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Rudiments Mapping -- an Axiomatic Approach to Music Composition
Rudiments Mapping -- An Axiomatic Approach to Music Composition Lin Hsin Hsin Lin Hsin Hsin Concert Hall email: [email protected] these rule based tonal structures that have been derived? Unlike in medical sciences, does one need to Abstract decompose to compose, or one should disregard the past and break free? How many rules (Wallace Berry, Be it art, music, text, mathematics or 1987) should be retained or how much is desired and computer languages, when represented digitally or retained intentionally? If such retention is to be otherwise, generically, they are “formulated” continued, will it affect future musical compositions, expressions. The difference lies in their manifestation or dwelling on the past is déja vu and passé. This as an audio or visual entity. Thus, understanding the paper examines these issues based on the author’s rudiments of these art forms is pivotal to establishing perspective and approach to music and her knowledge their interconnectivities. As such, by identifying and and experiences drawn from the field of visual art. It characterizing the rudiments contained therein, by investigates her approach to composition, tools and studying their inter activities yield important techniques and method of delivery for multiple digital information for artists and composers alike, it offers art forms and hence their convergence. new perspectives for composing music or otherwise. Drawing from the author’s research and rich interdisciplinary experiences, this paper 2 The Rudiments of Art Forms conceptualizes, compares and offers the similarities and differences, it presents the demystification of the On close codicological examination of incongruences of these art forms. It spells out the individual primary sources of art, music, and text author’s approach to composing new music digitally: using the principle of identification and comparison deriving from, and extending the dynamism of of the attributes of these entities, it establishes the incorporating one art form into the other. -
Human Values Annual Review
University Center for Human Values 304 Marx Hall Princeton, New Jersey 08544 The University Center for Human Values supports teaching, research, and discussion of ethics and human values throughout the curriculum and across the disciplines at Princeton University. Additional information about the University Center for Human Values can be found at http://uchv.princeton.edu or by calling (609) 258-4798. Human Values Annual Review 2011 “As someone with interests in both meta-level philosophy debates and more applied issues in normative ethics and political theory, the values and public life (VPL) program was a way for me to integrate these areas. The VPL program also afforded wonderful opportunities to attend lectures on the applied and academic areas of values—something that doesn’t often come together in certificate programs.” Shivani Radhakrishnan ’11, Philosophy Introducing a new Undergraduate Certifi cate Program in SOCIETY INDIVIDUALITY PLURALITY COMMUNITY CITIZEN NATION IDENTITY ETHICS MODERNITY RESPONSIBILITY CASUISTRY OBLIGATION CONSEQUENTIALISM LAW EQUALITY RIGHT WRONG DUTY SUPEREROGATORY RULES FAIRNESS UTILITY RECIPROCITY RULES EQUALITY JUSTICE COMPASSION CASUISTRY NATURAL LAW IMPERATIVE OBLIGATION SENTIMENTS FREEDOM DEMOCRACY SOCIETY INDIVIDUALITY COMMUNITY CITIZE NATION IDENTITY ETHICS MODERNITY RESPONSIBILITY CASUISTRY OBLIGATION CONSEQUENTIALISM LAW EQUALITY RIGHT WRONG DUTY SUPEREROGATORY RULES FAIRNESS UTILITY RECIPROCITY RULES FAIRNES EQUALITY JUSTICE COMPASSION CASUISTRY IMPERATIVE OBLIGATION SENTIMENTS FREEDOM DEMOCRACY -
Interaction of Colour & Light Book of Abstracts
Interaction of Colour & Light in the Arts and Sciences Midterm Meeting of the International Colour Association (AIC) 7–10 June 2011 Zurich, Switzerland Book of Abstracts Conference Proceedings on CD Editors: Verena M. Schindler, Stephan Cuber International Colour Association Internationale Vereinigung für die Farbe Association Internationale de la Couleur © 2011 pro/colore www.procolore.ch All rights reserved DISCLAIMER Matters of copyright for all images and text associated with the abstracts contained within the AIC 2011 Book of Abstracts are the responsibility of the authors. The AIC and pro/colore does not accept responsibility for any liabilities arising from the publication of any of the submissions. COPYRIGHT Reproduction of this document or parts thereof by any means whatsoever is prohibited without the written permission of pro/colore – Swiss Colour Association. All copies of the individual articles remain the intellectual property of the individual authors and/or their affiliated institutions. Please use the following format to cite material from the AIC 2011 Book of Abstracts: Author(s). “Title of abtract”. AIC 2011, Interaction of Colour & Light in the Arts and Sciences, Midterm Meeting of the International Color Association, Zurich, Switzerland, 7-10 June 2011: Book of Abstracts, edited by Verena M. Schindler and Stephan Cuber. Zurich: pro/colore, 2011, page number(s). This Book of Abstracts contains abstracts of the technical programme cited in the cover and title page of this volume. They reflect the author’s opinions and are published as presented. The full papers from the technical programme are published in the AIC 2011 Proceedings on CD. Editors: Verena M. -
