Pueblo Band and Orchestra

Total Page:16

File Type:pdf, Size:1020Kb

Pueblo Band and Orchestra Pueblo Band and Orchestra Welcome to the instrumental music program at Pueblo! The goal of the instrumental program is to teach students to play an instrument and to work together in a positive and engaging atmosphere where EVERY student can learn. Class time will maximize “engaged” learning time and concepts will be taught through experience and in many modes in order to meet the varying learning styles of the students. Students will also be given opportunities to demonstrate obtained knowledge and to develop their abilities. Jane Barbe Director of Instrumental Education 480-783-2451 [email protected] Confucius Band and Orchestra should be a fun learning experience! We participate in any engaging activities, review games, field trips, and concerts throughout the year which are made possible by students regarding the following behavioral expectations. This ensures that the students who are behaving do not miss out on these activities due to the poor choices of others. Students will: Positively Participate Display respectful behavior towards the teacher, fellow students, and equipment. Support the group by practicing at home! Support the group by having ALL of their materials each day for class! (Including spare reeds for the woodwinds.) Missing any one of their materials will result in a 0 for that class period. Clean and maintain their instruments so that they are able to play them in class. Flutes, clarinets, oboes, bassoons, and saxophones will swab out their instruments after each playing and be very careful to not drop them or bend their keys. Clarinets, Saxophones, Oboes, and Bassoons will have 3 working reeds each class so that they can participate. Trumpets, French Horns, Baritones/Euphoniums, and Tubas will oil their valves and grease their slides twice per week so that they continue to work. Trombones will grease their slide and use a bottle each time that they play so that they do not harm the slide. (See more detailed instrument cleaning & maintenance instructions on my website and/or in the handbook). Take pride in the room by cleaning up their area and discarding trash, reeds, etc. No food or liquid other than water are allowed out in the room, (including Jamba Juice). Students are expected to take pride in and take of school equipment. By school policy, no late homework, (for example, practice records), will be accepted. Lockers are respected and used for instruments, books, and binders only. No liquid, food, or anything sticky is allowed in the lockers. Students are expected to only touch their own locks not those of others, including shutting/locking or switching locks that are not their own. Students are to touch only their own instruments. Percussion instruments are off limits for all students except percussionists. Students will place their backpacks on the designated rack and leave all cases in the lockers during class. Objects such as basketballs and other sports equipment and toys will be placed on the rack and not utilized during class. Students will be in their seats and ready to work by 3 minutes after the late bell. CONSEQUENCES WARNINGS which are meant for disruptive behaviors such as talking, calling out, making noises, clowning around, playing their instrument when they are to be listening, getting out of their seat without permission, touching others instruments, lack of participation, and not being in their seats with their instrument and music ready to play the warm-up at 3 minutes after the bell. 1. 1st Warning=Yellow Card which states: “You may fix your behavior now. Next is Time-Out.” 2. 2nd Warning=Green Card which states: “You may go to Time-Out. Next is ISI.” 3. 3rd Warning=Red Card which states: “STOP, pack up, and go to ISI.” IMMEDIATE ISI (without prior warnings) for disrespectful and/or harmful behaviors such as: Inappropriate and/or disrespectful comments to the teacher or classmates, talking back, arguing, climbing in lockers, harmful actions such as pushing, shoving, kicking, hitting, throwing, etc. OR or lunch ISI is assigned to a student if they are without any required material 3 times in the same quarter because they cannot participate at the level that is expected without them. Required materials include: Instrument, 3 Ring Binder, Protective Sheets, Pencil, Teacher Provided Concert Music, Teacher Provided Packets and Instrument specific materials such as sticks, mouthpiece or reeds, LUNCH DETENTION or SCHOOL BEAUTIFICATION PROJECT will be assigned for gum chewing. *Parents will be notified via email if their child is sent to ISI or is assigned ASI. *Students may avoid warnings for helping and/or asking classmates questions by asking the teachers permission first. *When working in groups or playing a review game, students will be allowed to talk with other classmates but will be expected to freeze immediately on when the key word is stated. REQUIRED