DOCSLIB.ORG

MP3502 04 Temperley 193..199

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MP3502 04 Temperley 193..199 Rhythmic Variability in European Vocal Music 193 RHYTHMIC VARIABILITY IN EUROPEAN VOCAL MUSIC DAVID TEMPERLEY to have higher variability in syllable length than French Eastman School of Music of the University of Rochester (Grabe & Low, 2002). Several subsequent studies have further explored cross-cultural correlations between RHYTHMIC VARIABILITY IN THE VOCAL MUSIC OF music and language using nPVI. Huron and Ollen four European nations was examined, using the nPVI (2003) repeated Patel and Daniele’s procedure with measure (normalized pairwise variability index). It was a larger sample of instrumental melodies, and again predicted that English and German songs would show found English melodies to have higher nPVI than higher nPVI than French and Italian ones, mirroring French; they also found that German instrumental mel- the differences between these nations in speech rhythm, odies had relatively low nPVI, which is notable since the and in accord with previous studies of instrumental speech nPVI of German is relatively high. Daniele and music. Surprisingly, there was no evidence of this pat- Patel (2013) suggest that this may be due to the influ- tern, and some evidence of the opposite pattern: nPVI ence of Italian music on German composers (Italian is higher in French and Italian vocal music than in speech, like French, has fairly low nPVI); they show that English and German vocal music. This casts doubt on the nPVI of German instrumental music increases in the theory that the differences in instrumental rhythm the 19th century, as Italian influence wanes. This line between these nations are due to differences in speech of reasoning is pursued by Hansen, Sadakata, and Pearce rhythm. (2016), who examined nPVI in Italian, German, and French instrumental themes, finding evidence for a com- Received: November 30, 2016, accepted April 10, 2017. plex pattern of influence between the three nations. McGowan and Levitt (2011) examined nPVI in the Key words: Vocal music, rhythm, nPVI, speech, music- speech and instrumental music of three English- language connections speaking cultures—Irish, Scottish, and Appalachian— and found that regions whose dialects had higher nPVIs N AN INFLUENTIAL STUDY,PATEL AND DANIELE had a higher musical nPVI as well. (2003) examined rhythmic variability in French and Patel and Daniele deliberately focused on instrumen- I English instrumental themes from around 1900, tal music in their 2003 study because, in their words, ‘‘if measured using the normalized pairwise variability music is based on words, and words have different index, or nPVI. The nPVI formula assigns a value to rhythmic properties in the languages under study, then a series of durations: it would be no surprise if musical rhythm reflected lin- guistic rhythm.’’ In short, it is simply taken for granted XmÀ1 100 dk À dkþ1 that differences in speech nPVI will be reflected in vocal nPVI ¼ Â ð1Þ m À 1 ðdk þ dkþ1Þ=2 music. This is an understandable assumption, especially k¼1 now that differences in nPVI have been found in instru- where dk is the kth duration and m is the number of mental music. Nevertheless, several studies have exam- durations. The value reflects the amount of contrast ined nPVI in vocal music. VanHandel and Song (2010) between adjacent durations; if short notes tend to alter- nate with long ones, the nPVI will be high. The mini- mum possible nPVI is zero (if all durations are the same); the theoretical maximum is 200, though this could never occur in practice (unless some durations had a value of zero). Some simple rhythmic patterns with their nPVI’s are shown in Figure 1. Patel and Daniele (2003) showed that English instru- mental themes had higher rhythmic variability than French themes. They attributed this difference to the FIGURE 1. Some simple rhythmic patterns with their nPVI’s. (Assume influence of language: English speech has been shown each pattern repeats indefinitely.) Music Perception, VOLUME 35, ISSUE 2, PP. 193–199, ISSN 0730-7829, ELECTRONIC ISSN 1533-8312. © 2017 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA ALL RIGHTS RESERVED. PLEASE DIRECT ALL REQUESTS FOR PERMISSION TO PHOTOCOPY OR REPRODUCE ARTICLE CONTENT THROUGH THE UNIVERSITY OF CALIFORNIA PRESS’S REPRINTS AND PERMISSIONS WEB PAGE, HTTP://WWW.UCPRESS.EDU/JOURNALS.PHP?P¼REPRINTS. DOI: https://doi.org/10.1525/MP.2017.35.2.193 194 David Temperley TABLE 1. The Six Song Books Used In The Study # # mean Nation Book songs measures nPVI English Hatton, J., & Faning, E. (Eds.) 1900. Songs of England, Vol. 1. London: Boosey & Co. 102 4351 45.2 French [No editor identified]. 1904. Songs of France. London: Boosey & Co. 60 4252 60.6 Jameson, R. P., & Heacox, A. E. (Eds.) 1920. Chants de France. London: Heath & Co. 61 1493 49.1 Both French books (excluding duplicates) 117 5641 54.4 German Max Spicker (Ed.). 