700 the Arts
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Sustainability in Designing of Plastic Arts
International Journal of Recent Technology and Engineering (IJRTE) ISSN: 2277-3878, Volume-7, Issue-6S5, April 2019 Sustainability in Designing of Plastic Arts Arjun Kumar Singh, Jasvinder Singh Abstract:In United States, Sustainable design is called Baudelaire's declaration, articulated destructive changes environmentally sustainable design in Art education. It is also appearing in the surrounding of the mankind. His research referred to as environmentally conscious Art Design. In Europe, work was the earliest testimony in which environment was it is mentioned as eco-design. It is a modern philosophy of Visual directly brought in relation with the human being[1]-[5]. Arts, where emphasis is on design-theory and relevant aesthetics. With his book, Marsh wanted to bring to our notice Socio-economical development and proliferation of waste has generated a new awareness. For pliable atmosphere, various the changes produced by the human actions in the physical stakeholders are requested to search solutions for these complex conditions of our planet by pointing dangers caused by issues. Even children in preparatory schools are made aware of imprudence in planning and execution of development their locale and through new ethics, are trained to become more projects. He wanted to caution his readers as he found greed responsible and watchful. For invigorating their locale, and selfishness forcing industrialists in western nations to environmentally conscious thinkers are engaging artists to go for new industries in new areas. He knew that the contextualize aesthetically, with new art designs, various human depletion of natural sources at alarming stage in all issues .The ultimate goal is to create a man friendly environment operations was interfering with the spontaneous by making Sustainable Arts from cheap materials in the light of arrangements in Nature. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: 26 June 2006 I, Cira Guadalupe Parra hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Choral Conducting It is entitled: A Conductor’s Guide to Selected Choral Works of Modesta Bor This work and its defense approved by: Chair: Dr. Stephen R. Coker___________ Dr. Earl G. Rivers_____________ Dr. Edward Nowacki_____________ _______________________________ _______________________________ A Conductor’s Guide to Selected Choral Works of Modesta Bor A document submitted to the Division of Graduate Studies and Research of the University of Cincinnati In a partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Ensembles and Conducting Division of the College-Conservatory of Music 2006 by Cira Parra 620 Clinton Springs Ave Cincinnati, Ohio 45229 [email protected] B.M., University of Cincinnati, College-Conservatory of Music, 1987 M.M., University of Cincinnati, College-Conservatory of Music, 1989 Committee Chair: Stephen R. Coker ABSTRACT Modesta Bor (1926-98) was one of the outstanding Venezuelan composers, conductors, music educators and musicologists of the twentieth century. She wrote music for orchestra, chamber music, piano solo, piano and voice, and incidental music. She also wrote more than 95 choral works for mixed voices and 130 for equal-voice choir. Her style is a mixture of Venezuelan nationalism and folklore with European traits she learned in her studies in Russia. Chapter One contains a historical background of the evolution of Venezuelan art music since the colonial period, beginning in 1770. Knowing the state of art music in Venezuela helps one to understand the unusual nature of the Venezuelan choral movement that developed in the first half of the twentieth century. -
Download Booklet
