But that W doesn’t stop us. Alright, but we should also realise that self-identification by players of the same idiom might be different in different countries. The music here – some of it recently composed and some of it interpretations of pieces by such as Wayne Shorter, Eddie Henderson, Cedar Walton, Oliver Nelson, Pat Metheny etc – covers hard bop, post-bop, funky jazz (where the time is often in eight or sixteen rather than four), and it seemed to project self-identification with the people and even the ghetto, yet also a certain self-aware sophistication. It had a punch, an exciting soulful attack, yet also a certain cool self-containment. 1 When I lived in London from 1965 to about 1968 it was often played by Cockneys. Men of the people, yes; but also not to be condescended to – not if you didn’t want a very smart, witty and probably very educated comeback. I say ‘seemed’ when all I can say definitely is that the sophisticated and cool was subtly blended with the tough, the masculine and the directly emotional.
  • May 2001 03 Jazz Ed

    May 2001 03 Jazz Ed

    ALL ABOUT JAZZ monthly edition — may 2001 03 Jazz Ed. 04 Pat Metheny: New Approaches 09 The Genius Guide to Jazz: Prelude EDITOR-IN-CHIEF: Aaron Wrixon 14 The Fantasy Catalog: Tres Joses ASSOCIATE EDITOR: Michael Martino 18 Larry Carlton and Steve Lukather: Guitar Giants CONTRIBUTORS: 28 The Blue Note Catalog: All Blue Glenn Astarita, Mathew Bahl, Jeff Fitzgerald, Chris Hovan, Allen Huotari, Nils Jacobson, Todd S. Jenkins, Joel Roberts, Chris M. Slawecki, Derek Taylor, Don Williamson, 32 Joel Dorn: Jazz Classics Aaron Wrixon. ON THE COVER: Pat Metheny 42 Dena DeRose: No Detour Ahead PUBLISHER: 48 CD Reviews Michael Ricci Contents © 2001 All About Jazz, Wrixon Media Ventures, and contributors. Letters to the editor and manuscripts welcome. Visit www.allaboutjazz.com for contact information. Unsolicited mailed manuscripts will not be returned. Welcome to the May issue of All About Jazz, Pogo Pogo, or Joe Bat’s Arm, Newfoundland Monthly Edition! (my grandfather is rolling over in his grave at This month, we’re proud to announce a new the indignity I have just committed against columnist, Jeff Fitzgerald, and his new, er, him) — or WHEREVER you’ve been hiding column: The Genius Guide to Jazz. under a rock all this while — and check some Jeff, it seems, is blessed by genius and — of Metheny’s records out of the library. as is the case with many graced by voluminous The man is a guitar god, and it’s an intellect — he’s not afraid to share that fact honour and a privilege to have Allen Huotari’s with us.
  • Lee Morgan Chronology 1956–1972 by Jeffery S

    Lee Morgan Chronology 1956–1972 by Jeffery S

    Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC).
  • The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music

    The Avant-Garde in Jazz As Representative of Late 20Th Century American Art Music

    THE AVANT-GARDE IN JAZZ AS REPRESENTATIVE OF LATE 20TH CENTURY AMERICAN ART MUSIC By LONGINEU PARSONS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2017 © 2017 Longineu Parsons To all of these great musicians who opened artistic doors for us to walk through, enjoy and spread peace to the planet. ACKNOWLEDGMENTS I would like to thank my professors at the University of Florida for their help and encouragement in this endeavor. An extra special thanks to my mentor through this process, Dr. Paul Richards, whose forward-thinking approach to music made this possible. Dr. James P. Sain introduced me to new ways to think about composition; Scott Wilson showed me other ways of understanding jazz pedagogy. I also thank my colleagues at Florida A&M University for their encouragement and support of this endeavor, especially Dr. Kawachi Clemons and Professor Lindsey Sarjeant. I am fortunate to be able to call you friends. I also acknowledge my friends, relatives and business partners who helped convince me that I wasn’t insane for going back to school at my age. Above all, I thank my wife Joanna for her unwavering support throughout this process. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF EXAMPLES ...................................................................................................... 7 ABSTRACT
  • Jazz at the Crossroads)

    Jazz at the Crossroads)

    MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs.
  • NINR History Book

    NINR History Book

    NINR NATIONAL INSTITUTE OF NURSING RESEARCH PHILIP L. CANTELON, PhD NINR: Bringing Science To Life National Institute of Nursing Research (NINR) with Philip L. Cantelon National Institute of Nursing Research National Institutes of Health Publication date: September 2010 NIH Publication No. 10-7502 Library of Congress Control Number 2010929886 ISBN 978-0-9728874-8-9 Printed and bound in the United States of America TABLE OF CONTENTS Preface The National Institute of Nursing Research at NIH: Celebrating Twenty-five Years of Nursing Science .........................................v Acknowledgments ..................................................................................................ix Chapter One Origins of the National Institute of Nursing Research .................................1 Chapter Two Launching Nursing Science at NIH ..............................................................39 Chapter Three From Center to Institute: Nursing Research Comes of Age .....................65 Chapter Four From Nursing Research to Nursing Science ............................................. 113 Chapter Five Speaking the Language of Science ............................................................... 163 Epilogue The Transformation of Nursing Science ..................................................... 209 Appendices A. Oral History Interviews .......................................................................... 237 B. Photo Credits ........................................................................................... 239
  • 1980 Jul And

    1980 Jul And

    .,.( !)3 ~1" !: \...... .- " " ., , , .., .. ! :- .. ,,"... .. I ., J2 -' ' .. 7. S " , - --l':_ '" " .. \~S .. • 7 ' 13 ~s 57 .. ~ " _n - 51 ., '0 '" ., 50 .... , MEMORIES CORE STAff: Phil An Bradac, Julie Harris dr~s, Gary. Bannister, Boli After two yea rs and one month, I will be Johnston, Sharon Maeda a~cy KeIth, Sydney leaving KRAB as general manager. And; with a Rouzer and Stu Wi tmer . ' saph Murfi n, Harry lot of mixed feelings. It has been the most challenging, rewarding ... and frustrating job I SPECIAL PROJECT PRODUCERS' P have ever had! I came to KRAB with 3 basic Ka thy Bottoms, Nancy Kei th. hi 1 Andrus, priorities. Fi~~, that the provocative, crea­ tive and experimental nature of KRAB should be BOARD OF TRUSTEES: Phil Andr in its programming, not its fiscal or management Jim Cantu, Margaret Ceis B us, Kathy Cain, Haughton, Nancy Keith G' en Dawson, Brian structure. A program producer can be innovative Reinsch, Lorraine Sak~ta arr:rga~on, Chuck and anarchistic and provide the community with Allen Swensson & May . T' I Y SInclair urnl sutakawa. • . terrific programming. However, without solid general administration, the bills to keep the transmitter on can't be paid. KRAB is way GUIDE PRODUCTION: Jim Chri ahead of other community radio stations in div­ Helene Silvenr.an stie, Dorothy Grupp. ersity of programming, but far behind in under­ VOLUNTEER COUNCIL· Mik standing how to utilize various techniques and Susan Howlett, John T e Acker, Carla Becker, NORMAN BLAKE ownes, Jim Anderson. I systems for the good of the station and the NEW BUILOING CONSTRUCTION T THE RISING FAWN STRING ENSEMBLE 1isteners ..
  • John Jenkins

    John Jenkins

    1 The ALTOSAX of JOHN JENKINS Solographer: Jan Evensmo Last update: May 4, 2020 2 Born: Chicago, Jan. 3, 1931 Died: July 12, 1993 Introduction: I have to admit I had never heard of John Jenkins until into my mature years, but then I found his personal style very interesting and he certainly deserves his solography and recognition. Through a brief period of seven months in 1957, he participated in several recording sessions with the cream of his contemporaries, and he was obviously considered a great talent. Why he quit in the middle of success is not known. History: Jenkins initially studied clarinet in high school but switched to saxophone after six months on the instrument. He played in jam sessions led by Joe Segal at Roosevelt College from 1949-1956. He played with Art Farmer in 1955 and led his own group at the Bee Hive in Chicago in December that year. In 1957 he played with Charlie Mingus and recorded two albums as a leader. He played as a sideman with Johnny Griffin, Donald Byrd, Hank Mobley, Paul Quinichette, Clifford Jordan, Sahib Shihab and Wilbur Ware in 1957 (not the late 1950s and early 1960s as stated), but essentially dropped out of music after 1962, aside from a few dates with Gloria Coleman. After leaving the jazz world he worked as a messenger in New York and dabbled in jewelry; he sold brass objects at street fairs in the 1970s. After 1983 he began practicing again and playing live on street corners; shortly before his death he played with Clifford Jordan (Wikipedia).