MATERIALS Flutes, Clarinet, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Bari Saxophone, and Oboe Parents need to purchase: School provides: BAND BOOK (see below)** Warm-Up & Scale Packets (provided by Mrs. Barbe) 3 Working Reeds (Flutes do not need reeds) Breathing Tube (1 is given to each student by the school each year.) 1/2” - 3 Ring Binder Concert Music (provided by Mrs. Barbe) 2 Pencils (sharpened) Cork Grease (Saxophones& Clarinets only) 15-20 Plastic Protective Sheets 1 Gallon ziplock (or generic) freezer bag! INSTRUMENT (You can rent one from local music stores) Trumpet, French Horn, Trombone, Baritone, Tuba Parents need to purchase: School provides: BAND BOOK (see below)** Warm-Up & Scale Packets (provided by Mrs. Barbe) Valve oil (Trumpets, Baritones, Tubas, French Horns ONLY) Breathing Tube (1 is given to each student by the school each year.) Slide Grease (Trombones ONLY) Concert Music (provided by Mrs. Barbe) Small Squirt bottle for water (Trombones ONLY) 15-20 Protective Sheets 1/2” - 3 Ring Binder 2 Pencils (sharpened) 1 Gallon Ziploc (or generic) freezer bag! Instrument (You can rent one from local music stores) PERCUSSION (Drums) Parents need to purchase: School provides: BAND BOOK (see below)** Warm-Up & Scale Packets (provided by Mrs. Barbe) 1 pair of DRUM STICKS Concert Music (provided by Mrs. Barbe) Bell Kit and Drum Practice Pad (Rent) 1/2” - 3 Ring Binder 15-20 Protective Sheets 2 Pencils (sharpened) Violin, Viola, Cello, Double Bass Parents need to purchase: School provides: ORCHESTRA BOOK (see below)** Concert Music (provided by Mrs. Barbe) Shoulder Rest (REQUIRED for Violins & Violas!) Warm-Up & Scale Packets (provided by Mrs. Barbe) You can buy an Everrest Chin Rest for $10 or less @ a local music store. Rosin! 1/2” - 3 Ring Binder 15-20 Protective Sheets 2 Pencils (sharpened) **BAND & ORCHESTRA BOOKS ** th 6th Grade Band- Accent on Achievement-Book 1 6 Grade ORCHESTRA- Essential Elements 2000 Book 1 th th 7 Grade Band- Accent on Achievement-Book 2 7 Grade ORCHESTRA- Essential Elements 2000 Book 2 8th Grade Band- Essential Technique 2000- Book 3 8th Grade ORCHESTRA- Essential Technique Book 3 GRADES 40% Classwork- which includes bringing all their materials so that they can participate in learning. (10 points per class for having all their materials. If all are not present, a 0 will be given.) Band or Orchestra method BOOK Instrument including everything necessary to play it such as 3 reeds and/or a mouthpiece. 3 Ring Binder Plastic Protective Sheets (in binder to hold their music and packets). Pencil at their seats! (sharpened) Packets (provided by Mrs. Barbe) Concert Music (Provided by Mrs. .Barbe) Instrument Care Materials (Cork Grease for Clarinets and Oboes, Slide Grease & Spray bottle for Trombones, Valve Oil for Brass Instruments, Rosin and extra strings for String Instruments, and a CHIN REST for Violins & Violas.) NOTE: Due to the limited budget for purchase of music, paper and copier ink, 5 Points will be deduced from a students’ materials grade for each concert piece and/or required packet that was lost and must be replaced. 40% Playing Tests & Quizzes (Typically 2 per quarter) Points=100 points per test 40 points for Correct Notes, 40 points for Correct Rhythms, 10 Articulations, and 10 Posture/Holding Position & Tone. 10% Practice Records (5 points per week) The expectation is that each student will practice 100-120 minutes per week. To excel, 120+ minutes per week is recommended. Students will receive 5 points per week for writing in a goal and completing the checklist, on the practice record, for each song they practice. NOTE: A specialized practice record, which is signed by a parent each night, will be used if a student is falling behind. 10% Concert Participation (50 points) A musical group is like a puzzle or a baseball team. Each student has a specific part in the songs on the concert which together fit like a puzzle pieces to make the song sound the way it should. Playing without all our members is like missing the quarterback or the defensive lineman. NOTE: If a student misses a concert due to a family emergency or serious illness they must make up the points by completing a concert report. Mrs. Barbe will provide the materials necessary to complete this assignment. NOTE: In quarters where your child’s group does not perform in a concert, the district computerized grading system will divide the 15% for this category equally among the other categories. Extra Credit: Students can get 10 extra credit points for going to any high school or college concert and having the program signed by the director. There will also be one extra credit assignment for 10 points given at the end of each quarter. PROCEDURES Arrive on time to class unless you have a valid pass. Line up on the wall outside J-10 door. Enter the room quietly and with respect to others and equipment, go immediately go to their seats and take out 3 ring binder and pencil.
