Universify Microfilms International 300 N

Total Page:16

File Type:pdf, Size:1020Kb

Universify Microfilms International 300 N INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. Universify Microfilms International 300 N. ZEEB ROAD, ANN ARBOR, Ml 48106 18 BEDFORD ROW, LONDON WC1 R 4EJ, ENGLAND 8027512 DILLON, CONNIE LEE GREB EDUCATION FOR THE FUTURE: IMPLICATIONS FOR EDUCATIONAL TECHNOLOGY The University of Oklahoma PH.D. I98O University Microfilms I ntern Sti 0 n si 300 N. Zeet Road, Ann Arbor, MI 48106 Copyright by DILLON, CONNIE LEE GREB All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark . 1. Glossy photographs 2. Colored illustrations 3. Photographs with dark background 4. Illustrations are poor copy____ 5. °rint shows through as there is text on both sides of page 6. Indistinct, broken or small print on several pagesy 7. Tightly bound copy with print lost in spine 8. Computer printout pages with indistinct print 9. Page(s) lacking when material received, and not available from school or author 10. Page(s)________seem to be missing in numbering only as text follows 11. Poor carbon copy________ 12. Not original copy, several pages with blurred type 13. Appendix pages are poor ________copy 14. Original copy with light type________ 15. Curling and wrinkled pages_______ 16. Other UniversiN Micionlms Internationa} 300 \ 2=== 30.. ANN AR30fi N/11 J8106'313: 761-4700 THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE EDUCATION FOR THE FUTURE: IMPLICATIONS FOR EDUCATIONAL TECHNOLOGY A DISSERTATION SUBMITTED TO THE GRADUATE COLLEGE in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY CONNIE GREB DILLON No rman, Oklahoma 1980 EDUCATION FOR THE FUTURE: IMPLICATIONS FOR EDUCATIONAL TECHNOLOGY APPROVED BY 4^ DIS^RTATION COMMITTEE ACKNOWLEDGEMENTS The writer would like to express her sincere appreciation to Dr. Jay Smith and Dr. John Pulliam for their support and encouragement in the direction of this study. Appreciation is also expressed to Dr. Tillman Ragan, Dr. James Healey, Dr. Lloyd Korhonen, and Dr. Thomas Wiggins for their valuable suggestions, criticisms, and encouragement through­ out the study. The writer would like to express a personal note of apprecia­ tion to her husband, Dave, and her parents Mervin and Wanda Greb for their understanding, patience, support and sacrifice, with­ out which this study could not have been completed. 1 X 1 TABLE OF CONTENTS LIST OF T A B L E S .......................................... vi CHAPTER I. INTRODUCTION .................................... 1 Preface Background of the Study Statement of the Problem Significance of the Study Delimitation of the Study II. EDUCATIONAL TECHNOLOGY: HOW WE GOT HERE AND NOW WHAT? ........................... Introduction Educational Technology: A Maturing Profession Technology in the Making Technology: For Better or For Worse III. DESIGN AND METHODOLOGY: AN ETHNOGRAPHIC APPROACH TO CONTENT ANALYSIS ........................... 24 Content Analysis Described The Logical-Positivist Approach: A Critique Ethnographic Techniques Described A Description of Documentation: An Ethnographic Technique An Ethnographic Approach to Content Analysis: An Alternative IV. A CONTENT ANALYSIS OF FOURTEEN SELECTED FUTURISTS BOOKS .......................................... 39 Preliminary Matrices (Set 1) and Development of Subcategories The Matrices: An Overview The Futurists: A Closer Look The What and Why of Education Positive Uses of Technology IV V. A CONTENT ANALYSIS OF RESEARCH IN EDUCATIONAL TECHNOLOGY: PERSPECTIVE FROM THE FUTURE .... 83 Attributes of Educational Technology Educational Technology Attributes and Their Relation to the Future The Educational Technology Categories Defined VI. RESULTS AND D I S C U S S I O N .............................. 96 Results of the Analysis Discussion Summary BIBLIOGRAPHY ................................................ 115 GLOSSARY ...................................................... 119 APPENDIX A ................................................... 120 APPENDIX B ................................................... 125 APPENDIX C ................................................... 128 APPENDIX D ................................................... 170 LIST OF TABLES Table Page 1. Relationship of Futurist Trends and Means ................ 41-42 2. Futurist Subcategories: Trends in Society and the F a m i l y ................................................. 43-44 3. Futurist Subcategories: Individual Trends ............. 45 4. Futurist Subcategories: Trends in Education ............. 46 5. Futurist Subcategories: Means ......................... 47 6. Futurist Subcategories: Ends of E d u c a t i o n ............. 79 7. The Relationship of Education Technology Attributes and Futurists M e a n s ..................................... 87-90 vx EDUCATION FOR THE FUTURE; IMPLICATIONS FOR EDUCATIONAL TECHNOLOGY CHAPTER I INTRODUCTION Preface The future cannot be forecast but it can be explored. — E. F. Schumacher, SMALL IS BEAUTIFUL As the rate of change increases, it becomes important for society's institutions not only to stay abreast of change, but to keep ahead of change. Only in this way can individuals exercise any influence in the direction of their lives. It jthe futur^ is at least partly subject to our influence, and our interest must therefore focus on "preferable" futures as well as those that are "possible" and "probable". (Toffler, 1974, p. xxv) There is, however, doubt concerning the ability of our institutions to do this. Rather than outpacing change, our institutions seem to lag behind. This is particularly true of education. ...technological and social change is outracing the educa­ tional system, and that social reality is transforming itself more rapidly than our educational images of that reality. (Toff1er, 1972, p. xxiv) Education may well hold the key to human survival and human prosperity. 