October 2017: Celebrating Lalo
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Borgo of the Holy Ghost
Utah State University DigitalCommons@USU Swenson Poetry Award Winners USU Press 2001 Borgo of the Holy Ghost Stephen Mcleod Follow this and additional works at: https://digitalcommons.usu.edu/swenson_awards Part of the Creative Writing Commons Recommended Citation Mcleod, Stephen, "Borgo of the Holy Ghost" (2001). Swenson Poetry Award Winners. 10. https://digitalcommons.usu.edu/swenson_awards/10 This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in Swenson Poetry Award Winners by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE BORGO OF THE HOLY GHOST May Swenson Poetry Award Series THE BORGO OF THE HOLY GHOST poems by Stephen McLeod UTAH STATE UNIVERSITY PRESS Logan, Utah Utah State University Press Logan, Utah 84322-7800 Copyright © 2001 Stephen McLeod. Foreword copyright © 2001 Richard Howard. All rights reserved. Manufactured in the United States of America. “The Dead” was first published in Slate Magazine, www.slate.com. Reprinted with permission. Slate is a trademark of the Microsoft Corporation. Grateful acknowledgment is made to the editors of the following publications where versions of these poems first appeared: Agni: “Broken Gull” American Poetry Review: “What Comes Through Hearing” Barrow Street: “All Roads Lead to Kansas”; “Donation”; “The Shoulder Where It Belongs”; “That Crazy Moon” Bay Windows: “Just the Facts” Columbia: A Journal of Literature and Art: “Chronic”; “The Goldberg Variations” The Journal: “Late Reading”; “My Brother’s Ghost” The Paris Review: “At the West Street Piers”; “The Borgo of the Holy Ghost”; “Just By Deciding It” Ploughshares: “Becoming Kansas” Shenandoah: “Pieta” (appeared originally as “Michelangelo’s Pieta”) Slate: “The Dead” Southwest Review: “A.D.” Western Humanities Review: “Against Stevens”; “An Exercise For Lovers”; “For Barbara & Vincent”; “Heaven Reassigned”; “Speaking in Tongues”; “What to Do What to Say”. -
Gitarren, Amps, Effekte & Co
2/2018 l D: 9,80 l A: 11,50 l BeNeLux: 11,90 l CH: SFR 16,20 l I: 12,80 l E: 12,80 2018 2018 Sonderheft Nr. 2 Sonderheft Nr. Gitarren, Amps, Effekte & Co. Guitar-Guide 144 Seiten Test & Technik Marshall + Fender + Engl + Music Man + Schecter + Malekko + Fulltone + EVH + Charvel + Randall + LTD + Nexi +Gibson + Walrus Audio + Zoom + Cordial + Learn more about the All-New Electromatic guitars at: bassisten & gitarristen für magazin Lehle + TAD + Evidence + Elixir + Danelectro + Maybach + gretschguitars.com/electromatic Relish + Reverend Guitars u.v.m. ©2018 FMIC. Gretsch®, Electromatic®, Jet™, and Bigsby® are trademarks of Fred W. Gretsch Enterprises, Ltd. and used herein under license. All rights reserved. 2018 Electromatic Jet BT GER Guitar 210x280mm[3mbld].indd 1 25/07/2018 11:12 INTRO Liebe Leser! „Es liegt in der Natur des Gitarristen: Wir alle wollen mehr!“ Dieser Spruch stammt aus dem angedachten Editorial unseres verehrten Chefredakteurs Jürgen. Dass dieses Editorial nun aus meiner Feder stammt, liegt wohl daran, dass ich ihm diese Aufgabe respektive Ehre irgendwas zwischen abgeluchst und abgenommen habe. Ist ja letztlich auch vollkommen wurscht, wiesoweshalbwarum … Nun denn, auf zur Tat. Vorliegen habt ihr nicht weniger als 144 Seiten voll mit Tests der vergangenen anderthalb Jahre rund um Gitarren, Amps, Effekte und Zubehör. Ausgewählt haben wir nach verschiedenen Kriterien: So sind etwa unsere Preis-Leistungs-Sieger mit dabei, dazu kleine, aber feine Hersteller wie Malekko, Orion oder Mad Professor. Selbstredend fehlen ebensowenig die Großen wie Fender, Gibson, Blackstar, EVH und Charvel, Klassiker aus dem Hause Marshall oder die High-Class-Gitarren aus dem Hause Ernie Ball. -
CURRICULUM VITAE Walter C. White
