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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. -
Yamaha Corporation of America Winter Namm 2012 Press Kit
YAMAHA CORPORATION OF AMERICA WINTER NAMM 2012 PRESS KIT VISIT THE YAMAHA WINTER NAMM 2012 EXHIBIT AT THE ANAHEIM MARRIOTT, MARQUIS BALLROOM ACCESS HIGH-RESOLUTION PHOTOS AND PRESS RELEASES AT HTTP://WWW.YAMAHA.COM/NAMM/ FOR FURTHER INFORMATION, PLEASE CONTACT THE FOLLOWING STAFF AT GILES COMMUNICATIONS: KEYBOARD DIVISION LISA CESARANO [email protected] 914-414-1556 (MOBILE) ELISE COOPER 914-584-7952 BAND AND ORCHESTRAL DIVISION, CORPORATE LISA CESARANO [email protected] 914-414-1556 (MOBILE) PAC, LIVE SOUND,MUSIC PRODUCTION, STEINBERG: MARC FERRIS [email protected] 914-478-1233 (MOBILE) CORPORATE POPULAR YAMAHA JUNIOR ORIGINAL CONCERT SERIES RETURNS TO NAMM —Talented Young Musicians Take to the Stage at Annual Winter NAMM Crowd Favorite — ANAHEIM, Calif.—The Yamaha Music Education System will present its perennially captivating Junior Original Concert (JOC) on Thursday, January 19. For the first time, the young musicians will perform at two NAMM venues: 8:30 a.m. at the NAMMU Dealer Breakfast in the Pacific Ballroom, Hilton Anaheim Hotel and 1:00 p.m. at the Yamaha Booth, Keyboard Division area, Marquis Ballroom at the Anaheim Marriott Hotel. All NAMM attendees are invited to enjoy the free 1 p.m. concert event, which will feature young talented Yamaha Music School students performing their own original compositions. Nine-year-old Alexander Hurvitz, a student at Harmony Music World, Fullerton, Calif., will perform his original piano solo composition, “Pushy Cat and Nutty Squirrels.” Chloe Li, also age 9 and a JSAC student at the Irvine Yamaha Music Center, will play the Clavinova CVP-509 in her original ensemble composition, “First Flight.” Chloe will play along with percussionists Dominic Primo, Sarah Chen and Lauren Chen, as well as her sister Claire Li, who will be performing on a second CVP-509. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject. -
MASCOT COLORS WHY Blue Bird Royal Blue and Black Since the Blue Bird Is the Missouri State Bird, It Will Follow the Theme of the School Name (Capital City)
MASCOTS-Sorted Most to Least Submissions MASCOT COLORS WHY Blue Bird Royal Blue and Black Since the blue bird is the Missouri state bird, it will follow the theme of the school name (Capital City). Royal Blue is the color of the blue bird and black would be the secondary color matching our other High School (J C). Blue bird Powder blue and white Missouri state bird Blue bird Robins egg blue & white The blue bird is our state bird- links the high schools as well. Blue Bird Royal Blue and White The state bird is the blue bird and it fits with the other high school being a bird also. Blue bird navy blue and black To keep it in line with the current high school Blue bird Royal blue and white Because jays have a red bird and the other school can have a blue bird blue bird royal blue , red , and black for JC , we already have a jay bird so either we have the jay bird for both high schools or we have different birds .. and we combine the colors of TJ & LC into the new highs how Blue bird Dark blue and dark silver The mascot compares with the JC mascot. The colors because the blue would be a good color for a high school and silver because it goes with blue Blue Bird Blue bird blue and gold Blue bird is MO state’s bird. We have the Jays already. Blues and Jays of JC sound good. It’s catchy, “Go JC Blues!” Blue Bird Royal blue and golden yellow Because Jc high school is jay birds and their color is red and black. -
WINTER PARK TOPICS a Weekly Review of Social and Cultural Activities During the Winter Resort Season