161Booklet 12/3/09 09:38 Page 1 ALSO AVAILABLE on signumclassics Peter Warlock: Some Little Joy I Love All Beauteous Things: Choral and Organ Music SIGDVD002 by Herbert Howells The Choir of Christ Church Cathedral, Dublin A film drama about a man who, by his SIGCD151 death at thirty six, had composed some of the most perfect gems of English Herbert Howells has an assured place in the annals of English songwriting and elevated hedonism to an church music, however his popular reputation is founded largely on art form. the frequent performance of a small body of core works. This recording redresses the balance in exploring some much less well- known pieces, with impassioned performances from the Choir of Christ Church Cathedral, Dublin. Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 161Booklet 12/3/09 09:38 Page 3 THE frostbound wood 16. When the Dew is Falling Herbert Howells [3.36] 17. Full Moon Herbert Howells [2.59] 1. My Little Sweet Darling Peter Warlock [1.59] Noble Numbers Betty Roe 18. To His Saviour, a Child; a Present, by a Child [1.35] 2. Take, O Take Those Lips Away Peter Warlock [1.35] 19. To God; An anthem sung before the King in 3. And Wilt Thou Leave Me Thus? Peter Warlock [1.59] the chapel at Whitehall [2.43] 4. Sleep Peter Warlock [2.10] 20. To God [0.53] 21. To His Angrie God [1.41] 5. The Droll Lover Peter Warlock [0.57] 22. -
New and Lesser Known Works for Saxophone Quartet: a Recording
New and Lesser Known Works for Saxophone Quartet: A Recording, Performance Guide, and Composer Interviews by Woodrow Chenoweth A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: Christopher Creviston, Chair Joshua Gardner Michael Kocour Ted Solis ARIZONA STATE UNIVERSITY May 2019 ABSTRACT This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet. The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative , was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. -
Photography and Photomontage in Landscape and Visual Impact Assessment
Photography and Photomontage in Landscape and Visual Impact Assessment Landscape Institute Technical Guidance Note Public ConsuDRAFTltation Draft 2018-06-01 To the recipient of this draft guidance The Landscape Institute is keen to hear the views of LI members and non-members alike. We are happy to receive your comments in any form (eg annotated PDF, email with paragraph references ) via email to [email protected] which will be forwarded to the Chair of the working group. Alternatively, members may make comments on Talking Landscape: Topic “Photography and Photomontage Update”. You may provide any comments you consider would be useful, but may wish to use the following as a guide. 1) Do you expect to be able to use this guidance? If not, why not? 2) Please identify anything you consider to be unclear, or needing further explanation or justification. 3) Please identify anything you disagree with and state why. 4) Could the information be better-organised? If so, how? 5) Are there any important points that should be added? 6) Is there anything in the guidance which is not required? 7) Is there any unnecessary duplication? 8) Any other suggeDRAFTstions? Responses to be returned by 29 June 2018. Incidentally, the ##’s are to aid a final check of cross-references before publication. Contents 1 Introduction Appendices 2 Background Methodology App 01 Site equipment 3 Photography App 02 Camera settings - equipment and approaches needed to capture App 03 Dealing with panoramas suitable images App 04 Technical methodology template -
Reflections on Plastic Arts Education in Universities from a Global Perspective Chenqi She1,*
Advances in Social Science, Education and Humanities Research, volume 572 Proceedings of the 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021) Reflections on Plastic Arts Education in Universities from a Global Perspective Chenqi She1,* 1 Taizhou University, Taizhou, Jiangsu 225300, China *Corresponding author. Email: [email protected] ABSTRACT This paper studies the education mode of the Repin Academy of Fine Arts and the Department of Plastic Arts of Paris-I University, and analyzes the education mode of the plastic arts of these two colleges. By referring to the development trend of plastic arts education in the global perspective and combining with the practice of plastic arts education in Chinese colleges and universities, this paper discusses the traditional fine arts education and multidisciplinary integration education, which provides a reference for the new trend and possibility of the development of plastic arts education in colleges and universities. Keywords: Global perspective, Plastic arts, Multidisciplinary integration, Traditional art. 1. INTRODUCTION reference object, and even the concept of "Plastic Art" also comes from the West. The foundation of Plastic arts education is not only the art of China's college education is the modeling method visual creation, but also the attribute of humanities. based on scientific perspective and structural From these two characteristics of the discipline, anatomy since the Renaissance. Therefore, it is not plastic art education has developed two only a spatial concept perspective, but also a representative teaching modes at present: traditional professional perspective brought by the art education that emphasizes painting skill training international development of art. and multidisciplinary integration art education that emphasizes theoretical basis. -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