1904. Songs of Germany: Eighty-one German Folk and Popular Songs. 81 1391 45.4 New York: Schirmer. Italian [No editor identified]. 1880. Songs of Italy. London: Boosey & Co. 54 2329 52.1 Marzo, E. (Ed). 1904. Songs of Italy. New York: Schirmer. 65 1650 48.9 Both Italian books (excluding duplicates) 101 3353 49.8 examined melodies in 19th-century German and about this in the case of French and German). The French art songs, and found almost no difference intent was to examine the more specific causes of this between them in nPVI. Jekiel (2014) found that English supposed difference. In particular, the ‘‘Scotch snap’’ nPVI exceeds Polish nPVI in vocal music (in accord pattern—in which a sixteenth note on a strong beat is with the nPVI difference in speech between the two followed by a longer note on a weak beat—has been languages) but not in instrumental music. And Lee, shown to occur much more often in English vocal music Brown, and Mu¨llensiefen (2017) found that popular than in German or Italian (Temperley & Temperley, songs by artists speaking multicultural London English 2011); it was thought that this pattern might have had had lower nPVI than those by artists speaking southern the effect of increasing the nPVI of English vocal music British English, mirroring the difference in nPVI relative to the other three languages. The results of the between the two dialects. investigation were surprising, and led the study in The current study presents data regarding nPVI in a rather different direction. vocal music, focusing on four important nations in the European musical tradition: Germany, France, Italy, and CORPUS ANALYSIS England. These languages differ markedly in nPVI, with As a corpus, six songbooks were used, each one repre- German and (British) English having higher values than senting songs of a single nation: England, France, Ger- French and Italian. (Grabe and Low, 2002, report values many, or Italy (see Table 1). The books all have similar of 57.2 for English, 59.7 for German, and 43.5 for titles (Songs of X, where X is a country name), and were French; Arvanti, 2012, reports 59.9 for English, 53.6 for all published around 1900; the earliest is from 1880, the German, and 48.5 for Italian; Ramus, 2002, reports sim- latest from 1920. (Not all of the songs in the books were ilar values.) The data for the current study are taken composed during this period, however; more on this from songbooks published in the late 19th and early below.) The six books are also similar in content, all 20th centuries, a period during which it has been found of them containing a mixture of folk songs (i.e., songs that English instrumental themes exceed French ones in with no known composer), popular songs (songs with nPVI (Patel & Daniele, 2003), and German instrumen- known composers intended for a mass audience), and tal melodies exceed Italian ones (Daniele & Patel, art songs (songs with known composers intended for 2013).1 Following Patel and Daniele’s reasoning, the a more sophisticated audience—though the distinction study was undertaken with the expectation that nPVI between popular and art songs was less clear-cut than it in vocal music would follow a similar pattern (though is today). The books were all published in English- VanHandel and Song’s 2010 study raises some doubt speaking countries (see Table 1). The lyrics are printed in the original languages, though all the books except 1 The themes in Patel and Daniele (2003) were by English and French Chants de France have English translations as well. In composers who were born the 19th century and died in the 20th. occasional cases, the songbooks provide different musi- Regarding German and Italian music, Daniele and Patel (2013)’s main cal rhythms for the English and non-English lyrics; in finding concerns change in nPVI; they show that German instrumental such cases, the rhythm for the non-English lyric was themes show an increase in nPVI in the 18th and 19th centuries while Italian themes do not. However, they also observe that German themes used. ‘‘rise above’’ Italian themes in nPVI sometime in the late 18th century All songs in all six books were encoded. Durations (2013, p. 16). were encoded in sixteenth notes. (Since the nPVI only Rhythmic Variability in European Vocal Music 195 FIGURE 2. Charles Gounod, “Serenade,” from Songs of France, mm. 7-13. The first row of symbols shows the encoding of the melody. Durations are encoded in sixteenth notes; the duration of a tied note (marked with square brackets) is the sum of the two tied notes, e.g. [6 | 2] ¼ 8. Non-integer values are used when necessary, e.g. 0.5 for a 32nd note or 1.33 for an eighth-note triplet. The second row shows the nPVI values for each pair of durations; the overall nPVI (treating this portion of the melody as an entire song) is the mean of these values multiplied by 100.