WINTER PARK TOPICS A Weekly Review of Social and Cultural Activities During the Winter Resort Season Vol. 3—No. 11 Winter Park, Florida, Saturday, March 14, 1936 Price 10 Cents THE WINTER'PARK FLOWER SHOW It was indeed, a kindly whim of ture which was lent by Mr. R. G. the Weatherman to give to the Coffman of Ye Olde Forge, Orlan- Winter Park Garden Club two such do, with bowls of cut flowers and lovely days for their Eleventh An- callas from the gardens of Mr. Ben nual Flower Show, ..when skies low- Green, Fairvilla grower, the whole ered and rain poured both before gTouped to make an attractive and after. As a result, there was room. In front and below the stage a probably record-breaking attend- were laz'ge; scarlet azaleas and ance, with over 1300 present. Peo- palms, lent by Mr. M. J- DBaetwy- ple were there from many other ler, of the Supei'ior Nurseries, Or- towns in the state, a . number of lando. The entire center and north won en of importance in Garden side of this room was occupied by Club circles, among them including the horticultural specimens and the Mrs. M. M. Parrish, President of arrangements grouped at the right the Florida Federation, Mrs. Fred of the stage, the soft, pastels of Borland, the Corresponding Secre- the flowers blending into a charm- tary, Mrs. Harry Griffin, Record- ing ensemble.1 ing Secretary, and Mrs. Charles Morris, Past Recording Secretary. At the left of the stage was the Mrs. Waldo Cummer, one of the educational exhibit arranged under judges of arrangements, is a com- the direction of Mrs. -
MILES DAVIS: the ROAD to MODAL JAZZ Leonardo Camacho Bernal
MILES DAVIS: THE ROAD TO MODAL JAZZ Leonardo Camacho Bernal Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: John Murphy, Major Professor Cristina Sánchez-Conejero, Minor Professor Mark McKnight, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Camacho Bernal, Leonardo, Miles Davis: The Road to Modal Jazz. Master of Arts (Music), May 2007, 86 pp., 19 musical examples, references, 124 titles. The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the reasons for the direction of the change: Why change and why modal music? Copyright 2006 by Leonardo Camacho Bernal ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES............................................................................................... v Chapters 1. INTRODUCTION ............................................................................................... -
Airwaves (1983-02 And
·AIRWAVES A Service of Continuing Education and Extension tm · University of Minnesota, Qulut~ ·- - . February-March 1983 .... C 0 -a (1) 0 :::c -a C C ..c-.... -0 ...z '"I- ....0 \ Cl) / 0 ..c C Cl) Cl) (I) Ii.. C ' '.'> "<C ·~. \ ..c "' 1 f 0 \ - - ..._ I I\UM() \taff S1a1ion Managtt , ...... Tum Livingsion Program Dittc;tor ... •. ... • John Zi~glrr -,\nt. Program Dirl'<'1or . .• •. Paul Schmitz t:nginttring .. .. .. ... ..... Kirk Kintm Producn/Ou1ttach ....... Jran Johnson AIRWAVES is the bi-monthly program Re or>t to the Listener guide of KUMD, which is the 100,000 watt public radio station at the University of Minnesota-Duluth, broadcasting at 103.3 fro. KUMD is part By Tom Livingston, Station Manager of University Media Resources, a department of Continuing Education The next several weeks will see the NPR PLAYHOUSE - A 5 days/week ½ help. If you just can't wait, go to the and Extension at the University of worst of winter over and the first glimmer- hour radio drama program. With Twin Cities and visit some of the big Minnesota . KUMD's program ings of spring (How's that for optimistic?). the demise of "CBS Mystery record stores there. If that isn't pos- · philosophy is to provide the highest It will also bring another several weeks Theater", I think it will be the sible I suggest you write the record quality non-commercial program- of some of the finest radio anywhere only daily radio drama program company and ask if they will send you ming, including music, news and from KUMD (a lead-pipe cinch). -
The Pride of New Orleans
DOWNBEAT 76th Annual Readers Poll Winners! 76TH 76TH A NNUAL REA NNUAL D E R S POLL POLL S W INNE Trombone R S // Tr OM B ONE ONE SHORTY S HO R TY // The Pride of A HMA D JAMAL New Orleans // E S P Poll Winners E R ANZA ANZA Ahmad Jamal Sp HALL OF FaME AL D ING Esperanza Spalding // B R A D Brad Mehldau M EHL D AU Miles Davis Jeff Beck COMPLETE RESULTS INSIDE! Rudresh DECEMBER 2011 U.K. £3.50 Mahanthappa BLINDFOLD TEST D E C EM Holiday B E R 2 011 Gift Guide DOWNBEAT.COM DECEMBER 2011 VOLUME 78 – NuMBER 12 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 | Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Blue Note Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963