2 Technology is currently blamed for many of the ills which threaten the human race. It may, however, prove to be an invaluable resource, if only it is used with caution. The primary task of technology, it would seem, is to lighten the burden or work that man has to carry in order to stay alive and develop his potential. (Schumacher, 1973, p. 148) Educational technology is based on the belief that technology can be used in the resolution of a variety of instructional problems. Educational technology is a field involved in the facili­ tation of human learning through the systematic identifi­ cation, development, organization and utilization of a full range of resources, and through the management of those resources. (Hug, 1978, p. 3) Background of the Study Many professionals in our field have written about our place in the future. Many have given their ideas about what should be done. However, this author has found no systematic study of the future in terms of its implications for educational technology. Chapter II focuses upon three points worthy of consideration. What are the issues confronting educational technology as it enters adulthood? What are some of the technological developments which will likely impact educa­ tional technology? And, finally are we willing to consider both the positive and the negative capabilities of our technological developments? Mierzwa in his dissertation entitled A Critical Analysis of Selected Aspects of the Interaction Among Science, Technology and Society; Implications for Education made this statement : Thus given the fact that the schools are increasingly being attacked for the supposed failure to provide education adequate for coping with certain problems, I believe that "radical" critiques of education should receive careful attention. For example,
Recommended publications
  • Cultural Politics and Old and New Social Movements
    P1: FHD/IVO/LCT P2: GCR/LCT QC: Qualitative Sociology [quso] ph132-quas-375999 June 13, 2002 19:33 Style file version June 4th, 2002 Qualitative Sociology, Vol. 25, No. 3, Fall 2002 (C 2002) Music in Movement: Cultural Politics and Old and New Social Movements Ron Eyerman1 After a period of interdisciplinary openness, contemporary sociology has only re- cently rediscovered culture. This is especially true of political sociology, where institutional and network analyses, as well as rational choice models, have dom- inated. This article will offer another approach by focusing on the role of music and the visual arts in relation to the formation of collective identity, collective memory and collective action. Drawing on my own research on the Civil Rights movement in the United States and the memory of slavery in the formation of African-American identity, and its opposite, the place of white power music in contemporary neo-fascist movements, I will outline a model of culture as more than a mobilization resource and of the arts as political mediators. KEY WORDS: social movements; representation; performance. COLLECTIVE BEHAVIOR: CULTURE AND POLITICS The study of collective behavior has traditionally included the study of sub- cultures and social movements as central elements. This was so from the beginning when the research field emerged in the disciplinary borderlands between sociology and psychology in the periods just before and after World War II. Using a scale of rationality, the collective behaviorist placed crowd behavior at the most irra- tional end of a continuum and social movements at the most rational. The middle ground was left for various cults and subcultures, including those identified with youth.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • I the Use of African Music in Jazz from 1926-1964: an Investigation of the Life
    The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston by Jason John Squinobal Batchelor of Music, Berklee College of Music, 2003 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master in Ethnomusicology University of Pittsburgh 2007 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Jason John Squinobal It was defended on April 17, 2007 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Thesis Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2007 iii The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston Jason John Squinobal, M.A. University of Pittsburgh, 2007 ABSTRACT There have been many jazz musicians who have utilized traditional African music in their music. Randy Weston was not the first musician to do so, however he was chosen for this thesis because his experiences, influences, and music clearly demonstrate the importance traditional African culture has played in his life. Randy Weston was born during the Harlem Renaissance. His parents, who lived in Brooklyn at that time, were influenced by the political views that predominated African American culture. Weston’s father, in particular, felt a strong connection to his African heritage and instilled the concept of pan-Africanism and the writings of Marcus Garvey firmly into Randy Weston’s consciousness.
