DOCSLIB.ORG

The Anchor, Volume 118.04: September 22, 2004

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Anchor, Volume 118.04: September 22, 2004 Hope College Hope College Digital Commons The Anchor: 2004 The Anchor: 2000-2009 9-22-2004 The Anchor, Volume 118.04: September 22, 2004 Hope College Follow this and additional works at: https://digitalcommons.hope.edu/anchor_2004 Part of the Library and Information Science Commons Recommended Citation Repository citation: Hope College, "The Anchor, Volume 118.04: September 22, 2004" (2004). The Anchor: 2004. Paper 16. https://digitalcommons.hope.edu/anchor_2004/16 Published in: The Anchor, Volume 118, Issue 4, September 22, 2004. Copyright © 2004 Hope College, Holland, Michigan. This News Article is brought to you for free and open access by the The Anchor: 2000-2009 at Hope College Digital Commons. It has been accepted for inclusion in The Anchor: 2004 by an authorized administrator of Hope College Digital Commons. For more information, please contact [email protected]. September 2004 tHe "h" word ••••••• Hope College Holland, Michigan A student-run nonprofit publication Serving the Hope College Community for 118 years Campus HOUSE MAKEOVER TIME Briefs Campus ministries teams with Jubilee to English prof rejuvenate community iiini publishes new The Extreme House Makeover, held this past Saturday, was sponsored by Ju- children's book bilee Ministries, a local Christian out- Hcalhcr Sellers, professor f. ! reach program. of English, has a new book on Campus ministries promoted the the market. "Spike and project in chapel and the Gathering for Cubby's Ice Cream Island several weeks, but were still over- Adventure," features Seller's whelmed by the 200 students who turned corgi and aulhor/illusiraior out to help improve a house for low-in- Amy Young's black lab as two come families on 15th Street, as well as dogs trapped in a boat during businesses on 17ih Street. a storm. The pups use their The large turnout has spurred the min- AMCHOR PHOTO BY ERIN L HOTTA creativity to find a way out istries team to begin a new program and earn themselves a treat: Campus ministries staff and Hope students performed a song and dance called "Tuesday: Every hour on the ice cream sundaes. number about their yard work project as they served on Saturday morning. hour," which will feature service projects A kick-off party will be held Students worked in 2-hour shifts, improving areas on 15th and 17th Streets. for students all day long, every week. to benefit local dogs on Sat- urday, Oct. 9 from 2 to 4 p.m. at the Harbor Humane Soci- ety in Grand Haven. Admis- CIS focuses on desegregation, equality sion is free. Nick Engel oes of 'Brown v. Board of Education.'" It but I don't want us to dwell 50 years ago Math award STAFF REPORTER marks the 50th anniversary of the Supreme either." said Alfredo Gonzales, Assistant On Sept. 28 and 29, Court ruling that outlawed segregation in Provost and chair for the CIS committee. goes to senior Hope College holds its public schools and accelerated America's "The Critical Issues Symposium needs to Hope student Mike Cortez annual Critical Issues ascent to a more integrated society. deal with contemporary issues relating to ("05), a chemistry and math- Symposium, challeng- The program will focus on the history of this landmark case. I think we've asked our ematics major, was recently ing the campus to think "Brown v. Board" and the factors leading up speakers to do that." Gonzales said. He also awarded the Socicly for la about important and to the landmark decision. It will also look at expressed his belief that the speakers cho- som-ctimcrmghty con- dustrial and Applied Math- striking that balance. troversial topics. and what the country, and Holland. Michi- v ematics Award by the Pi Mu For 23 years. Hope College has cancelled This year's sympo- gan, still needs to do. in order to overcome Epsilon society. He was pre- a day of classes to allow students and Linda, Cheryl Brown sium is entitled "Race segregation. sented with this honor for his to visit Sept. 28, 29. and Opportunity: Ech- "We have to set a historical background. more SYMPOSIUM on 2 speech titled "A Mathemati- cal Model of Tri-Trophic Interactions." Two other Hope students Pull teams begin also presented their papers during MathFest. Henry Gould ('05) read "Mathemati- intensive training cal Biology Curriculum De- the Anchor, where a small box reads velopment" and Andrew Amanda Zoratti "Come out and see the tug-of-war Wells ('05) read his "Count- STAFF REPORTER The 107,h Annual Pull is sched- between the Sophomores and the ing Symmetric Matrices of uled for Oct. 2 at 3 p.m., and train- A's and Freshmen." Rank One and Two." ing is in full swing on campus. This small announcement esca- The even-year and odd-year