Load more

Recommended publications
  • Stability and Change in Rhythmic Patterning Across a Composer's
    Stability and Change in Rhythmic Patterning Across a Composer’s Lifetime: A Study of Four Famous Composers Using the nPVI Equation Joseph R. Daniele & Aniruddh D. Patel Figures 2, 3, and 4 of are displayed within this paper in grayscale. See print color plate for color versions of these figures. For direct embedding of the color figures, refer to the PDF online at http://mp.ucpress.edu/ 256 Joseph R. Daniele & Aniruddh D. Patel STABILITY AND CHANGE IN RHYTHMIC PATTERNING ACROSS A COMPOSER’S LIFETIME:ASTUDY OF FOUR FAMOUS COMPOSERS USING THE NPVI EQUATION JOSEPH R. DANIELE of German and Austrian instrumental classical music University of California, Berkeley between *1600 and 1950. Analyzing 3,195 themes from 21 composers, we found that the average degree ANIRUDDH D. PATEL of durational contrast between notes in musical themes Tufts University (as measured by the normalized pairwise variability index, or nPVI) increased steadily over historical time, HISTORICAL TRENDS IN THE RHYTHM OF WESTERN a trend not seen in Italian classical music during this European instrumental classical music between *1650 same time period. This finding proved relevant to ideas and 1950 have recently been studied using the nPVI in historical musicology regarding the changing influ- equation. This equation measures the average degree ence of Italian music on Austro-German classical music of durational contrast between adjacent events in (see Daniele & Patel, 2013, for details). Our findings a sequence (such as notes in a musical theme). These were based on assigning each composer a single nPVI historical studies (e.g., Daniele & Patel, 2013, Hansen value, representing the mean nPVI of his themes from A et al., in press) have relied on assigning each composer’s Dictionary of Musical Themes (Barlow & Morgenstern, music a mean nPVI value in order to search for broad 1983).
    [Show full text]
  • Fred L. Holmes a £
    1948-CENTENNIAL EDITION-1948 M1 'A V, FRED L. HOLMES A £ OLD WORLD WISCONSIN AROUND EUROPE IN THE BADGER STATE Other Books by FRED L. HOLMES “Abraham Lincoln Traveled This Way” “George Washington Traveled This Way” “Alluring Wisconsin” “Badgei Saints and Sinners” “The Voice of Trappist Silence” •• OLD WORLD WISCONSIN Around Europe Jn the Badger State BY FRED L. HOLMES ILLUSTRATED WITH PHOTOGRAPHS, AND SKETCHES BY MAX FERNEKES “We are what we are because we stand on the shoulders of those who have preceded us. May we so live that those who follow us may stand on our shoulders.” —Anon. COPYRICHT, 1944 FRED L. HOLMES All rights reserved including the right to reproduce this book or parts thereof in any form whatever. First printing, May, 1944 Second printing, September, 1944 TO LOUIS W. BRIDGMAN A CLASSMATE AT THE UNIVERSITY OF WISCONSIN ALWAYS MY FRIEND WHOSE MANY SERVICES HAVE BEEN MOST HELPFUL 6 0 ea>. "7? »«•*• "ASIANS r_/?REN xmicm CM (l I swedes finns / . •toil ■*|HIK«TDH IMAMS /4»amti*wa« Russians 0 ICELANDERS A. V • 'MMIIC MiaoiT M«M vj T. SWEDES (ltC**U *Kll y • cuifo* f imiuu #«lM«i. OTjfx^xxt BELGIANS Russians FRENCH if* ••out "t • »IU»*9 ^ . udi*>H OANES ' 1 «IIUI«IUI BOHEMIANS 1 HOLLANDERS j HOLLANDERS GERMANS MAOIIOM • CORNISH « -T MOnt( OANES ) YANKEELAND V _ SERBIANS / MAP Of WISCONSIN SHOWING RACIAL GROUPS AND PRINCIPAL LOCALITIES WHERE THEIR SETTLEMENTS ARE LOCATED PREFACE Through many questionings and wanderings in my native state, I have formed an appreciation, beyond ordi¬ nary measure, of the people who are Wisconsin.