    [Show full text]
  • Art for People's Sake: Artists and Community in Black Chicago, 1965
    Art/African American studies Art for People’s Sake for People’s Art REBECCA ZORACH In the 1960s and early 1970s, Chicago witnessed a remarkable flourishing Art for of visual arts associated with the Black Arts Movement. From the painting of murals as a way to reclaim public space and the establishment of inde- pendent community art centers to the work of the AFRICOBRA collective People’s Sake: and Black filmmakers, artists on Chicago’s South and West Sides built a vision of art as service to the people. In Art for People’s Sake Rebecca Zor- ach traces the little-told story of the visual arts of the Black Arts Movement Artists and in Chicago, showing how artistic innovations responded to decades of rac- ist urban planning that left Black neighborhoods sites of economic depres- sion, infrastructural decay, and violence. Working with community leaders, Community in children, activists, gang members, and everyday people, artists developed a way of using art to help empower and represent themselves. Showcas- REBECCA ZORACH Black Chicago, ing the depth and sophistication of the visual arts in Chicago at this time, Zorach demonstrates the crucial role of aesthetics and artistic practice in the mobilization of Black radical politics during the Black Power era. 1965–1975 “ Rebecca Zorach has written a breathtaking book. The confluence of the cultural and political production generated through the Black Arts Move- ment in Chicago is often overshadowed by the artistic largesse of the Amer- ican coasts. No longer. Zorach brings to life the gorgeous dialectic of the street and the artist forged in the crucible of Black Chicago.
    [Show full text]
  • Song & Music in the Movement
    Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing.
    [Show full text]
  • A Study of Selected Contemporary Compositions for Bassoon by Composers Margi Griebling-Haigh, Ellen Taaffe-Zwilich and Libby
    A STUDY OF SELECTED CONTEMPORARY COMPOSITIONS FOR BASSOON BY COMPOSERS MARGI GRIEBLING-HAIGH, ELLEN TAAFFE-ZWILICH AND LIBBY LARSEN by ELIZABETH ROSE PELLEGRINI JENNIFER L. MANN, COMMITTEE CHAIR DON FADER TIMOTHY FEENEY JONATHAN NOFFSINGER THOMAS ROBINSON THEODORE TROST A MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2018 Copyright Elizabeth Rose Pellegrini 2018 ALL RIGHTS RESERVED ABSTRACT In my final DMA recital, I performed Sortilège by Margi Griebling-Haigh (1960), Concerto for Bassoon and Orchestra by Ellen Taaffe-Zwilich (1939), and Concert Piece by Libby Larsen (1950). For each of these works, I give a brief biography of the composer and history of the piece. I contacted each of these composers and asked if they would provide further information on their compositional process that was not already available online. I received responses from Margie Griebling-Haigh and Libby Larsen and had to research information for Ellen Taaffe-Zwilich. I assess the contribution of these works to the body of bassoon literature, summarize the history of the literature, discuss the first compositions for bassoon by women, and discuss perceptions of the instrument today. I provide a brief analysis of these works to demonstrate how they contribute to the literature. I also offer comments from Nicolasa Kuster, one of the founders of the Meg Quigley Vivaldi Competition. Her thoughts as an expert in this field offer insight into why these works require our ardent advocacy. ii DEDICATION This manuscript is dedicated, first and foremost, to all the women over the years who have inspired me.
