August 1936) James Francis Cooke
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University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ ViolinScaleBooks fromLateNineteenth-Centurytothe Present -FocusingonSevcik,Flesch,Galamian,andSassmannshaus Adocumentsubmittedtothe DivisionofGraduateStudiesandResearchofthe UniversityofCincinnati Inpartialfulfillmentoftherequirementsforthedegreeof DOCTORAL OFMUSICALARTS inViolinPerformance 2006 by HeejungKim B.M.,Seoul NationalUniversity,1995 M.M.,TheUniversityof Cincinnati,1999 Advisor:DavidAdams Readers:KurtSassmannshaus Won-BinYim ABSTRACT Violinists usuallystart practicesessionswithscale books,andtheyknowthe importanceofthem asatechnical grounding.However,performersandstudents generallyhavelittleinformation onhowscale bookshave beendevelopedandwhat detailsaredifferentamongmanyscale books.Anunderstanding ofsuchdifferences, gainedthroughtheidentificationandcomparisonofscale books,canhelp eachviolinist andteacherapproacheachscale bookmoreintelligently.Thisdocumentoffershistorical andpracticalinformationforsome ofthemorewidelyused basicscalestudiesinviolin playing. Pedagogicalmaterialsforviolin,respondingtothetechnicaldemands andmusical trendsoftheinstrument , haveincreasedinnumber.Amongthem,Iwillexamineand comparethe contributionstothescale -
Op Title List Since Date: Mar 16, 2019
Op Title List since Date: Mar 16, 2019 Publisher Imprint ISBN Title Author Pub Pub Format Status Status Last Month Price Date Return Date Audio Audio 1427202303 LONG WAY GONE UAB CD BEAH, ISHMAEL 03/07 39.99 CD OP 04/05/19 07/04/19 Audio Audio 1427214816 TRUCKER GHOST STORIES ABR CD WILDER, ANNIE 08/12 23.99 CD OP 05/27/19 08/25/19 Audio Audio 1427215464 PUBLIC SPEAKER'S GUIDE TO ACING YOU MARSHALL, LISA B. 10/09 14.99 DA OP 05/08/19 08/06/19 Audio Audio 1427217513 LOOK AGAIN ABR CD SCOTTOLINE, LISA 01/12 14.99 CD OP 06/10/19 09/08/19 Audio Audio 1593979029 TWELVE SHARP UAB CD EVANOVICH, JANET 06/06 34.95 CD OP 07/07/19 10/05/19 Distribution Bloomsbury Adult 074754445X LORCA - A DREAM OF LIFE STAINTON, LESLIE 07/13 24.95 TP OP 07/26/19 10/24/19 Distribution Bloomsbury Adult 0747588937 MODERNITY BRITAIN KYNASTON, DAVID 07/13 40 TC OP 07/26/19 10/24/19 Distribution Bloomsbury Adult 074759404X SHOE PRINCESS'S GUIDE TO THE GALA BOWD, EMMA 07/10 12 TP OP 07/26/19 10/24/19 Distribution Bloomsbury Adult 0747595313 EDIBLE SEASHORE WRIGHT, JOHN 07/10 25 TC OP 07/26/19 10/24/19 Distribution Bloomsbury Adult 0747595321 PRESERVES CORBIN, PAM 09/08 25 TC OP 07/26/19 10/24/19 Distribution Bloomsbury Adult 0747595348 VEG PATCH DIACONO, MARK 05/14 25 TC OP 07/26/19 10/24/19 Distribution Bloomsbury Adult 0747596514 THE INFORMERS VÁSQUEZ, JUAN GABRIEL 06/09 17 TP OP 07/26/19 10/24/19 Distribution Bloomsbury Adult 0747596670 HARM'S WAY WALDEN, CELIA 06/10 12 TP OP 07/26/19 10/24/19 Distribution Bloomsbury Adult 0802778372 GOOD BOOK GRAYLING, A C 03/13 22 -
ORGAN ESSENTIALS Manual Technique Sheri Peterson [email protected]
ORGAN ESSENTIALS Manual Technique Sheri Peterson [email protected] Piano vs. Organ Tone “…..the vibrating string of the piano is loudest immediately after the attack. The tone quickly decays, or softens, until the key is released or until the vibrations are so small that no tone is audible.” For the organ, “the volume of the tone is constant as long as the key is held down; just prior to the release it is no softer than at the beginning.” Thus, the result is that “due to the continuous strength of the organ tone, the timing of the release is just as important as the attack.” (Don Cook: Organ Tutor, 2008, Intro 9 Suppl.) Basic Manual Technique • Hand Posture - Curve the fingers. Keep the hand and wrist relaxed. There is no need to apply excessive pressure to the keys. • Attack and Release - Precise rhythmic attack and release are crucial. The release is just as important as the attack. • Legato – Essential to effective hymn playing. • Independence – Finger and line. Important Listening Skills • Perfect Legato – One finger should keep a key depressed until the moment a new tone begins. Listen for a perfectly smooth connection. • Precise Releases – Listen for the timing of the release. Practice on a “silent” (no stops pulled) manual, listening for the clicks of the attacks and releases. • Independence of Line – When playing lines (voices) together, listen for a single line to sound the same as it does when played alone. (Don Cook: Organ Tutor, 2008, Intro 10 Suppl.) Fingering Technique The goal of fingering is to provide for the most efficient motion as possible. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Heinrich Hoevel German Violinist in Minneapolis and Thorson's Harbor