WEST Sidemartin Drive
Approximate boundaries: N-W. Vliet St; S-W. Martin Dr-W. Highland Blvd; E-N. 35th St; W-Wisconsin Hwy 175 WEST SIDEMartin Drive NEIGHBORHOOD DESCRIPTION Comprising little more than a square half mile in size, Martin Drive is tucked away between the Olmstead-designed Washington Park to the north and Historic Miller Valley to the south. It’s chiefly one-way streets are tree-lined, and many of the homes are duplexes. Both Highland Boulevard and Martin Drive are winding streets. Due to its small size, the neighborhood has only one commercial corridor and this is on Vliet Street. HISTORY Much of the small Martin Drive neighborhood was developed in the 1920s. Unlike the elite areas on nearby Highland Boulevard, this became a working class neighborhood. Workers living in Martin Drive had several large employers nearby, including Harley Davidson, Miller Brewery, and the Transport Company. Other industrial employers were just a few blocks away in the Menomonee Valley. Bordered by the sprawling Washington Park to the north, residents had quick access to picnic areas, programs, and the county’s zoo. Many could stop to observe all the outdoor animals on their way to work or school. Much changed during the era of freeway building, when I-41 cut into Washington Park and the zoo was relocated to the far west side of Milwaukee. Many homes were also lost on 47th Street between Vliet Street and Juneau Avenue. The neighborhood became even smaller, but did not lose its cohesiveness. Early populations The early population of Martin Drive was almost totally German. -
Fishing the Red River of the North
FISHING THE RED RIVER OF THE NORTH The Red River boasts more than 70 species of fish. Channel catfish in the Red River can attain weights of more than 30 pounds, walleye as big as 13 pounds, and northern pike can grow as long as 45 inches. Includes access maps, fishing tips, local tourism contacts and more. TABLE OF CONTENTS YOUR GUIDE TO FISHING THE RED RIVER OF THE NORTH 3 FISHERIES MANAGEMENT 4 RIVER STEWARDSHIP 4 FISH OF THE RED RIVER 5 PUBLIC ACCESS MAP 6 PUBLIC ACCESS CHART 7 AREA MAPS 8 FISHING THE RED 9 TIP AND RAP 9 EATING FISH FROM THE RED RIVER 11 CATCH-AND-RELEASE 11 FISH RECIPES 11 LOCAL TOURISM CONTACTS 12 BE AWARE OF THE DANGERS OF DAMS 12 ©2017, State of Minnesota, Department of Natural Resources FAW-471-17 The Minnesota DNR prohibits discrimination in its programs and services based on race, color, creed, religion, national origin, sex, public assistance status, age, sexual orientation or disability. Persons with disabilities may request reasonable modifications to access or participate in DNR programs and services by contacting the DNR ADA Title II Coordinator at [email protected] or 651-259-5488. Discrimination inquiries should be sent to Minnesota DNR, 500 Lafayette Road, St. Paul, MN 55155-4049; or Office of Civil Rights, U.S. Department of the Interior, 1849 C. Street NW, Washington, D.C. 20240. This brochure was produced by the Minnesota Department of Natural Resources, Division of Fish and Wildlife with technical assistance provided by the North Dakota Department of Game and Fish. -
English Polyphony and the Roman Church David Greenwood