    [Show full text]
  • Fundamentals of Biomechanics Duane Knudson
    Fundamentals of Biomechanics Duane Knudson Fundamentals of Biomechanics Second Edition Duane Knudson Department of Kinesiology California State University at Chico First & Normal Street Chico, CA 95929-0330 USA [email protected] Library of Congress Control Number: 2007925371 ISBN 978-0-387-49311-4 e-ISBN 978-0-387-49312-1 Printed on acid-free paper. © 2007 Springer Science+Business Media, LLC All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. 987654321 springer.com Contents Preface ix NINE FUNDAMENTALS OF BIOMECHANICS 29 Principles and Laws 29 Acknowledgments xi Nine Principles for Application of Biomechanics 30 QUALITATIVE ANALYSIS 35 PART I SUMMARY 36 INTRODUCTION REVIEW QUESTIONS 36 CHAPTER 1 KEY TERMS 37 INTRODUCTION TO BIOMECHANICS SUGGESTED READING 37 OF UMAN OVEMENT H M WEB LINKS 37 WHAT IS BIOMECHANICS?3 PART II WHY STUDY BIOMECHANICS?5 BIOLOGICAL/STRUCTURAL BASES
    [Show full text]
  • The Harmony of Debussy in Contemporary Jazz Brigham
    THE HARMONY OF DEBUSSY IN CONTEMPORARY JAZZ BRIGHAM PHILLIPS A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JANUARY, 2018 © BRIGHAM PHILLIPS, 2018 ABSTRACT Claude Debussy and other late 19th-century composers (especially Maurice Ravel) introduced several new harmonic innovations that have since become standard tools of the jazz composer/arranger/improviser, among them the rich harmonies of chromatically altered chords as well as the use of the whole tone, pentatonic and octatonic scales. This thesis presents an original composition The Stanley Bridge Suite that demonstrates ​ ​ how these harmonic concepts are used in modern orchestral jazz. A brief history of impressionism is included, followed by a chapter showing the increasing prevalence of impressionist harmony in jazz over the years. Because The Stanley Bridge Suite was arranged for ​ ​ an orchestral jazz ensemble the makeup of the modern jazz orchestra is also discussed. The final chapter analyzes the thesis composition in detail, showing where and how the various Debussy techniques were incorporated in the work. ii ACKNOWLEDGEMENTS I would like to thank Professors Al Henderson and Dr. Mark Chambers for their guidance and assistance. I would also like to acknowledge and thank my parents for giving me the gift of music and encouraging my choice to make a living as a professional musician. My father, recently deceased, always hoped I would pursue a Masters Degree in Music one day. Finally, I would like to thank my wife, daughter and son for encouraging me to go on this Masters journey and for putting up with my frequent absence from their lives while doing so.
    [Show full text]
  • 2021 Creative Engagement Grantees
    2021 CREATIVE ENGAGEMENT GRANTEES DANCE Accidental Suite: B orn from raw experimentation and wrangled through structured improvisation, BARKIN/SELISSEN builds relational tension through increasing levels of connection. Evoking chance encounters, Project near misses, and the magnetic push and pull of intertwined lives, this evening-length ensemble work taps into the most essential of human needs: relating to one another. Expressions: Black Lives Matter - An Arts Collaboration Black lives inspire, Black lives create, Black lives collaborate, Black lives matter: Black lives have always mattered at Clark Center. Clark Center NYC Artists from all disciplines were invited to submit images of original works that speak to “Black Lives Matter”, diversity, anti-racism and inclusion. Dancers then selected a work which inspired. These collaborations will be the centerpiece of a concert and art exhibition. Danzas Caribeñas Presenting Series 2021: This year C4AMD will showcase a series of virtual performances titled “Danzas Caribeñas”. This series will include, at the end of each concert, Collectives for Arts Music engaging conversations on the history of each dance performed. This year, we propose seven & Dance, inc virtual shows and the possibility for three in-person performances, throughout Washington Heights/Inwood. RUNNING OUT OF TIME: A 45-minute, outdoor dance experience occurring at Jackie Robinson DanceBoissiere Park in Harlem. Against the backdrop of exploitative labor, civil unrest, a pandemic, and police brutality, 6 performers of DanceBoissiere navigate joy and rest as acts of resistance. Create Choreography, Community Ceili, and specially-priced Family Shows: Darrah Carr Dance creates new work in their ModERIN style – a blend of traditional Irish step and contemporary Darrah Carr Dance, Inc.