lated to today's Pull tradition, even- Homecoming teams each consist of 36 members year students versus odd-, where apiece; 18 male pullers and 18 fe- the juniors coach the freshmen and Voting online the seniors coach the sophomores. male moralers. A/fOHOff PHOTO BY AMANDA ZOBATTI Students can now vote for Over its history, the Pull has "Even year rocks." said Haleigh Heneveld ('08). "I've lived in The '07 pull team prepares for practice each day by the top 15 Homecoming rep- lasted an average of three hours, Zeeland my entire life and gone to carrying their rope to the practice pits. resentatives on Knowhope. with the longest Pull running nearly Nominations are also being four in 1977. In 1978, judges es- the Pull many times, and just al- livated while they work out." added the pit. held for "Favorite Faculty tablished a 3-hour lime limit, which ways wanted to be a morale girl." Elise Nelson ('08). "It's an awesome experience Member." Homecoming fes- still stands today. The shortest Pull, Moralers have the job of making The event takes place in pits on where you bond with other fresh- tivities will include a Hoe- held in 1956, was a mere 2 minutes the calls and chants as well as opposite sides of the Black River. men and truly represent your class. down. the 27th annual Run- and 40 seconds. cheering the team on. The pullers can't see the olher team It's brutal, but it's awesome, be- Bike-Swim-Walk event, a The tradition is the oldest event "They leach us to yell like men," or the river, so the moralers act as cause you test your mental strength parade, a home football game in any college history. The first said Melissa Murray (*08), about the eyes for the team, calling out and how hard you can push your- and the Homecoming Ball. known mention of the Pull comes being a moraler. orders and strategies from above more PULL on 2 from the November 1898 edition ot "We just need to keep them mo- Cheer team fires up Sports, Inside «r page 8 Candidates compared [email protected] Lauten to perform MSU Jazz trio visits Features, page 4 Features, page 5 (616) 395-7877 Arts, page 3 %VncKor CAMPUS BEAT September 22, 2004 Chapel for faculty is new Crossroads project A series of seminars at form of Eventide, and was led by David Sean Daenzer to the typical chapel service Baylor University had a big Cunningham. PRODUCTION ASSISTANT found it less attention grabbing, The second was the 9/11 memorial service, "The Crossroads Projccl" is a name heard many faculty were pleased." influence on the concept for which featured psalm and other scriptural frequently on campus. The relalively young Cunningham also cites the the faculty services. Cunningham drew upon the readings, prayers and hymn singing, accom- program, which began in the fall of 2003 and success of last year's Choral panied by Huw Lewis on the organ. The is funded by a grant from ihc Lilly Endow- Evensong, which was held at ideas of David Lyle Jeffrey, Baylor's provost, who spoke memorial also featured a poem on "The Ma- ment, has now taken on a new project that Mulder Chapel with the aid of about the faculty's role in terialism of Angels" by Jack Ridl. professor focuses on Hope faculty. Brad Richmond and Huw shaping Christian higher of English. On Thursdays, the Crossroads Prqjcct and Lewis, professors of music, as education. Last week's service was organized by a Hope professors are coming together for a an encouraging indicator that The 30- to 40-minule group of Catholic faculty, and was based on new worship service. there existed a "real interest, Thursday services are orga- the spirituality of St. Francis. •There was a wish for faculty to worship not just a few scattered David Cunningham nized by faculty. They are "St. Francis lived in an anxious lime, and regularly" said David Cunningham, direc- people". wrote to people in an anxious time," said tor of Crossroads. "Chapel is focused toward Following a letter to die President at the geared towards issues and concerns that af- fect faculty; however everyone, including Maura Reynolds, director of acadmic advis- students...and faculty need their own space end of the Spring 2004 semester, the idea for the faculty service was approved by students, is invited. A number of different ing. She sees the faculty services as an alter- the adminisiration. worship styles will be represented. nate opportunity for some. Chapel is focused toward A committee was appointed to The services will be held in either the or- "We're all busy people," Reynolds said. She noted that, like St. Francis, we all are students...and faculty need make the idea a reality. It was com- gan studio in Nykerk or the Mulder chapel posed of interested faculty mem- at Western Theological Seminary, alternat- living out vocation right where we are, "even their own space (to worship).