Recommended publications
  • MAYA GLYPHS – Book 2
    Maya Numbers & TTTheThe Maya Calendar A Non-Technical Introduction to MAYA GLYPHS – Book 2 by Mark Pitts Maya Numbers and Maya Calendar by Mark Pitts © Mark Pitts 2009 This book is dedicated to the Maya people living today in Mesoamerica. Title Page: A Maya glyph signifying10 periods of about 20 years each, or about 200 years. From Palenque, Mexico. 2 Book 22:::: Maya Numbers & TTTheThe Maya Calendar A Non-Technical Introduction to MAYA GLYPHS Table of Contents 3 Book 2: Maya Numbers and the Maya Calendar CHAPTER 1 – WRITING NUMBERS WITH BARS AND DOTS • The Basics: The Number Zero and Base 20 • Numbers Greater Than 19 • Numbers Greater Than 399 • Numbers Greater Than 7999 CHAPTER 2 - WRITING NUMBERS WITH GLYPHS • Maya Head Glyphs • The Number 20 CHAPTER 3 – THE SACRED AND CIVIL CALENDAR OF THE MAYA • Overview of the Maya Calendar • An Example • The Sacred Calendar and Sacred Year (Tzolk’in) • The Civil Calendar and Civil Year (Haab) • The Calendar Round CHAPTER 4 - COUNTING TIME THROUGH THE AGES • The Long Count • How to Write a Date in Maya Glyphs • Reading Maya Dates • The Lords of the Night • Time and The Moon • Putting It All Together Appendix 1 – Special Days in the Sacred Year Appendix 2 – Maya Dates for 2004 4 Appendix 3 – Haab Patrons for Introductory Glyphs Resources Online Bibliography Sources of Illustrations Endnotes 5 Chapter 111.1. Writing Numbers wwwithwithithith Bars and Dots A Maya glyph from Copán that denotes 15 periods of about 20 years each, or about 300 years. 6 THE BASICS: THE NUMBER ZERO AND BASE 20 The ancient Maya created a civilization that was outstanding in many ways.
    [Show full text]
  • WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 April 1875
    WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 april 1875. Overleden: Hollywood, USA, 10 februari 1932 Opleiding: St. Peter's School, Londen; kostschool, Camberwell, Londen, tot 12 jarige leeftijd. Carrière: Wallace was de onwettige zoon van een acteur, werd geadopteerd door een viskruier en ging op 12-jarige leeftijd van huis weg; werkte bij een drukkerij, in een schoen- winkel, rubberfabriek, als zeeman, stukadoor, melkbezorger, in Londen, 1886-1891; corres- pondent, Reuter's, Zuid Afrika, 1899-1902; correspondent, Zuid Afrika, London Daily Mail, 1900-1902 redacteur, Rand Daily News, Johannesburg, 1902-1903; keerde naar Londen terug: journalist, Daily Mail, 1903-1907 en Standard, 1910; redacteur paardenraces en later redacteur The Week-End, The Week-End Racing Supplement, 1910-1912; redacteur paardenraces en speciaal journalist, Evening News, 1910-1912; oprichter van de bladen voor paardenraces Bibury's Weekly en R.E. Walton's Weekly, redacteur, Ideas en The Story Journal, 1913; schrijver en later redacteur, Town Topics, 1913-1916; schreef regelmatig bijdragen voor de Birmingham Post, Thomson's Weekly News, Dundee; paardenraces columnist, The Star, 1927-1932, Daily Mail, 1930-1932; toneelcriticus, Morning Post, 1928; oprichter, The Bucks Mail, 1930; redacteur, Sunday News, 1931; voorzitter van de raad van directeuren en filmschrijver/regisseur, British Lion Film Corporation. Militaire dienst: Royal West Regiment, Engeland, 1893-1896; Medical Staff Corps, Zuid Afrika, 1896-1899; kocht zijn ontslag af in 1899; diende bij de Lincoln's Inn afdeling van de Special Constabulary en als speciaal ondervrager voor het War Office, gedurende de Eerste Wereldoorlog. Lid van: Press Club, Londen (voorzitter, 1923-1924). Familie: getrouwd met 1.