caec1 1a English Polyphony and the Roman Church David Greenwood VOLUME 87, NO. 2 SUMMER, 1960 . ~5 EIGHTH ANNUAL LITURGICAL MUSIC WORKSHOP Flor Peeters Francis Brunner Roger Wagner Paul Koch Ermin Vitry Richard Schuler August 14-26, 1960 Inquire MUSIC DEPARTMENT Boys Town, Nebraska CAECILIA Published four times a year, Spring, Summer, Autumn and Winter. Second-Class Postage Paid at Omaha, Nebraska. Subscription price--$3.00 per year All articles for publication must be in the hands of the editor, 3558 Cass St., Omaha 31, Nebraska, 30 days before month of publication. Business Manager: Norbert Letter Change of address should be sent to the circulation manager: Paul Sing, 3558 Cass St., Omaha 31, Nebraska Postmaster: Form 3579 to Caecilia, 3558 Cass St., Omaha 31, Nebr. CHANT ACCOMPANIMENTS by Bernard Jones KYRIE XVI " - .. - -91 Ky - ri - e_ * e - le -i - son. Ky - ri - e_ e - le - i - son •. " -.J I I I I J I I J I j I J : ' I I I " - ., - •· - - Ky-ri - e_ e - le -i - son. Chri-ste_ e - le -i - son. Chi-i-ste_ e - le- i - son.· I ( " .., I I j .Q. .0. I J J ~ ) : - ' ' " - - 9J Chri - ste_ e - le - i - son. Ky - ri - e __ e - le - i - son. " .., j .A - I I J J I I " - ., - . Ky -ri - e_ e - le - i - son. Ky- ri - e_* e -le - i - son. " I " I I I ~ I J I I J J. _J. J.,.-___ : . T T l I I M:SS Suppkmcnt to Caecilia Vol. 87, No. 2 SANCTUS XVI 11 a II I I I 2. -
Instruction Manual Manuel D'instructions Manual De
Instruction Manual Manuel d’instructions Manual de instrucciones Manual de Instruções "IMPORTANT SAFETY INSTRUCTIONS" When using the sewing machine, basic safety precautions should always be followed, including the following: "Read all instructions before using." DANGER – To reduce the risk of electric shock: 1. The sewing machine should never be left unattended when plugged in. Always unplug this sewing machine from the electrical outlet immediately after using and before cleaning. 2. Always unplug before changing the light bulb. Replace bulb with same type rated 15 watts. WARNING – To reduce the risk of burns, fire, electric shock, or injury to persons: 1. Do not allow this machine to be used as a toy. Close attention is necessary when the sewing machine is used by or near children. 2. Use this sewing machine only for its intended use as described in this manual. Use only accessories recommended by the manufacturer as contained in this manual. 3. Never operate this sewing machine if it has a damaged cord or plug, if it is not working properly, if it has been dropped or damaged, or dropped into water. Return the sewing machine to the nearest authorized dealer or service center for examination, repair, electrical or mechanical adjustment. 4. Never operate the sewing machine with any of the air openings blocked. Keep the ventilation openings of the sewing machine and foot controller free from the accumulation of lint, dust and loose cloth. 5. Never drop or insert any object into any openings. 6. Do not use this machine outdoors. 7. Do not operate this machine where aerosol (spray) products are being used or where oxygen is being administered. -
About USA Netball
United States of America Netball Association Inaugural Meeting, May 23, 1992. Netball has been played in the United States since the 1970s, starting primarily in the New York area. The inaugural meeting of the USA Netball Association took place in New York on May 23, 1992, and was chaired by the President of the Bronx Netball Association, Dr. Yvonne Thomas. Representatives of the Bronx Netball Association, Florida Netball Association, American Netball Association of New York State, Texas Netball Association, Massachusetts State Netball League and Connecticut were present. They acknowledged this was an important milestone in the history of Netball in the United States, and the national association was officially launched with the acronym USANA (now USA Netball). The International Federation of Netball Associations (IFNA) (now International Netball Federation) recognized the importance of this meeting and was there to offer their guidance and assistance in the Association’s formation. They included: Mrs. Pat Taylor, the then president of IFNA (now INF), Mrs. Lystra Lewis, the then AFNA president, and Ms. Dorothy McHugh, the then secretary of IFNA (now INF). At the end of the meeting, the various factions joined together to accomplish what first appeared to be the impossible: the formation of a United States of America Netball Association with 43 clubs and 7 Area associations comprising its nucleus. An executive committee was created and charged with taking the first tentative steps of a new association. Presidents over the years have been Dr. Yvonne Thomas 1992 - 1994 Ms. Jackie Shaw 1994 - 1996 Ms. Lorraine Pierre 1996 - 1998 Ms. Pat Gray 1998 - 2000 Ms.