Minnesota Musicians ofthe Cultured Generation Heinrich Hoevel German Violinist in Minneapolis and Thorson's Harbor The appeal ofAmerica 1) Early life & arrival in Minneapolis 2) Work in Minneapolis 3) Into the out-of-doors 4) Death & appraisal Robert Tallant Laudon Professor Emeritus ofMusicology University ofMinnesota 924 - 18th Ave. SE Minneapolis, Minnesota 55414 (612) 331-2710 [email protected] 2002 Heinrich Hoevel (Courtesy The Minnesota Historical Society) Heinrich Hoevel Heinrich Hoevel German Violinist in Minneapolis and Thorson's Harbor A veritable barrage ofinformation made the New World seem like an answer to all the yearnings ofpeople ofthe various German States and Principalities particularly after the revolution of 1848 failed and the populace seemed condemned to a life of servitude under the nobility and the military. Many of the Forty-Eighters-Achtundvierziger-hoped for a better life in the New World and began a monumental migration. The extraordinary influx of German immigrants into America included a goodly number ofgifted artists, musicians and thinkers who enriched our lives.! Heinrich Heine, the poet and liberal thinker sounded the call in 1851. Dieses ist Amerika! This, this is America! Dieses ist die neue Welt! This is indeed the New World! Nicht die heutige, die schon Not the present-day already Europaisieret abwelkt. -- Faded Europeanized one. Dieses ist die neue Welt! This is indeed the New World! Wie sie Christoval Kolumbus Such as Christopher Columbus Aus dem Ozean hervorzog. Drew from out the depths of -
Literary Industries
Literary industries By Hubert Howe Bancroft NATIVE RACES OF THE PACIFIC STATES; five volumes HISTORY OF CENTRAL AMERICA; three volumes HISTORY OF MEXICO; six volumes HISTORY OF TEXAS AND THE NORTH MEXICAN STATES; two volumes HISTORY OF ARIZONA AND NEW MEXICO; one volume HISTORY OF CALIFORNIA; seven volumes HISTORY OF NEVADA, COLORADO AND WYOMING; one volume HISTORY OF UTAH; one volume HISTORY OF THE NORTHWEST COAST; two volumes HISTORY OF OREGON; two volumes HISTORY OF WASHINGTON, IDAHO AND MONTANA; one volume HISTORY OF BRITISH COLUMBIA; one volume HISTORY OF ALASKA; one volume CALIFORNIA PASTORAL; one volume CALIFORNIA INTER-POCULA; one volume Literary industries http://www.loc.gov/resource/calbk.195 POPULAR TRIBUNALS; two volumes ESSAYS AND MISCELLANY; one volume LITERARY INDUSTRIES; one volume CHRONICLES OF THE BUILDERS OF THE COMMONWEALTH LITERARY INDUSTRIES. A MEMOIR. BY HUBERT HOWE BANCROFT All my life I have followed few and simple aims, but I have always known my own purpose clearly, and that is a source of infinite strength. William Waldorf Astor. SAN FRANCISCO THE HISTORY COMPANY, PUBLISHERS 1891 Entered according to Act of Congress in the year 1890, by HUBERT H. BANCROFT, In the Office of the Librarian of Congress, at Washington. Literary industries http://www.loc.gov/resource/calbk.195 All Rights Reserved. v CONTENTS OF THIS VOLUME. CHAPTER I. PAGE. THE FIELD 1 CHAPTER II. THE ATMOSPHERE 12 CHAPTER III. SPRINGS AND LITTLE BROOKS 42 CHAPTER IV. THE COUNTRY BOY BECOMES A BOOKSELLER 89 CHAPTER V. HAIL CALIFORNIA! ESTO PERPETUA 120 CHAPTER VI. THE HOUSE OF H. H. BANCROFT AND COMPANY 142 CHAPTER VII. -
The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study*