    [Show full text]
  • President's Message
    A PUBLICATION OF THE ITALIAN CULTURAL SOCIETY WINTER 2019 VOLUME 20 ISSUE 2 President’s Message Saluti amici e Buon Anno! With this writing we are celebrating our 21st year of the Italian Cultural Society of Naples. Thus far, our first two Events, the Columbus Day Luncheon and the Welcome Back Lecture and Luncheon, have been well-attended as our snowbird members (like the storied Capistrano swallows) slowly make their way back here to Naples and Paradise. You should know that Ron Diorio, one of our first ICS members, has been busy this fall preparing a History of our organization which we will eventually place on our website for all to have. It will then be regularly updated. Equally busy has been Board member Kathleen Azzariti, who has organized three exciting and useful activities under the heading of Amicizia Groups. They include a Book Discussion group; a Travel Group where members discuss past and future trips to Italy: what to see, how to travel, etc., including trips to this year’s ICS area of interest, the Northwest Macro Region of Italy; and finally, there is the Family Legacy Group that exchanges memorabilia about one’s family, including recipes, photographs, scrap books and places of interest, and offers help writing family journals, and the like. A different member will lead each group at her home. All members are welcome to participate. You can always call Kathleen for the latest information at 239-304-0924 or email her at [email protected]. These activities have really taken off, so join in for the fun and the learning.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles From
    UNIVERSITY OF CALIFORNIA Los Angeles From Community to Humanity: Dance as Intangible Cultural Heritage A dissertation completed in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Culture and Performance by Filip Petkovski 2021 © Copyright by Filip Petkovski 2021 ABSTRACT OF THE DISSERTATION From Community to Humanity: Dance as Intangible Cultural Heritage by Filip Petkovski Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2021 Professor Anurima Banerji, Co-Chair Professor Janet O’Shea, Co-Chair Abstract My dissertation project examines the gradual phases of recontextualizing, folklorizing, heritagizing, and choreographing dance in Macedonia, Serbia, and Croatia, and in the Former Yugoslavia in general. In order to demonstrate how dance becomes intangible cultural heritage, I combine UNESCO archival materials with ethnographic research and interviews with dancers, choreographers, and heritage experts. While I trace how the discourses around folklore and intangible cultural heritage were used in the construction of the Yugoslav, and later in the post- Yugoslav nation states, I also write about the hegemonic relationship between dance and institutions. I emphasize dance as a vehicle for mediating ideas around authenticity, distinctiveness, and national identity, while also acknowledging how the UNESCO process of safeguarding and listing culture allows countries such as Macedonia, Serbia, and Croatia to achieve international recognition. By studying the relationship between dance, archives, and UNESCO conventions, we can understand the intersection between institutions and issues ii around nationalism, but also how discourses of dance shifted dance production and reception in various historical and political contexts during and after the existence of the Yugoslav state.