Load more

Recommended publications
  • Microtonal University (Mu)
    MICROTONAL UNIVERSITY (MU) a virtual microtonal university SCHEDULE September 5, 2021 – August 28, 2022 A Program of the American Festival of Microtonal Music Inc. (AFMM) Johnny Reinhard - Director [email protected] MU’s Definition of “Microtonal Music”: “All music is microtonal music cross-culturally. Twelve-tone equal temperament is in itself a microtonal scale, only it enjoys exorbitant attention and hegemonic power, so we focus on the other tuning arrangements.” Johnny Reinhard, MU Director Financial Structure: $50. annual subscription; after September 1, 2021 annual membership increases to $200. Checks must be made out fully to: American Festival of Microtonal Music Inc. Or, please go to www.afmm.org and look for the PayPal button at the bottom of the American Festival of Microtonal Music’s website on the front page. MU c/o Johnny Reinhard Director, MU/AFMM 615 Pearlanna Drive San Dimas, CA 91773 347-321-0591 [email protected] 2 MU MU – a virtual microtonal university Beginning September 5, 2021, the American Festival of Microtonal Music (AFMM) presents a new project: MU Faculty members are virtuoso instrumentalists, composers and improvisers Meredith Borden (voice/interstylistic) Svjetlana Bukvich (synthesizer/electronics) Jon Catler (guitar/rock) Philipp Gerschlauer (saxophone/jazz) Johnny Reinhard (bassoon/interstylistic) – Director of MU Manfred Stahnke (viola/music composition) Michael Vick (multi-instrumental/technology) Using various platforms, MU will make available a host of different courses, instruction, entertainment, connections,
    [Show full text]
  • December 2000
    21ST CENTURY MUSIC DECEMBER 2000 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. Subscription rates in the U.S. are $84.00 (print) and $42.00 (e-mail) per year; subscribers to the print version elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $8.00 (print) and $4.00 (e-mail) Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. Typeset in Times New Roman. Copyright 2000 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy.
    [Show full text]
  • Liner Notes, Visit Our Web Site
    Resonance, Decisions, Freedom: The Music of Peter Zummo With accuracy and humor, Peter Zummo (born 1948) often describes his unique music as “minimalism plus a whole lot more.” He is an important exponent of the American contemporary classical tradition whose compositions explore the methodologies of not just minimalism, but also jazz, world music, and rock, while seeking to create freedom in ensemble situations. Zummo’s realization of the contemporary urge to make music that behaves like “Nature in its manner of operation” (John Cage) is to encourage spontaneous, individual decisions within a self-structuring, self-negotiating group of performers. His scores provide unique strategies (such as a “matrix of overlapping systems,” freely modulating repetition rates, etc.) and materials for achieving that aim. Zummo has also designed new instrumental techniques for the trombone, valve trombone, dijeridu, euphonium, electronic instruments, and voice, and performed and recorded his work and that of others worldwide. The origin and nature of these ensemble freedoms and instrumental techniques form the subjects of this essay. (The composer’s comments, in quotes below, are from an interview on August 24, 2006, in New York City.) Instruments (1980) Following his early classical music studies and graduation from Wesleyan University, Zummo moved to New York City in 1975. “At the time, I was aware of the Fluxus movement, the Grand Union [a New York-based ‘anarchistic democratic theater collective’ (Steve Paxton) of avant-garde dancers formed in 1970] and that generation of free-thinking artists. I respected them a lot. I considered myself half a generation behind them but shared their mindset of free-ranging exploration.