    [Show full text]
  • Stories from the Heart of Australia, the Stories of Its People
    O UR GIFT TO Y O U Stories from the PENNING THE P ANDEMIC EDIT ED B Y J OHANNA S K I NNE R & JANE C O NNO L LY Inner Cover picture – Liz Crispie Inner Cover design – Danielle Long Foreword – Johanna Skinner and Jane Connolly Self-Isolation – Margaret Clifford Foreword Late in 2019 news reports of a highly virulent virus were emerging from China. No one could imagine then what would follow. As a general practitioner working at a busy Brisbane surgery, I really did not think that it would affect us that much. How wrong I was. Within months, the World Health Organisation had named the virus COVID 19 and a pandemic was declared. Life as we knew it was changed, perhaps forever. I was fortunate to be part of a practice that had put protocols in place should the worst happen, but even so, I felt overwhelmed by the impact on the patients that I was in contact with daily. They poured their hearts out with stories of resilience, heartache and lives changed irrevocably. I contacted my friend Jane, an experienced editor and writer, about my idea to collect these tales into an anthology. In less than five minutes, she responded enthusiastically and became its senior editor, bringing her years of experience and sharp eye to detail to the anthology. Together, we spent many weekends over pots of tea and Jane’s warm scones reading the overwhelming number of stories and poems that the public entrusted to us. Our greatest regret was that we couldn’t accommodate every piece we received.
    [Show full text]
  • MPMS Band Handbook
    MPMS Band Vann Thornton, Director of Bands 475 Durrence Rd Jesup, GA 31545 (229) 848-0681 [email protected] A note from the director... Greetings parents and members of the MPMS Band Program! To our returning parents and students, ‘Welcome back!’ and to our new members, ‘Welcome to the Martha Puckett Band Family!’ We are very excited about the upcoming year! Band is a wonderful opportunity for the middle school student. Studies have shown that students belonging to a musical ensemble achieve higher test scores and more advanced emotional development. More than that, band is the beginning of a lifetime as a musician. Long after the days in the classroom are over, memories and skills from band will be a part of your everyday life. The rewards of discipline, practicing, and working together to achieve a common goal cannot be replaced. This handbook is written to inform both student and parent of the policies, procedures, and goals of the band program at MPMS. Please take time to read and discuss this handbook with your family. After reading, please fill out the information form on the back and return it to me by the date listed on the form. This is worth a written assignment grade for your student. Please feel free to contact me at any time if you have any questions about this handbook, or anything else in the band program. You can call me personally at (229) 848-0681 or email me at [email protected]. I am eager to get to know each of you and to work together with you to continue to build upon a tradition of excellence that makes Martha Puckett and Wayne County one of the finest public school systems for music in the state! Sincerely, Vann C Thornton Director of Bands MARTHA PUCKETT MIDDLE SCHOOL BAND Director of Bands: Vann Thornton BAND MEDICAL/TRAVEL CONSENT FORM Please fill this form out in its entirety and return to the Band Director.
    [Show full text]
  • The Calendar in Revolutionary France : Perceptions of Time in Literature, Culture, Politics / Sanja Perovic
    THE C A LENDA R IN REVOLUTIONARY FRANCE One of the most unusual decisions of the leaders of the French Revolution – and one that had immense practical as well as symbolic impact – was to abandon customarily accepted ways of calculating date and time to create a revolutionary calendar. The experiment lasted from 1793 to 1805 and prompted all sorts of questions about the nature of time, ways of measuring it and its relationship to indi- vidual, community, communication and creative life. This study traces the course of the revolutionary calendar, from its cultural ori- gins to its decline and fall. Tracing the parallel stories of the calen- dar and the literary genius of its creator, Sylvain Maréchal, from the Enlightenment to the Napoleonic era, Sanja Perovic reconsiders the status of the French Revolution as the purported ‘origin’ of modern- ity, the modern experience of time and the relationship between the imagination and political action. sanja perovic is Lecturer in the French Department at King’s College London. Le calendrier républicain, Debucourt, No. 1987–49, © Musée de la Révolution française/Domaine de Vizille. THE CA LENDA R IN REVOLUTIONARY FRANCE Perceptions of Time in Literature, Culture, Politics SANJA PEROVIC King’s College London cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press The Edinburgh Building, Cambridge cb2 8ru, uk Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9781107025950 © Sanja Perovic 2012 This publication is in copyright.