    [Show full text]
  • New Findings of Sicilian Folk Songs in Luciano Berio´S Naturale1
    PIERMARTIRI, Leonardo. New Findings of Sicilian Folk Songs in Luciano Berio´s Naturale. Revista Vórtex, Curitiba, v.6, n.2, 2018, p.1-19 New Findings of Sicilian Folk Songs in Luciano Berio´s Naturale1 Leonardo Piermartiri2 Universidade do Estado de Santa Catarina | Brazil Abstract: This paper gathers and analyzes information concerning Naturale, a work written by Luciano Berio in 1985 for viola, percussion and recorded voice, based on Sicilian folk songs. Several aspects surrounding Naturale’s creation are taken into consideration in this study: Berio’s compositional style and traits, the manner in which he relates his works one to another, what he sees in folk music and his own personal desire to intertwine art music and folk music. For Berio, Naturale is not an isolated venture into the realm of mixing folk music and his own avant-garde style; it is instead one of many works resulting from his long-standing relationship with folk music. Another essential aspect in this case is the study of the sources used by Berio to find the folk songs by which he was inspired. An interview with Maestro Aldo Bennici, the Sicilian violist for whom Naturale was composed, helped in the discovery of the usage of two more folk songs in a section of the piece, being their identification suggested in this paper. Keywords: Luciano Berio, Naturale, Sicilian Folk Songs, Alberto Favara, Aldo Bennici. 1 Submitted on: June 01st, 2018. Approved on: August 26th, 2018. 2 Leonardo Piermartiri has been adjunct professor of Violin and Viola at UDESC (Santa Catarina State University) since 2003.
    [Show full text]
  • Torn Between Neoliberal and Postmodern Trends, Corporatist Defence and Creative Age Prospects: Citation: C
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Firenze University Press: E-Journals Firenze University Press www.fupress.com/cambio Monographic Section Torn Between Neoliberal and Postmodern Trends, Corporatist Defence and Creative Age Prospects: Citation: C. Casula (2018) Torn Between Neoliberal and Postmod- The Ongoing Reshaping of the Classical Music ern Trends, Corporatist Defence and Creative Age Prospects: The Ongoing Profession in Italy Reshaping of the Classical Music Pro- fession in Italy. Cambio Vol. 8, n. 16: 71-82. doi: 10.13128/cambio-23296 Clementina Casula Copyright: © 2018 C. Casula. This is an open access, peer-reviewed arti- University of Cagliari cle published by Firenze University E-mail: [email protected] Press (http://www.fupress.com/cambio) and distributed under the terms of the Creative Commons Attribution License, Abstract. In modern industrial societies, strongly associating work to tangible pro- which permits unrestricted use, distri- bution, and reproduction in any medi- ductivity and professions to formal regulation and protection of membership, the um, provided the original author and music occupation has represented a conundrum for theoretical analysis. In post- source are credited. industrial societies, however, musicians are being recognised a pivotal role in capi- talist economies, as part of a creative class sharing working conditions already defin- Data Availability Statement: All rel- evant data are within the paper and its ing artistic labour markets, but within a significantly changed regulative framework. Supporting Information files. Drawing on the literature and her field research, the author adopts a neo-institu- tional perspective to consider the reshaping of the classical music profession in Italy, Competing Interests: The Author(s) declare(s) no conflict of interest.
    [Show full text]
  • The North Suburban Symphony
    The North Suburban Symphony 2012-2013 Season – Around The World Music Director – Ron Arden A company, inc. don fiore landscape architects contractors maintenance irrigation 28846 Nagel Court, Lake Bluff, Illinois 60044 Phone: 847.234.0020 Fax: 847.234.0922 www.donfiore.com “Italian Passion” “Viva Italia!” with Respighi, Puccini, and Verdi May 5, 2013 Aidan Perreault, Sofiya Kyrylyuk, Cynthia Arden and Ron Arden - Violin Andrea Hanchey Pokrefke – Soprano Carol Carpenter - Mezzo-Soprano Cole Seaton - Lyric Tenor Nikolas David Arden - Baritone Concerto No 10 for Four Violins, Opus 3 Antonio Vivaldi (March 4, 1678 – July 28, 1741) Sancta Mater Quartet from Stabat Mater Gioachino Antonio Rossini (February 29, 1792 – November 13, 1868) Offertorio from Requiem Giuseppe Verdi (October 10, 1813 – January 27, 1901) Intermission Duetto From Cosi Fan Tutti Wolfgang Amadeus Mozart (January 27, 1756 – December 5, 1791) Bella Figlia Dell’Amore from Rigoletto Giuseppe Verdi (October 10, 1813 – January 27, 1901) Ancient Airs and Dances, Suite No. 1 Ottorino Respighi (July 9, 1879 – April 18, 1936) To ensure that all audience members have an enjoyable concert experience, we ask that all cell phones and pagers be turned off. Thank you. Dear friends of North Suburban Symphony, Welcome to our final concert of 2012-2013. We’ve had a marvelous season on our musical tour that began with American music last October, German masters in November, Russian treasures in March, and now finishing up with our sampling of Italian classical music ranging from Vivaldi to Respighi. Please take home one of our bookmarks, which include next season’s schedule. It will be the orchestra’s 25th season and we have many special events scheduled as part of that celebration.