    [Show full text]
  • Modernworks Musician Bios
    MEET The ModernWorks! Musicians Madeleine Shapiro - Bio Madeleine has presented her VOICES cello recital at colleges and universities throughout the United States. Her concerts have included numerous premiere performances of recent works for cello, and cello and electronics, many of which were written specially for her by a wide variety of American, European and Asian composers. She is a recipient of two Performance Incentive Awards from the American Composers Forum to assist in the premieres of new works. Recent appearances include a concert of works for cello and electronics at the avant-garde Logos Foundation in Ghent, Belgium and two tours of Italy with performances and masterclasses at The American Academy and the Nuovi Spazi Musicali festival in Rome; the Orsini Castle in Avezzano, and the conservatories of Parma and Castelfranco Veneto. Madeleine performs regularly at colleges and performing arts series in the East and Midwest United States. Recent appearances have included the Forefront Series at Bowling Green State University in Ohio, Rutgers University, University of Maryland and the "Solo Flights" series sponsored by the Composers Collaborative in New York City. Madeleine appeared twice in recital at the Instituto Brazil-Estados Unidos in Rio De Janiero, Brazil and participated in the 3rd and 5th International Cello Encounters, also in Rio de Janiero. From 1974-1996, Madeleine was the cellist and co-director of The New Music Consort, an ensemble specializing in the performance of twentieth century music. With the Consort, Madeleine toured the United States and Europe, and participated in numerous premiere performances of works by such eminent composers as Milton Babbitt, John Cage, Charles Wuorinen and Mario Davidovsky as well as emerging American, European and Asian composers.
    [Show full text]
  • Factorial [Five][Five] Factorialfactorial
    [Five] Factorial [Five][Five] FactorialFactorial ISBN 0-9754468-4-3 50800> 94780975 46843 ! Factorial Press ! 5! [Five] Factorial Summer 2006 Copyright © 2006 Factorial & Contributors Edited by Sawako Nakayasu Managing Editor: Benjamin Basan Ants: Chris Martin (front cover) Kenjiro Okazaki (back cover & section headings) Many thanks to: Jerrold Shiroma, Eugene Kang, Eric Selland, the Santa Fe Art Insitute & Witter Bynner Foundation, Shigeru Kobayashi, Yotsuya Art Studium, Yu Nakai, & Naoki Matsumoto. ISSN 1541-2660 ISBN 0-9754468-4-3 & 978-0-9754468-4-3 http://www.factorial.org/ Modernist Japanese Poetry Sampler KATUE KITASONO from Conical Poems A Cornet-Style Scandal Disconnect the lead cone and hammer the yellow dream in a glass bottle. If even then a metal walking stick leaps up, it’s best to take off your glasses and calmly lie down. In a flash, space turns to glass; pigs exhale firefly-colored gas and crack in the brilliant beyond. 5 Those Countless Stairs and Crystal Breasts of the Boy with a Glass Ribbon Tied Around His Neck Snail-colored space warps, tears, flies off. Then, from a direction of total liquid, a boy with golden stripes showed the circle of a wise forehead and came sliding here into the proscenium. 6 Transparent Boy’s Transparent Boy’s Shadow O boy whom I love! O beautiful rose boy who climbs the sky’s silver line. Stare at tragedy of light of eternity’s ocean, eternity’s acrobat. Dream, dream is a shining wheel, with wheel of tears and crystal wheel carrying away your arch and bouquet in summer pebbles.