CURRICULUM VITAE Walter C. White Home Address: 23271 Rosewood Oak Park, MI 48237 (917) 273-7498 e-mail: [email protected] Website: www.walterwhite.com EDUCATION Banff Centre of Fine Arts Summer Jazz Institute – Advanced study of jazz performance, improvisation, composition, and 1985-1988 arranging. Performances with Dave Holland. Cecil Taylor, Muhal Richard Abrahms, David Liebman, (July/August) Richie Beirach, Kenny Wheeler, Pat LaBarbara, Julian Priester, Steve Coleman, Marvin Smith. The University of Miami 1983-1986 Studio Music and Jazz, Concert Jazz Band, Monk/Mingus Ensemble, Bebop Ensemble, ECM Ensemble, Trumpet. The Juilliard School 1981-1983 Classical Trumpet, Orchestral Performance, Juilliard Orchestra. Interlochen Arts Academy (High School Grades 10-12) 1978-1981 Trumpet, Band, Orchestra, Studio Orchestra, Brass Ensemble, Choir. Interlochen Arts Camp (formerly National Music Camp) 8-weeks Summers, Junior Orchestra (principal trumpet), Intermediate Band (1st Chair), Intermediate Orchestra (principal), 1975- 1979, H.S. Jazz Band (lead trumpet), World Youth Symphony Orchestra (section 78-79, principal ’81) 1981 Henry Ford Community College Summer Jazz Institute Summer Classes in improvisation, arranging, small group, and big band performance. 1980 Ferndale, Michigan, Public Schools (Grades K-9) 1968-1977 TEACHING ACCOMPLISHMENTS Rutgers University, Artist-in-residence Duties included coaching jazz combos, trumpet master 2009-2010 classes, arranging classes, big band rehearsals and sectionals, private lessons, and five performances with the Jazz Ensemble, including performances with Conrad Herwig, Wynton Marsalis, Jon Faddis, Terrell Stafford, Sean Jones, Tom ‘Bones’ Malone, Mike Williams, and Paquito D’Rivera Newark, NY, High School Jazz Program Three day residency with duties including general music clinics and demonstrations for primary and secondary students, coaching of Wind Ensemble, Choir, Jan 2011 Jazz Vocal Ensemble, and two performances with the High School Jazz Ensemble. -
GUITAR CENTER, INC. Form 10-K Annual Report Filed 2013-03-26
SECURITIES AND EXCHANGE COMMISSION FORM 10-K Annual report pursuant to section 13 and 15(d) Filing Date: 2013-03-26 | Period of Report: 2012-12-31 SEC Accession No. 0001104659-13-024368 (HTML Version on secdatabase.com) FILER GUITAR CENTER, INC. Mailing Address Business Address 5795 LINDERO CANYON RD 5795 LINDERO CANYON RD CIK:1021113| IRS No.: 954600862 | State of Incorp.:DE | Fiscal Year End: 1231 WESTLAKE VILLAGE CA WESTLAKE VILLAGE CA Type: 10-K | Act: 34 | File No.: 000-22207 | Film No.: 13716047 91362 91362 SIC: 5731 Radio, tv & consumer electronics stores 8187358800 GUITAR CENTER HOLDINGS, INC. Mailing Address Business Address 5795 LINDERO CANYON 5795 LINDERO CANYON CIK:1427553| IRS No.: 000000000 | State of Incorp.:DE | Fiscal Year End: 1231 ROAD ROAD Type: 10-K | Act: 34 | File No.: 333-175270-07 | Film No.: 13716046 WESTLAKE VILLAGE CA WESTLAKE VILLAGE CA SIC: 5731 Radio, tv & consumer electronics stores 91362 91362 818-735-8888 Copyright © 2014 www.secdatabase.com. All Rights Reserved. Please Consider the Environment Before Printing This Document Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K (Mark One) x ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2012 OR o TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File Number 333-175270-07 GUITAR CENTER HOLDINGS, INC. (Exact Name of Registrant as Specified in Its Charter) Delaware 26-0843262 (State or Other Jurisdiction of (I.R.S. -
Recital Report
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1975 Recital Report Robert Steven Call Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Call, Robert Steven, "Recital Report" (1975). All Graduate Plan B and other Reports. 