Pledge of Resistance Collection
http://oac.cdlib.org/findaid/ark:/13030/kt7c60424f No online items Inventory of the Pledge of Resistance Collection Lucinda Glenn Graduate Theological Union Archives Graduate Theological Union 2400 Ridge Road Berkeley, California, 94709 Phone: (510) 649-2523/2501 Email: [email protected] URL: http://gtu.edu/library/information/special-collections © 2011 Graduate Theological Union. All rights reserved. Inventory of the Pledge of GTU 96-7-02 1 Resistance Collection Inventory of the Pledge of Resistance Collection Collection number: GTU 96-7-02 Graduate Theological Union Archives Graduate Theological Union Berkeley, California Processed by: Lucinda Glenn Date Completed: 2005 April Encoded by: Michele Gibney © 2011 Graduate Theological Union. All rights reserved. Descriptive Summary Title: Pledge of Resistance collection Dates: 1982-1993 Bulk Dates: 1985-1989 Collection number: GTU 96-7-02 Collector: Butigan, Kenneth Michael Collection Size: 17 boxes15 feet Repository: The Graduate Theological Union. Library. Berkeley, CA 94709 Abstract: The Pledge of Resistance began in 1984 in response to the threat of U.S. invasion into Nicaragua. The national structure grew as people signed the pledge resisting the U.S. government's policies toward Central America. Signals for actions were sent out from the national center to the local groups whose members committed civil disobedience and protested policies seen as interventionist and repressive. Groups which worked closely with the Pledge included the Inter-Religious Task Force for Central America, the Committee in Solidarity with the People of El Salvador, the American Friends Service Committee, and the San Francisco Bay Area's Emergency Response Network, and Bay Area Pledge of Resistance. -
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy And
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tsung-Hsin Lee, M.A. Graduate Program in Dance Studies The Ohio State University 2020 Dissertation Committee Hannah Kosstrin, Advisor Harmony Bench Danielle Fosler-Lussier Morgan Liu Copyrighted by Tsung-Hsin Lee 2020 2 Abstract This dissertation “Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980” examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, José Limón, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change. -
University of Minnesota
THE UNIVERSITY OF MINNESOTA Announces Its ;Uafclt eommellcemellt 1961 NORTHROP MEMORIAL AUDITORIUM THURSDAY EVENING, MARCH 16 AT EIGHT-THIRTY O'CLOCK Univcrsitp uf Minncsuta THE BOARD OF REGENTS Dr. O. Meredith Wilson, President Mr. Laurence R. Lunden, Secretary Mr. Clinton T. Johnson, Treasurer Mr. Sterling B. Garrison, Assistant Sccretary The Honorable Ray J. Quinlivan, St. Cloud First Vice President and Chairman The Honorable Charles W. Mayo, M.D., Rochester Second Vice President The Honorable James F. Bell, Minneapolis The Honorable Edward B. Cosgrove, Le Sueur The Honorable Daniel C. Gainey, Owatonna The Honorable Richard 1. Griggs, Duluth The Honorable Robert E. Hess, White Bear Lake The Honorable Marjorie J. Howard (Mrs. C. Edward), Excelsior The Honorable A. I. Johnson, Benson The Honorable Lester A. Malkerson, Minneapolis The Honorable A. J. Olson, Renville The Honorable Herman F. Skyberg, Fisher As a courtesy to those attending functions, and out of respect for the character of the building, be it resolved by the Board of Regents that there be printed in the programs of all functions held in Cyrus Northrop Memorial Auditorium a request that smoking be confined to the outer lobby on the main floor, to the gallery lobbies, and to the lounge rooms, and that members of the audience be not allowed to use cameras in the Auditorium. r/tis Js VOUf UnivcfsilU CHARTERED in February, 1851, by the Legislative Assembly of the Territory of Minnesota, the University of Minnesota this year celebrated its one hundred and tenth birthday. As from its very beginning, the University is dedicated to the task of training the youth of today, the citizens of tomorrow. -
Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958, Subscription
^iSI Li BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON I fcg X lawnt ^v^ H MP m SEVENTY-SEVENTH SEASON *9S7- I 9S 8 Tuesday Evening Series BAYARD TUCKERMAN. JR. ARTHUR J. ANDER80N ROBERT T. FORREST JULIUS F. HALLEB ARTHUR J. ANDERSON, JR. HERBERT 8. TUCKERMAN J. DEANE SOMERVILLE It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance. WHAT TIME to ask for help? Any time! Now! CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. Insurance of Every Description 108 Water Street Boston 6, Mass. LA farette 3-5700 SEVENTY-SEVENTH SEASON, 1957-1958 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Vice-President Jacob J. Kaplan Richard C. Paine Treasurer Talcott M. Banks Michael T. Kelleher Theodore P. Ferris Henry A. Laughlin Alvan T. Fuller John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolff Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. -
Webmuseus De Arte: Aparatos Informacionais No Ciberespaço