    [Show full text]
  • Tim Lawrence
    Hold On to Your Dreams Arthur Russell and the Downtown Music Scene, 1973–1992 Tim Lawrence Hold On to Your Dreams is the first biography of the musician and composer Arthur Russell, one of the most important but least known contributors to New York’s downtown music scene during the 1970s and 1980s. With the exception of a few dance recordings, including “Is It All Over My Face?” and “Go Bang! #5,” Russell’s pioneering music was largely forgotten until 2004, when the posthumous release of two albums brought new attention to the artist. This revival of interest gained momentum with the issue of additional albums and the documentary film Wild Combination. Based on interviews with more than seventy of his collaborators, family members, and friends, Hold On to Your Dreams provides vital new information about this singular, eccentric musician and his role in the boundary-breaking downtown music scene. Tim Lawrence traces Russell’s odyssey from his hometown of Oskaloosa, Iowa, to countercultural San Francisco, and eventually to New York, where he lived from 1973 until his death from AIDS-related complications in 1992. Resisting definition while dreaming of commercial success, Russell wrote and performed new wave and disco as well as quirky rock, twisted folk, voice-cello dub, and hip-hop-inflected pop. “He was way ahead of other people in understanding that the walls between concert music and popular music and avant-garde music were illusory,” comments the composer Philip Glass. “He lived in a world in which those walls weren’t there.” Lawrence follows Russell across musical genres and through such vital downtown music spaces as the Kitchen, the Loft, the Gallery, the Paradise Garage, and the Experimental Intermedia Foundation.
    [Show full text]
  • Elodie Lauten
    ELODIE LAUTEN CONTENTS BIOGRAPHICAL SUMMARIES PRESS QUOTES COMPOSITION LIST DISCOGRAPHY AWARDS, HONORS AND COMMISSIONS BIBLIOGRAPHY: ARTICLES BY ELODIE LAUTEN BIBLIOGRAPHY: ARTICLES ABOUT ELODIE LAUTEN EXHIBITION LIST Contact: Jeffrey James Art Consulting [email protected] [email protected] Elodie Lauten Information Kit Page 1 SHORT BIOGRAPHICAL SUMMARY Elodie Lauten is a composer, performer and media artist. She started as a singer/songwriter and became a pioneer of electronic music since the early 70s. While at NYU, her Master’s thesis, an opera for the Fairlight Computer Musical Instrument, The Death of Don Juan, received an award from the National Endowment for the Arts. She has composed a lot of electronic music, in addition to other projects of electro-acoustic, electronic, vocal, chamber and orchestral music, richly textured with driving rhythms, surprising chord changes and occasional dramatic dissonance, but always ear-friendly and with a unique signature. As a leading exponent of post-minimalism, she was listed among the most influential composers of the last three decades (Sequenza 21). Her piano, electronic, orchestral compositions and five operas have had 30 releases on 15 different major and independent labels in the US and Europe. Her music was presented by the Lincoln Center Festival, the New York City Opera, The Whitney Museum, throughout America with performances and university residencies, and in Canada and Europe, notably at the Paris Museum of Modern Art. In 2009 her Two-Cents Opera had a three-week run at Theater for the New City, and in 2010 an extensive reissue of her piano music was released by Unseen Worlds.