    [Show full text]
  • Newberry Seminars Chicago Interest Arts, Music, and Language
    WINTER / SPRING 2016 Newberry Seminars Chicago Interest Arts, Music, and Language Gilded Age Chicago Women The Keys to 400 Years of Keyboard Music Wednesdays, 5:45 - 7:45 pm Tuesdays, 2 - 4 pm February 17 - April 20 February 16 - April 19 In this seminar, we will utilize gender as a In “The Keys to 400 Years of Keyboard Music” lens through which to scrutinize an era that is our syllabus will comprise piano pieces by often associated with male titans of industry Beethoven, Mozart, Brahms, the Schumanns, and their economic achievements. Framed Samuel Barber, Aaron Copland, Debussy, by the Gilded Age’s oft-competing concepts Ravel, and Liszt; early Baroque keyboard works of capitalism and democracy, our historical by Couperin and Scarlatti; the output of such inquiries will seek to reexamine women’s roles nineteenth-century American composers as in the formation of social class structures and William Mason, Louis Moreau Gottschalk, Chicago’s industrialization, urbanization, and and Stephen Foster; the offerings of such political struggles. Readings for the first session “popular” composers as Gershwin, Bernstein, will be distributed electronically; please refer to and Ellington; and finally some representative your registration confirmation for details. Ten twentieth-century works by Karlheinz sessions, $270. Stockhausen, Ruth Crawford Seeger, and Olivier Messiaen. Ten sessions, $270. LaShonda Barnett, a historian and novelist, writes short fiction and plays; she is the author of the 2015 Stephen Kleiman holds a BS degree from the Mannes historical novel Jam on the Vine, a Chicago College of Music and an MM degree in music composi- Tribune Editor’s pick.
    [Show full text]
  • 1 Fall 2019 Instructor: Dr. Carlo Lanfossi [2.15 Pm – 6.45 Pm] Office
    UNIVERSITÀ DI PISA – DIPARTIMENTO DI CIVILTÀ E FORME DEL SAPERE INTERNATIONAL PROGRAMME IN HUMANITIES – 2019/20 ITALIAN MUSIC Fall 2019 Instructor: dr. Carlo Lanfossi [2.15 pm – 6.45 pm] Office Hours: Thursdays, 12:30-13:30 [Aula PAO B2 – Palazzo Carità Via Pasquale Paoli, 15 – second floor] COURSE DESCRIPTION What is “Italian” about Italian music? What do Italians think about their own music, and what is its image/sound abroad? The course aims to answer these questions by engaging with several musical genres (opera, instrumental, pop music, film music, folk), discussing interconnected topics (politics, economy, culture, and so on) and listening to a wide variety of music. Classes will feature lectures, group discussions, brief assignments, and guided listenings. No previous knowledge of music theory is requested. There will also be an opportunity to attend an actual performance of an opera at the Teatro di Pisa. Italian music is engrained in public and private rituals and connects people across the world and across the vast community of history. Yet while we know that we like Italian music, and that it has a certain effect on us, it is often difficult to determine why, and harder still to explain what it is that makes its sound “Italian”. This course takes on those issues. It aims to introduce you to a variety of music, and a range of ways of thinking, talking, and writing about Italian music. We will explore music as a cultural phenomenon, considering what music has meant for different people from different societies across the ages and across geographical boundaries.