556. https://digitalcommons.usu.edu/gradreports/556 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. RECITAL REPORT by Robert Steven Call Report of a recital performed in partial fulfillment of the requirements for the degree of MASTER OP MUSIC in ~IUSIC UTAH STATE UNIVERSITY Logan, Utah 1975 ii ACKNOWLEDGMENTS I wish to expr ess appreciation to my private music teachers, Dr. Alvin Wardle, Professor Glen Fifield, and Mr. Earl Swenson, who through the past twelve years have helped me enormously in developing my musicianship. For professional encouragement and inspiration I would like to thank Dr. Max F. Dalby, Dr. Dean Madsen, and John Talcott. For considerable time and effort spent in preparation of this recital, thanks go to Jay Mauchley, my accompanist. To Elizabeth, my wife, I extend my gratitude for musical suggestions, understanding, and support. I wish to express appreciation to Pam Spencer for the preparation of illustrations and to John Talcott for preparation of musical examp l es. iii UTAH STATE UNIVERSITY Logan, Utah DEPARTMENT OF MUSIC 1972 - 73 Graduate Recital R. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Roger Sadowsky Carves a Guitar Neck by Hand
Right: Roger Sadowsky carves a guitar neck by hand. Below: Roger takes a break beneath a wall of customized guitars and basses. ROGER SADOWSKY he job of the instrument maker is to provide a tool that “ allows the musician to express himself. Ultimately, the changes in sound and design don’t come from us, but New York’s T from innovative musicians whose talent demands something new. The most dramatic example we get is people Acclaimed Craftsman from all over the world requesting the ‘Marcus Miller bass sound’.” Tailors Instruments —Roger Sadowsky For Everyone From “Roger was the first repairman to take an interest in my playing. He asked a lot of questions concerning how hard I played, the Springsteen and Sting kinds of music I was involved with, and what sort of sound I was looking for. He has great insight into the wood and To Di Meola And Stern electronics that make up an instrument, and he suggested I try one of his preamps. At the time, I was having trouble conveying my style through my bass. With the preamp, I gradually noticed that I could do more with the instrument and the sound was By Chris Jisi projecting better. What Roger did was give me a sound with which I could communicate my style.” —Marcus Miller PHOTOS BY EBET ROBERTS PHOTOS Similar accolades arrive from all corners of the music busi- New York in 1979, 95% of my clients were top studio and ness for New York luthier/repairman Roger Sadowsky, from guitar touring musicians in town. -
AN ANTHOLOGY of MODERN VERSE IF Thou Indeed Derive Thy Light from Heaven, Then, to the Measure of That Heaven-Born Light
1 \ AN ANTHOLOGY OF MODERN VERSE IF thou indeed derive thy light from Heaven, Then, to the measure of that Heaven-born light, Shine, Poet ! in thy place, and be content : The stars pre-eminent in magnitude, And they that from the zenith dart their beams, (Visible though they be to half the earth, Though half a sphere be conscious of their bright ness), Are yet of no diviner origin, No purer essence, than the one that burns, lake an untended watch-fire, on the ridge Of some dark mountain ; or than those which seem Humbly to hang, like twinkling winter lamps, Among the branches of the leafless trees. Wordsworth AN ANTHOLOGY OF MODERN VERSE Chosen ty A. METHUEN With an Introduction by ROBERT LYND "By nothing is England so glorious as by her poetry "MATTHEW ARNOLD METHUEN & GO. LTD. 36 ESSEX STREET W.G. LONDON Twenty-First Edition tttff iva, isth Published . \ . ,. r May 1921 Second Edition . ; June 1921 Third Edition . July 1921 Fourth Edition (enlarged) September 1921 Fifth (Thin Paper) Edition . October 2oth 1921 Sixth (Thin Paper) Edition . December 1921 Seventh Edition . December 1921 Eighth Edition . April 1922 Ninth Edition September 1922 Tenth (Thin Paper) Edition . December 1922 Eleventh Edition . January 1923 Twelfth Edition . May 1923 Thirteenth Edition October 1923 Fourteenth (Thin Paper) Edition November 1923 Fifteenth Edition . February 1924 Sixteenth Edition . July 1924 Seventeenth (Thin Paper) Edition October 1924 Eighteenth Edition November 1924 Nineteenth (Thin Paper) Edition November 1925 Twentieth Edition November 1925 Twenty-first Edition . 1926 School Edition . June 1921 Second School Edition . A ugust 1922 Third School Edition . -
The Complete Poetry of James Hearst