    [Show full text]
  • Lawrence, T (2007) Liminalities 3 (3).Pdf
    University of East London Institutional Repository: http://roar.uel.ac.uk This paper is made available online in accordance with publisher policies. Please scroll down to view the document itself. Please refer to the repository record for this item and our policy information available from the repository home page for further information. To see the final version of this paper please visit the publisher’s website. Access to the published version may require a subscription. Author(s): Lawrence, Tim Article title: Connecting with the Cosmic: Arthur Russell, Rhizomatic Musicianship, and the Downtown Music Scene, 1973-92 Year of publication: 2007 Citation: Lawrence, T. (2007) ‘Connecting with the Cosmic: Arthur Russell, Rhizomatic Musicianship, and the Downtown Music Scene, 1973-92’ Liminalities: A Journal of Performance Studies 3 (3) Link to published version: http://liminalities.net/3-3/russell.htm Liminalities: A Journal of Performance Studies Vol. 3, No. 3, November 2007 a liminalities monograph Connecting with the Cosmic: Arthur Russell, Rhizomatic Musicianship, and the Downtown Music Scene, 1973-92 Tim Lawrence During the 1970s and early 1980s, a diverse group of artists, musicians, sculptors, video filmmakers and writers congregated in downtown New York and forged a radical creative network. Distinguished by its level of interactivity, the network discarded established practices in order to generate new, often-interdisciplinary forms of art that melded aesthetics and community. “All these artists were living and working in an urban geographical space that was not more than twenty-by-twenty square blocks,” notes Marvin J. Taylor, editor of The Downtown Book. “Rarely has there been such a condensed and diverse group of artists in one place at one time, all 1 sharing many of the same assumptions about how to make new art.” Tim Lawrence runs the Music Culture programme in the School of Social Sciences, Media and Cultural Studies at the University of East London, where he's a senior lecturer.
    [Show full text]
  • Arthur Russell, Rhizomatic Musicianship, and the Downtown Music Scene, 1973-92
    Liminalities: A Journal of Performance Studies Vol. 3, No. 3, November 2007 a liminalities monograph Connecting with the Cosmic: Arthur Russell, Rhizomatic Musicianship, and the Downtown Music Scene, 1973-92 Tim Lawrence During the 1970s and early 1980s, a diverse group of artists, musicians, sculptors, video filmmakers and writers congregated in downtown New York and forged a radical creative network. Distinguished by its level of interactivity, the network discarded established practices in order to generate new, often-interdisciplinary forms of art that melded aesthetics and community. “All these artists were living and working in an urban geographical space that was not more than twenty-by-twenty square blocks,” notes Marvin J. Taylor, editor of The Downtown Book. “Rarely has there been such a condensed and diverse group of artists in one place at one time, all 1 sharing many of the same assumptions about how to make new art.” Tim Lawrence runs the Music Culture programme in the School of Social Sciences, Media and Cultural Studies at the University of East London, where he's a senior lecturer. He is author of Love Saves the Day: A History of American Dance Music Culture, 1970-79 (Duke University Press, 2004), and is completing a biography of Arthur Russell that is due to be published by Duke. He maintains a website at www.timlawrence.info. Author note: Many thanks to Enrica Balestra, Andrew Blake, Jeremy Gilbert, Maggie Humm and Michael LeVan for valuable comments on an earlier draft, as well as Steve Knutson, Audika Records and the Estate of Arthur Russell for granting permission to use clips from Calling Out of Context, First Thought Best Thought, and World of Echo.
    [Show full text]
  • Musical Elements: Shining a Light on Midtown
    Musical Elements: Shining a Light on Midtown Item Type text; Electronic Thesis Authors Cesarz, Blake Edward Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 04:06:58 Link to Item http://hdl.handle.net/10150/622899 MUSICAL ELEMENTS: SHINING A LIGHT ON MIDTOWN by Blake Edward Cesarz ____________________________ Copyright © Blake Edward Cesarz 2016 A Thesis Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2016 2 STATEMENT BY AUTHOR The thesis titled Musical Elements: Shining a Light on Midtown prepared by Blake Edward Cesarz has been submitted in partial fulfillment of requirements for a master’s degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship.