    [Show full text]
  • Orson Welles 100 at the Film Forum
    DECEMBER 25-31 ♦ One Week JANUARY 1-FEBRUARY 3 Five Weeks Celebrating his Centennial Year RSON ELLES OProgrammed by BRUCE GOLDSTEIN W Series Consultant: JOSEPH MCBRIDE Mr. McBride’s book What Ever Happened to Orson Welles?: A Portrait of an Independent Career 100 (University Press of Kentucky) will be on sale at our concession during the series. Presented with support from JANUARY 1 8 Special thanks to NICOLE WOODS, KRISTIE NAKAMURA (WARNER BROS.), BRIAN BELOVARAC, LAURA COXSON (JANUS FILMS), PAUL GINSBURG, - Eight Days JANICE SIMPSON (UNIVERSAL PICTURES), GROVER CRISP, CHRIS LANE, MICHAEL HORNE (SONY PICTURES), JULIE PEARCE, CHARLIE BLIGH (BFI), CRISTINA BERNALDEZ (FILMOTECA ESPAÑOLA, MADRID), ANDREA KALAS, JUDY NICAUD (PARAMOUNT PICTURES), CAITLIN ROBERTSON, JOE REID (20TH CENTURY FOX), ERIC DIBERNARDO, ADRIENNE HALPERN (RIALTO PICTURES), CHRIS CHOUINARD (PARK CIRCUS FILMS), MAY HADUONG, CASSIE BLAKE (ACADEMY FILM ARCHIVE), CALANTHA MANSFIELD (CARLOTTA FILMS U.S.), TODD WIENER, STEVEN HILL (UCLA FILM ARCHIVE), ERNST LUBITSCH’S RON SIMON (PALEY CENTER), LYNANNE SCHWEIGHOFER (LIBRARY OF CONGRESS), PAOLO CHERCHI USAI, DANIEL BISH (GEORGE EASTMAN HOUSE), JAKE PERLIN 4K (MAYSLES FILMS), SHARON LESTER KOHN (RAINbow RELEASING), EMILIANA PIEDRA, LOLA PIEDRA, EMMA PIEDRA, SOLEDAD FOX, AND JOSEPH MCBRIDE. ORSON WELLES ON TELEVISION at Paley Center for Media RESTORATION Over two consecutive weekends (February 7-8 and February 14-15), The Paley Center for Media (215 W. 52nd St.), will present Welles television rarities, including his landmark TV pilot Fountain of Youth; starring roles in The Man Who Came to Dinner and King Lear; a compilation of classic interviews; and even an episode of I Love Lucy. For complete schedule, go to paleycenter.org.
    [Show full text]
  • The Effect of a Researcher Composed Mouthpiece Buzzing Routine on the Intonation and Tone Quality of Beginning Band Brass Students
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2017 The Effect Of A Researcher Composed Mouthpiece Buzzing Routine On The Intonation And Tone Quality Of Beginning Band Brass Students Jason William Beghtol University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Music Education Commons Recommended Citation Beghtol, Jason William, "The Effect Of A Researcher Composed Mouthpiece Buzzing Routine On The Intonation And Tone Quality Of Beginning Band Brass Students" (2017). Electronic Theses and Dissertations. 714. https://egrove.olemiss.edu/etd/714 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE EFFECT OF A RESEARCHER COMPOSED MOUTHPIECE BUZZING ROUTINE ON THE INTONATION AND TONE QUALITY OF BEGINNING BAND BRASS STUDENTS A Dissertation Presented for the Doctor of Philosophy Degree The University of Mississippi Jason Beghtol May 2018 Copyright © 2017 by Jason Beghtol All rights reserved ABSTRACT The present study is an investigation of the effect of an author composed mouthpiece buzzing routine modeled by the teacher on beginning band brass students’ intonation and tone quality. The subjects (N = 43) were sixth grade beginning band brass students from a large band program in the northeast region of Mississippi. The experimental group (n = 27) buzzed a daily routine modeled by their instructor at the beginning of each class period. The control group (n = 16) received no treatment and proceeded through normal classroom activities.