Performance Practice Review Volume 5 Article 2 Number 2 Fall The mplicI ations of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study Desmond Hunter Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Hunter, Desmond (1992) "The mpI lications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study," Performance Practice Review: Vol. 5: No. 2, Article 2. DOI: 10.5642/perfpr.199205.02.02 Available at: http://scholarship.claremont.edu/ppr/vol5/iss2/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Renaissance Keyboard Fingering The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study* Desmond Hunter The fingering of virginalist music has been discussed at length by various scholars.1 The topic has not been exhausted however; indeed, the views expressed and the conclusions drawn have all too frequently been based on limited evidence. I would like to offer some observations based on both a knowledge of the sources and the experience gained from applying the source fingerings in performances of the music. I propose to focus on two related aspects: the fingering of linear figuration and the fingering of graced notes. Our knowledge of English keyboard fingering is drawn from the information contained in virginalist sources. Fingerings scattered Revised version of a paper presented at the 25th Annual Conference of the Royal Musical Association in Cambridge University, April 1990. -
Operator Manual for Little Wonder Truckloader 8272
MODELS: 8223-00-01 22HP KOHLER TRUCKLOADER 8272-00-01 27HP KOHLER TRUCKLOADER Shown with optional trailer. PARTS / OPERATOR'S MANUAL / OPERATOR'S PARTS REV A 08-2012 A REV MAN 720720 CALIFORNIA Proposition 65 Warning WARNING Diesel engine exhaust and some The engine exhaust from this product of its constituents are known to the contains chemicals known to the State State of California to cause cancer, of California to cause cancer, birth birth defects and other reproductive defects or other reproductive harm. harm. CALIFORNIA Proposition 65 Warning Battery posts, terminals, wiring insulation, and related accessories contain lead and lead compounds, chemicals known to the State of California to cause cancer and birth defects or other reproductive harm. WASH HANDS AFTER HANDLING. Truckloader IMPORTANT MESSAGE On behalf of everyone at Little Wonder, we would like to thank you for your purchase of a Little Wonder Truckloader. This professional truckloader was designed to the highest standards to ensure many hours of uninterrupted service. This machine comes with an Operators / Parts Manual. The useful life and good service you receive from this machine depends to a large extent on how well you read and understand this manual. Treat your machine properly, lubricate and adjust it as instructed, and it will give you many years of reliable service. Your safe use of this Little Wonder product is one of our prime design objectives. Many safety features are built in, but we also rely on your good sense and care to achieve accident-free operation. For best protection, study the manual thoroughly. Learn the proper operation of all controls. -
“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ................................................................................................................................... -
Paul Schoenfield's' Refractory'method of Composition: a Study Of
Paul Schoenfield's 'Refractory' Method of Composition: A Study of Refractions and Sha’atnez A document submitted to the Graduate School of The University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music by DoYeon Kim B.M., College-Conservatory of Music of The University of Cincinnati, 2011 M.M., Eastman School of Music of The University of Rochester, 2013 Committee Chair: Professor Yehuda Hanani Abstract Paul Schoenfield (b.1947) is a contemporary American composer whose works draw on jazz, folk music, klezmer, and a deep knowledge of classical tradition. This document examines Schoenfield’s characteristic techniques of recasting and redirecting preexisting musical materials through diverse musical styles, genres, and influences as a coherent compositional method. I call this method ‘refraction’, taking the term from the first of the pieces I analyze here: Refractions, a trio for Clarinet, Cello and Piano written in 2006, which centers on melodies from Mozart’s Le nozze di Figaro (The Marriage of Figaro). I will also trace the ‘refraction’ method through Sha’atnez, a trio for Violin, Cello and Piano (2013), which is based on two well-known melodies: “Pria ch’io l’impegno” from Joseph Weigl’s opera L’amor marinaro, ossia il corsaro (also known as the “Weigl tune,” best known for its appearance in the third movement of Beethoven’s Trio for Piano, Clarinet, and Cello in B-flat Major, Op.11 (‘Gassenhauer’)); and the Russian-Ukrainian folk song “Dark Eyes (Очи чёрные).” By tracing the ‘refraction’ method as it is used to generate these two works, this study offers a unified approach to understanding Schoenfield’s compositional process; in doing so, the study both makes his music more accessible for scholarly examination and introduces enjoyable new works to the chamber music repertoire. -
V for Vendetta’: Book and Film
UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS DEPARTAMENTO DE ESTUDOS ANGLÍSTICOS “9 into 7” Considerations on ‘V for Vendetta’: Book and Film. Luís Silveiro MESTRADO EM ESTUDOS INGLESES E AMERICANOS (Estudos Norte-Americanos: Cinema e Literatura) 2010 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS DEPARTAMENTO DE ESTUDOS ANGLÍSTICOS “9 into 7” Considerations on ‘V for Vendetta’: Book and Film. Luís Silveiro Dissertação orientada por Doutora Teresa Cid MESTRADO EM ESTUDOS INGLESES E AMERICANOS (Estudos Norte-Americanos: Cinema e Literatura) 2010 Abstract The current work seeks to contrast the book version of Alan Moore and David Lloyd‟s V for Vendetta (1981-1988) with its cinematic counterpart produced by the Wachowski brothers and directed by James McTeigue (2005). This dissertation looks at these two forms of the same enunciation and attempts to analise them both as cultural artifacts that belong to a specific time and place and as pseudo-political manifestos which extemporize to form a plethora of alternative actions and reactions. Whilst the former was written/drawn during the Thatcher years, the film adaptation has claimed the work as a herald for an alternative viewpoint thus pitting the original intent of the book with the sociological events of post 9/11 United States. Taking the original text as a basis for contrast, I have relied also on Professor James Keller‟s work V for Vendetta as Cultural Pastiche with which to enunciate what I consider to be lacunae in the film interpretation and to understand the reasons for the alterations undertaken from the book to the screen version. An attempt has also been made to correlate Alan Moore‟s original influences into the medium of a film made with a completely different political and cultural agenda. -
David Menconi
David Menconi “But tonight, we’re experiencing something much more demented. Something much more American. And something much more crazy. I put it to you, Bob: Goddammit, what’s goin’ on?” —Dexter Romweber, “2 Headed Cow” (1986) (Or as William Carlos Williams put it 63 years earlier: “The Pure Products of America/Go crazy.”) To the larger world outside the Southeastern college towns of Chapel Hill and Athens, Flat Duo Jets’ biggest brush up against the mainstream came with the self-titled first album comprising the heart of this collection. That was 1990’s “Flat Duo Jets,” a gonzo blast of interstellar rockabilly firepower that turned Jack White, X’s Exene Cervenka and oth- er latterday American underground-rock stars into fans and acolytes. In its wake, the Jets toured America with The Cramps and played “Late Night with David Letterman,” astounding audiences with rock ’n’ roll as pure and uncut as anybody was making in the days B.N. (Before Nirvana). But that kind of passionate devotion was nothing new for the Jets. For years, they’d been turning heads and blowing minds in their Chapel Hill home- town as a veritable rite of passage for music-scene denizens of a certain age. Just about everyone in town from that era has a story about happening across the Jets in their mid-’80s salad days, often performing in some terri- bly unlikely place – record store, coffeeshop, hallway, even the middle of the street – channeling some far-off mojo that seemed to open portals to the past and future at the same time.