Discography Of The Blue Note Label Blue Note was started in New York City in 1938 by Alfred W. Lion. Blue Note recorded jazz only. The following history of the Blue Note record label is from the Blue Note Website (bluenote.com). “In 1925, 16-year old Alfred Lion noticed a concert poster for Sam Wooding's orchestra near his favorite ice-skating arena in his native Berlin, Germany. He'd heard many of his mother's jazz records and began to take an interest in the music, but that night his life was changed. The impact of what he heard live touched a deep passion within him. His thirst for the music temporarily brought him to New York in 1928 where he worked on the docks and slept in Central Park to get closer to the music. On December 23, 1938, Lion attended the celebrated Spirituals to Swing concert at Carnegie Hall. The power, soul and beauty with which boogie woogie piano masters Albert Ammons and Meade Lux Lewis rocked the stage gripped him. Exactly two weeks later, on January 6 at 2 in the afternoon, he brought them into a New York studio to make some recordings. They took turns at the one piano, recording four solos each before relinquishing the bench to the other man. The long session ended with two stunning duets. Blue Note Records was finally a reality. The label's first brochure in May of 1939 carried a statement of purpose that Lion rarely strayed from throughout the many styles and years during which he built one of the greatest jazz record companies in the world. -
Paint Shop Pro 8 User Guide
Paint Shop Pro User Guide Copyright Information Copyright © 2003 by Jasc Software, Inc. All rights reserved. No portion of the contents of this publication may be reproduced or transmitted in any form or by any means without the express written permission of Jasc Software, Inc. Trademark Information Animation Shop, ImageCommander, Media Center Plus, Paint Shop and the Jasc orbit logo are trademarks of Jasc Software, Inc. Jasc, Paint Shop Pro, and The Power to Create are registered trademarks of Jasc Software, Inc. Acrobat, PostScript, Photoshop, Photoshop Elements are either registered trademarks or trademarks of Adobe Systems Incorporated. The Postscript language is copyrighted by Adobe Systems Incorporated. Macintosh is a registered trademark of Apple Computer, Inc. Autodesk is a registered trademark of Autodesk, Inc. MacPaint is a product and trademark of Claris Corporation. GIF is a service mark property and Graphic Interchange Format is copyright property of CompuServe Inc. CorelDRAW, Ventura Publisher, WordPerfect are either registered trademarks or trademarks of Corel Corporation. GEM, GEM Paint are either registered trademarks or trademarks of Digital Research Inc. Digimarc is a registered trademark of Digimarc Corporation. Deluxe Paint is a registered trademark of Electronic Arts. Kodak Photo CD is registered trademark of Eastman Kodak Company. OS/2, Lotus 1-2-3 are registered trademarks of International Business Machines Corporation. Dr. Halo is a registered trademark of Media Cybernetics. Micrografx Draw is registered trademark of Micrografx, Inc. Microsoft, Windows, Microsoft Paint, Microsoft Word, Video For Windows are either registered trademarks or trademarks of Microsoft Corporation. CT is a registered trademark of Scitex Corporation. ZSoft Paintbrush is a registered trademark of ZSoft Corporation. -
Avid DVD by Sonic User's Guide
Avid® DVD By Sonic™ User’s Guide ™ make manage move | media Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States Patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,987,501; 6,016,152; 6,018,337; 6,023,531; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,134,607; 6,137,919; 6,141,691; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,317,158; 6,317,515; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,546,190; 6,552,731; 6,553,142; 6,570,624; 6,571,255; 6,583,824; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; D392,269; D396,853; D398,912.