    [Show full text]
  • Kenneth Goldsmith
    6799 Kenneth Goldsmith zingmagazine 2000 for Clark Coolidge 45 John Cage 42 Frank Zappa / Mothers 30 Charles Ives 28 Miles Davis 26 James Brown 25 Erik Satie 24 Igor Stravinsky 23 Olivier Messiaen 23 Neil Young 23 Kurt Weill 21 Darius Milhaud 21 Bob Dylan 20 Rolling Stones 19 John Coltrane 18 Terry Riley 18 Morton Feldman 16 Rod McKuen 15 Thelonious Monk 15 Ray Charles 15 Mauricio Kagel 13 Duke Ellington 3 A Kombi Music to Drive By, A Tribe Called Quest M i d n i g h t Madness, A Tribe Called Quest People’s Instinctive Travels and the Paths of Rhythm, A Tribe Called Quest The Low End Theory, Abba G reatest Hits, Peter Abelard Monastic Song, Absinthe Radio Trio Absinthe Radio Tr i o, AC DC Back in Black, AC DC Dirty Deeds Done Dirt Cheap, AC DC Flick of the Switch, AC DC For Those About to Rock, AC DC Highway to Hell, AC DC Let There Be R o c k, Johnny Ace Again... Johnny Sings, Daniel Adams C a g e d Heat 3000, John Adams Harmonium, John Adams Shaker Loops / Phrygian Gates, John Luther Adams Luther Clouds of Forgetting, Clouds of Unknowing, King Ade Sunny Juju Music, Admiral Bailey Ram Up You Party, Adventures in Negro History, Aerosmith Toys in the Attic, After Dinner E d i t i o n s, Spiro T. Agnew S p e a k s O u t, Spiro T. Agnew The Great Comedy Album, Faiza Ahmed B e s a r a h a, Mahmoud Ahmed E re Mela Mela, Akita Azuma Haswell & Sakaibara Ich Schnitt Mich In Den Finger, Masami Akita & Zbigniew Karkowski Sound Pressure Level, Isaac Albéniz I b e r i a, Isaac Albéniz Piano Music Volume II, Willy Alberti Marina, Dennis Alcapone Forever Version, Alive Alive!, Lee Allen Walkin’ with Mr.
    [Show full text]
  • Revisiting the Spiritual in Art
    BEYOND KANDINSKY: REVISITING THE SPIRITUAL IN ART An online symposium commemorating the centennial of the publication of Wassily Kandinsky’s classic text, On the Spiritual in Art The following is a transcript of the conference, which was a moderated blog that ran from March 30th through April 8th, 2011, at beyondkandinskyblog.net Project website: www.beyondkandinsky.net Moderators: Taney Roniger Eric Zechman Participating panelists: Laura Battle Anney Bonney Jeff Edwards Max Gimblett Atta Kim Joseph Nechvatal Daniel A. Siedell Charlene Spretnak Pawel Wojtasik Contents Session I: The Spiritual Then and Now………………………………..2 Session II: The Changing Shape of Art……………………………….43 Session III: Art and Its Audience…………………………….………..77 Session IV: The Artist in Society…………………………………..….94 Conclusions…………………….…………………………………....…97 Session I: The Spiritual Then and Now Welcome Posted by Taney Roniger on Wednesday, March 30, 2011 As we open this forum to the public today I would like to welcome everyone to our online symposium, Beyond Kandinsky: Revisiting the Spiritual in Art, sponsored by the BFA Fine Arts Department at the School of Visual Arts. Before beginning, I want to extend my thanks to Suzanne Anker, Chair of BFA Fine Arts here at SVA, for her continued support of this project, and to each of the nineteen participants who have graciously accepted our invitation to gather here and share their thoughts about the spiritual in art over the next ten days. Thanks to this diverse group of accomplished artists, critics, and scholars, the forthcoming dialogue promises to be a dynamic and illuminating one indeed. Each of our participants was asked to give a brief introduction outlining her or his background and relationship to our subject.
    [Show full text]