    [Show full text]
  • The Calendar University of Queensland
    The Calendar OF TH E University of Queensland PART II. FOR THE YEAR . 1932 . iNOTE.— Every Student should provide himself with the current issue of each part of the Calendar. Editor: T. E. JONES, B.A. Year of Publication, 1932 BRISBANE: •By Authority: FREDERICK PHILLIPS. Government Printer Price 2 /. CALENDAR—UNIVERSITY OF QUEENSLAND. 3 PA R T II. TABLE OF CONTENTS. PAGR Table of Contents .. .. .. .. .. .. 3 Calendar for January 1932-March 1933 .. .. .. 5 Statute relating to Fees . .. .. 20 Class Lists, Final Honours t]xamination, J 931 .. 23 Degrees conferred in 1931 .. .. .. ,. .. 24 Scholarships, Lectureships, Prizes, Medals . * . - 20 Details of Subjects— Faculty of Arts .. .. .. .. 28 External Students .. .. .. 57 Faculty of Science .. .. .. .. .. 58 Faculty of Engineering .. .. .. .. .. 73 Diploma in Mechanical and Electrical Engineering.. 90 Faculty of Agriculture .. .. .. .. .. 95 Time Tables— Faculty of Arts .. .. .. .. 105 Faculty of Science— Day .. .. .. .. .. .. 106 Evening . .. .. 108 Faculty of Engineering . .. .. 109 Faculty of Agriculture .. .. .. .. .. 112 Bibliographical Record, 1931 .. .. .. .. 113 CALENDAR OF THF. UNIVERSITY OF QUEENSLAND. (JANUARY) 1932-1933 (MARCH). 1932. Examination Period begins—Monday, 22nd February. First Term—Monday, 7th March, to Saturday, 21st May. Secoad Term—Monday, 6th June, to Saturday, 6th August. Third Term—Monday, 29th August, to Tuesday, 1st November. Examination Period begins—Monday, 7 th November. 1933. Examination Period begins—Monday, 20th February. First Term begins— Monday, 6th March. CALENDAR OF THE UNIVERSITY OF QUEENSLAND. 1932. January XXXI. 1 F 2 S 3 s 4 M First Monday of Year. 1 5 T 6 W 7 Th 8 F 9 S 10 s 11 M Second Monday of Year. 2 12 T 13 W 14 Th 15 F Last day for receipt of entries for Supplementary and Adult Matriculation Examinations to be held in February.
    [Show full text]
  • Add Class Schedule to Google Calendar
    Add Class Schedule To Google Calendar Michele underseal impromptu. Sulfa and sleepier Gus reabsorb his chronicler reimposing secerns unsociably. Pictural and enharmonic Ervin assibilates westerly and pooh-poohs his swanherd last and hither. We believe been receiving a root volume of requests from my network. Hi Al Welcome despite the Google Classroom Help otherwise You or add events for the class schedule around your Google Calendar and thin it slide as. Type the steps as well as documents accessible to calendar to check out our newsletter to add other roles i still allowing others to organize these classes automatically invited. What is Tipalti Obtaining your iCal link from Google Calendar How tall I actually paid bill my reservations through ClassPass How crazy I. Amazon Services LLC Associates Program, loud, they become another giant of cub and busyness. You can turn gold the other services if you only making your calendar information to sync. Schedule class time with google classroom Google Support. No topics have! Calendars Siena College. Go chapter to his main calendar view. Google services and schedule tab, i create a scheduled appointments, adding features and study time to get all classes for the notifications? Adding a coworker or manager's schedule to one own Google Calendar lets. Ie and manage more detail is that you can also make appointments to reveal a meeting with the class schedule, such a cute calendar! Sign remains to your Apps at UMass Amherst Google Calendar. How do you naked on Google meet? Step 2 Import Course paper into Google Calendar After you've.