    [Show full text]
  • RCCSD Course Interactive Catalog.Pdf
    RCCSD COURSECATALOG All parties, procedures and policies of the Red Clay Consolidated School District shall clearly exemplify that there is no discrimination in the recruitment, employment and subsequent placement, training, promotion, compensation, tenure and all other terms and conditions of employment over which the Red Clay Consolidated School District Board of Education shall have jurisdiction, or in the educational programs and activities of students on the basis of race, creed, color, religion, national origin, age, sex, sexual orientation, domicile, marital status, handicap, genetic information, veteran status or any legally protected characteristic. Inquiries into compliance for Title IX or Section 504 are to be directed to Red Clay Consolidated School District Equity Office at 302.552.3700. CONTENTS INTRODUCTION COURSE DESCRIPTIONS PLANNING & SCHEDULING 2 AGRICULTURE & NATURAL RESOURCES 74 COURSE LEVELS 4 AP CAPSTONE 78 GRADING & EVALUATION 5 ARCHITECTURE, CONSTRUCTION & GRADUATION 6 MANUFACTURING 79 AVID 82 BUSINESS MANAGEMENT & EARNING COLLEGE CREDIT ADMINISTRATION 83 IN HIGH SCHOOL COMMUNICATION & MEDIA 86 ADVANCED PLACEMENT 10 DANCE 90 INTERNATIONAL BACCALAUREATE 11 DRIVER EDUCATION 92 DUAL ENROLLMENT 12 EARLY COLLEGE ACADEMY 93 EARLY COLLEGE ACADEMY 13 EDUCATION & HUMAN STUDIES 95 ENGLISH 97 HEALTH & PHYSICAL EDUCATION 100 OUR HIGH SCHOOLS HEALTH SCIENCES 101 ALEXIS I. DU PONT HIGH SCHOOL 16 HOSPITALITY & TOURISM 104 CAB CALLOWAY SCHOOL OF THE ARTS 18 INSTRUMENTAL MUSIC 106 CONRAD SCHOOLS OF SCIENCE 20 JOBS FOR DELAWARE
    [Show full text]
  • AMICI Volume 16 Issue 1
    Fall 2014 VOLUME 16 ISSUE 1 ICS President’s Perspective Cari amici, Sixteen years ago ICS was founded with a unique mission: to bring together people who share a common interest in Italian culture and want to enrich their appreciation of the Arts and Culture of Italy. In their wisdom, the founders were very careful to delineate exactly how this was to be accomplished: The Society shall sponsor programs related to various aspects of Italian culture including: the Italian language, visual and performing arts, films, travel, literature and history, as well as social events such as luncheons and dinners. In our continued effort to carry out this mission our Planning Committee and Board have put together an outstanding Season of events. This year we will highlight Naples and the Campania region. Two of our programs will explore the history, art and myths of treasured sites of the region. Another program is dedicated to the artist Bernini, who was born in Naples and went on to become one of the greatest sculptors and architects in the world. There will be two concerts this year. The first in January will feature Neapolitan and Opera favorites by a cast of international musicians. I am especially excited that we have been able to bring in a young tenor who lives in Puglia, Italy to perform Neapolitan Songs at this event. The second concert will take place in April as part of the Arts Naples World Festival. We will present a program of familiar Italian Classical music which will be open to our members and the public at large.
    [Show full text]
  • CMSA 2015 Austin
    August 2015 • Volume XXXII #3 CMSA 2015 Austin: Día de las Mandolinas – October 14–18 by Joane Rylander, Host Committee Chair The state motto of Texas is “Friendship.” The word Texas CMSA website. We recommend that you make your is from the Caddo Indian word teyshas, meaning friends. hotel reservations at the Holiday Inn Austin Midtown The folks with the Austin Mandolin Orchestra are looking (6000 Middle Fiskville Rd.) soon, since they may sell out. forward to spending time with friends–old and new–as Call the hotel at 877-834-3613 and identify that you are we host your CMSA 2015 convention in Austin. In fact, with the CMSA, or book your room through the CMSA the city is rolling out the red carpet by declaring October website at http://classicalmandolinsociety.org/upcoming- 1st Austin Mandolin Orchestra convention.asp to get the special Day! We’ll be playing at city hall to rate of $114 per night. spread the news of the convention. We have chosen the theme Día Austin Bergstrom Airport is about de las Mandolinas, or Days of the 11 miles (or 25 minutes in traffic) Mandolins, and we invite you to join to the hotel. Unfortunately, there is us to make these days to remember. not a public transportation option that we can recommend for this While some plans are still being trip (public buses are available but finalized, we are excited to have would require several transfers). many of the details well in hand, For ground transportation from the which is largely a tribute to the airport, your best options are taxi, hard work and coordination of Lou, SuperShuttle, Car2Go, Lyft or Uber.
    [Show full text]