Webmuseus de arte: aparatos informacionais no ciberespaço Maria Lucia de Niemeyer Matheus Loureiro INTRODUÇÃO Instituto de Pesquisas Jardim Botânico do Rio de Janeiro. Doutora em ciência da informação (UFRJ/ECO – MCT/IBICT) O artigo que se segue tem origem em tese de doutorado E-mail: [email protected] intitulada “Museus de Arte no Ciberespaço: uma abordagem conceitual”, apresentada, em 2003, ao Programa de Pós- graduação em Ciência da Informação (IBICT/UFRJ). Inserido no complexo território da “Informação em Arte”, Resumo o estudo tem como questão central os “museus” de arte construídos exclusivamente na Word Wide Web Estudo abordando os museus de arte criados na Web (webmuseus) a partir de uma perspectiva informacional. Com (webmuseus), sem correspondente no mundo físico. a emergência e rápida expansão da Internet, surgiram na Web diferentes manifestações do fenômeno museu. Ao lado Com a rápida expansão da Internet na última década do das interfaces de museus físicos, são criados e mantidos na século XX, multiplicaram-se sítios auto-intitulados Web sítios de arte auto-intitulados “museus” sem “museus”, dentre os quais destacamos os museus de arte. equivalência no espaço físico, sugerindo uma idéia de museu fortemente centrada na informação, o que contraria a Ostentando nomes como webmuseu, cibermuseu, museu definição oficial de museus (ICOM), da qual a palavra digital ou museu virtual, tais sítios apresentam-se, com informação está ausente. A partir da análise do museu de freqüência, como interfaces de instituições museológicas arte como espaço, são abordadas as metáforas espaciais utilizadas com freqüência para nomear os novos ambientes construídas no espaço físico, como o Louvre, o Prado criados na Web. -
At NALC's Doorstep
Volume 134/Number 2 February 2021 In this issue President’s Message 1 Branch Election Notices 81 Special issue LETTER CARRIER POLITICAL FUND The monthly journal of the NATIONAL ASSOCIATION OF LETTER CARRIERS ANARCHY at NALC’s doorstep— PAGE 1 { InstallInstall thethe freefree NALCNALC MemberMember AppApp forfor youryour iPhoneiPhone oror AndroidAndroid smartphonesmartphone As technology increases our ability to communicate, NALC must stay ahead of the curve. We’ve now taken the next step with the NALC Member App for iPhone and Android smartphones. The app was de- veloped with the needs of letter carriers in mind. The app’s features include: • Workplace resources, including the National • Instantaneous NALC news with Agreement, JCAM, MRS and CCA resources personalized push notifications • Interactive Non-Scheduled Days calendar and social media access • Legislative tools, including bill tracker, • Much more individualized congressional representatives and PAC information GoGo to to the the App App Store Store oror GoogleGoogle Play Play and and search search forfor “NALC “NALC Member Member App”App” toto install install for for free free President’s Message Anarchy on NALC’s doorstep have always taken great These developments have left our nation shaken. Our polit- pride in the NALC’s head- ical divisions are raw, and there now is great uncertainty about quarters, the Vincent R. the future. This will certainly complicate our efforts to advance Sombrotto Building. It sits our legislative agenda in the now-restored U.S. Capitol. But kitty-corner to the United there is reason for hope. IStates Capitol, a magnificent First, we should take solace in the fact that the attack on our and inspiring structure that has democracy utterly failed. -
Nattaiiooga, Icnnesses Or Any C.Ourse J F Chatta Nooga Rivilege of Me Hip In
I Jn 00"' .nattaiiooga, icnnesses or any c.ourse j f Chatta nooga rivilege of me hip in nut .uae a; me university is issumption thai the student r fundamental importance of hi H itim community. 9 if ei m enterprise between student and m f fvff between student and student, of dishonesty violates and weakens nship and lessens the value of the tf 'he student is pursuing. '.£. University of Chattanooga BULLETIN CATALOG ISSUE Record for 1965-66 Announcements 1966-67 The University of Chattanooga bulletin is published quarterly. Vol. 45, No. 2, April 1966, Catalog Issue. Second class postage paid at Chattanooga, Tennessee. THE UNIVERSITY The University of Chattanooga is an accredited, privately controlled and endowed, coeducational college, with a strong liberal arts orientation. It offers courses of study leading to the degrees of Bachelor of Arts, Bachelor of Science, Bachelor of Music, Master of Education, Master of Arts in Teaching, Master of Business Ad ministration and Master of Science. Located in the center of the industrial South, in an area of great natural beauty and historic interest, it provides in a metropolitan setting the advantages of a small campus atmosphere. ACCREDITATION Accreditation is a measure of standing among educational institu tions. To be accredited means that the University has met stand ards established by an accrediting agency. Accreditation is impor tant to the student. It assures him that credits earned at the Uni versity are transferable to other colleges and universities, are acceptable to employers and to certification agencies, and that degrees from the University of Chattanooga are recognized by "grad uate and professional schools. -
Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan) -
Emily Dickinson in Song
1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others.