    [Show full text]
  • Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2005 Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, History Commons, and the Music Commons Recommended Citation anderson, Benjamin Park, "Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement" (2005). Dissertations, Theses, and Masters Projects. Paper 1539626478. https://dx.doi.org/doi:10.21220/s2-9ab3-4z88 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. BLUE NOTES AND BROWN SKIN Five African-American Jazzmen and the Music they Produced in Regard to the American Civil Rights Movement. A Thesis Presented to The Faculty of the American Studies Program The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts By Benjamin Park Anderson 2005 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts imin Park Anderson Approved by the Committee, May 2005 Dr. Arthur Knight, Chair Ids McGovern . Lewis Porter, Rutgers University, outside reader ii TABLE OF CONTENTS Page Acknowledgements iv List of Illustrations V List of Musical Examples vi Abstract vii Introduction 2 Chapter I.
    [Show full text]
  • Season 6 PR Draft ML
    FOR IMMEDIATE RELEASE SFJAZZ Announces 2017-2018 Season Programming September 7, 2017 – May 27, 2018 Tickets on Sale to SFJAZZ Members, June 24 at 11:00amPST Tickets on Sale to Public, July 15 at 11:00amPST SFJAZZ.ORG (SAN FRANCISCO, CA, June 15, 2017) -- SFJAZZ announces artist programming for the 2017-18 season running September 7, 2017 to May 27, 2018 presenting concerts at the SFJAZZ Center’s Robert N. Miner Auditorium and Joe Henderson Lab, Herbst Theatre and the Paramount Theatre in Oakland. Tickets and ticket packages on sale to SFJAZZ Members, June 24 at 11:00amPST and on sale to public, July 15 at 11:00amPST. For more information, visit sfjazz.org. “The SFJAZZ Center was conceived as a community gathering place for artists and audiences to come together in an environment that encourages engagement and dialogue,” says SFJAZZ Founder and Artistic Director Randall Kline. “When that connection occurs we can be witness to something that moves us, something that makes us feel better for the experience and what can be described as a ‘transcendent moment.’ Since the SFJAZZ Center opened in January 2013, we have been fortunate to experience a number of these memorable dialogues and moments. The programming of the new season is presented to create even more of those moments and to continue embracing and encouraging more musical conversations.” The SFJAZZ Resident Artistic Director program was established to give today’s most innovative and influential musicians the chance to curate exclusive programming at the SFJAZZ Center often featuring unprecedented collaborations between world-renowned artists. Every two years, SFJAZZ selects a new group of forward-thinking musicians to participate in the program.
    [Show full text]
  • Viewed As Baroque Instruments, That Were Also Going out of Style During This Time Period.15
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 A Study of Franz Schubert's Arpeggione Sonata and Claude Debussy's Premiére Rhapsodie: A Performer's Perspective Jeffrey Michael Brooks Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A STUDY OF FRANZ SCHUBERT’S ARPEGGIONE SONATA AND CLAUDE DEBUSSY’S PREMIÉRE RHAPSODIE: A PERFORMER’S PERSPECTIVE By JEFFREY MICHAEL BROOKS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Jeffrey Michael Brooks defended this treatise on April 10, 2017. The members of the supervisory committee were: Deborah Bish Professor Directing Treatise Richard Clary University Representative Eric Ohlsson Committee Member Jeffrey Keesecker Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii For Mom and Dad iii ACKNOWLEDGMENTS There are many people to whom I owe thanks and gratitude over the past several years. First of all, thank you to my advisor and mentor Dr. Deborah Bish. Your patience, confidence, and persistence have helped me through many challenging times. Thank you for gently encouraging me to keep going and for leading me through this academic process. Thank you to my committee members, Dr. Eric Ohlsson, Jeffrey Keesecker, and Richard Clary, all of whom have guided me both professionally and scholastically. Thank you to emeritus professor, Dr. Frank Kowalsky, who taught me so much about music and the pursuit of intentional living.
    [Show full text]