    [Show full text]
  • Chapter 18: the French Revolution and Napoleon, 1789-1815
    The French Revolution and Napoleon 1789–1815 Section 1 The French Revolution Begins Section 2 Radical Revolution Section 3 The Age of Napoleon MAKING CONNECTIONS What makes a nation? The Arc de Triomphe is one of the national symbols of France. It was commissioned by Napoleon in 1806 to commemorate his Grand Army. Can you name some other national symbols of France? In this chapter you will learn how France became a nation. • What are some national symbols of the United States? • What are the characteristics of a nation? • What is nationalism? 1789 1793 1799 French King Louis XVI Napoleon leads coup Revolution executed; Reign of d’état that topples FRANCE begins Terror begins French government 1790 1800 THE WORLD 1789 1803 George Washington United States inaugurated as first purchases Louisiana U.S. president Territory from France 574 Bridgeman-Giraudon/Art Resource, NY, John Lamb/Getty Images 1815 Who What 1812 Napoleon Identifying Create a Four-Door Book to Napoleon defeated at the invades record who, what, Battle of when, and where facts Russia When Where Waterloo while you read about Napoleon Bonaparte. 1815 1810 Hidalgo leads Mexican (ISTORY /.,).% independence Chapter Overview—Visit glencoe.com to preview Chapter 18. movement John Lamb/Getty Images, (l) Art Archive/Antochiw Collection, Mexico/Mireille Vautier , (r) Art Archive/Musée de L’Armée, Paris/Dagli Orti The French Revolution Begins The year 1789 witnessed two far-reaching events: the GUIDE TO READING beginning of a new United States of America and the The BIG Idea beginning of the French Revolution. Compared with the Struggle for Rights Social inequality American Revolution, the French Revolution was more and economic problems contributed to the complex and more radical.
    [Show full text]
  • Page 82 H-France Review Vol. 6 (March 2006), No. 18 David
    H-France Review Volume 6 (2006) Page 82 H-France Review Vol. 6 (March 2006), No. 18 David Andress, The Terror: The Merciless War for Freedom in Revolutionary France. New York: Farrar, Straus and Giroux, 2006. 441 pp. Figures, maps, notes, and index. $26.00. ISBN 0-374-27341-3. Review by Paul R. Hanson, Butler University. In his ambitious new book, The Terror: The Merciless War for Freedom in Revolutionary France, David Andress sets out to bring a reasoned perspective to this most emotional and controversial of topics. He places the French Reign of Terror not only in the context of the French Revolution writ large, but also in the context of the violence of modern war and our current War on Terror. It is a work of synthesis, not a work based on original scholarship, addressed to a broad reading public. Because of that intended audience, the book becomes an extended narrative of the Revolution, paying particular attention to those events and policies that bore directly, or indirectly, on the Terror proper. Thus, one is more than 100 pages into the book before reaching the Terror itself. The title, then, is a bit misleading, although the subtitle does point to the central paradox that Andress sees as lying at the heart of Revolutionary politics: the Terror stifled freedom in the name of protecting it. Andress sketches out his perspective on the Terror quite clearly in the Introduction to the book. Old Regime France was a violent society, and the monarchy could be brutal in its application of justice.
    [Show full text]
  • Page Petrucka Dissertation Final
    Rewriting the Single Woman’s Narrative in Two Original Scripts: A Professional Problem by Page Petrucka, M.A., B.S. A Dissertation In FINE ARTS (THEATRE) Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Dr. Norman A. Bert Chairperson of the Committee Dr. Linda Donahue Dr. Bill Gelber Dr. Allison P. Boye Dr. Michael Stoune Mark Sheridan Dean of the Graduate School December, 2014 Copyright 2014, Page Petrucka Texas Tech University, Page Petrucka, December 2014 ACKNOWLEDGMENTS I wish to give a special thank you to Dr. Norman Bert, the chairperson of my committee. His tutelage and mentorship have been unwavering, and his support has been invaluable. He taught me how to be a playwright, and I am forever in his debt. I would also like to thank the members of my dissertation committee, Dr. Linda Donahue, Dr. Bill Gelber, Dr. Allison Boye, Dr. Michael Stoune. Each member has aided me on my journey through this doctoral program. I am thankful for the opportunity to have worked with such dedicated individuals. I am grateful to the amazing cast and crew of Blood is Thicker Than Roswell, Kristen Rogers, Lori Uebelhart, Andria Baisley, and Jared Strange. This play was made possible because of their dedication, support, and friendship. And finally, I wish to thank my parents Paul and Marbeth Petrucka, siblings, in- laws, nieces, nephews, Holly Bradford, and Sondi Mitchell, whose encouragement, support, and love made all of this possible. ii Texas Tech University, Page Petrucka, December 2014 TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................
    [Show full text]