The Complete Poetry of James Hearst THE COMPLETE POETRY OF JAMES HEARST Edited by Scott Cawelti Foreword by Nancy Price university of iowa press iowa city University of Iowa Press, Iowa City 52242 Copyright ᭧ 2001 by the University of Iowa Press All rights reserved Printed in the United States of America Design by Sara T. Sauers http://www.uiowa.edu/ϳuipress No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The publication of this book was generously supported by the University of Iowa Foundation, the College of Humanities and Fine Arts at the University of Northern Iowa, Dr. and Mrs. James McCutcheon, Norman Swanson, and the family of Dr. Robert J. Ward. Permission to print James Hearst’s poetry has been granted by the University of Northern Iowa Foundation, which owns the copyrights to Hearst’s work. Art on page iii by Gary Kelley Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Hearst, James, 1900–1983. [Poems] The complete poetry of James Hearst / edited by Scott Cawelti; foreword by Nancy Price. p. cm. Includes index. isbn 0-87745-756-5 (cloth), isbn 0-87745-757-3 (pbk.) I. Cawelti, G. Scott. II. Title. ps3515.e146 a17 2001 811Ј.52—dc21 00-066997 01 02 03 04 05 c 54321 01 02 03 04 05 p 54321 CONTENTS An Introduction to James Hearst by Nancy Price xxix Editor’s Preface xxxiii A journeyman takes what the journey will bring. -
We Are TEN – in This Issue
RVW No.31 NEW 2004 Final 6/10/04 10:36 Page 1 Journal of the No.31 October 2004 EDITOR Stephen Connock RVW (see address below) Society We are TEN – In this issue... and still growing! G What RVW means to me Testimonials by sixteen The RVW Society celebrated its 10th anniversary this July – just as we signed up our 1000 th new members member to mark a decade of growth and achievement. When John Bishop (still much missed), Robin Barber and I (Stephen Connock) came together to form the Society our aim was to widen from page 4 appreciation of RVW’s music, particularly through recordings of neglected but high quality music. Looking back, we feel proud of what we have achieved. G 49th Parallel World premieres Through our involvement with Richard Hickox, and Chandos, we have stimulated many fine world by Richard Young premiere recordings, including The Poisoned Kiss, A Cotswold Romance, Norfolk Rhapsody No.2, page 14 The Death of Tintagiles and the original version of A London Symphony. Our work on The Poisoned Kiss represents a special contribution as we worked closely with Ursula Vaughan Williams on shaping the libretto for the recording. And what beautiful music there is! G Index to Journals 11-29 Medal of Honour The Trustees sought to mark our Tenth Anniversary in a special way and decided to award an International Medal of Honour to people who have made a remarkable contribution to RVW’s music. The first such Award was given to Richard Hickox during the concert in Gloucester and more . -
Acousta-Electra Guitar Brochure Blue Note Woodworks
BlueNoteWoodworks.com Now Available for Retail Blue Note Woodworks Acousta-Elecktra “Crossover” Stereo Guitar USA The “Crossover” is our unique 2 in 1 Stereo Guitar . It’s both Acoustic & Electric in one, either separately or both together in Stereo. It’ s a Semi-Acoustic Electric with Unique Patent Pending Sound Chambers, Exclusive Ebony Wood Bridge Plate, Solid Tonewoods and Superb Craftsmanship, that rivals anything else out there. With all the capabilities of Blending the Folk-Rock-Country-Blues-Jazz genres all together. Handmade in the USA. Imagine having 2 Guitars in The Acousta-Elecktr 1+ in Stereo…that retains a “Crossover” the Best of Both Worlds! Full warm acoustic sound switchable to a full blown electric or both…in stereo! 3 internal passive acoustic pickups plus 2 coil tapped external humbuckers. 17 switchable pickup tonal variations. Wired in stereo (acou./elec. both splittable to a mixer and/or 2 amps). Exclusive sound chambers provide superior tone and Owner/Luthier/Guitar-Tech Rob Cusumano has been building resonance. and repairing musical instruments professionally for over 30yrs. He has worked for some of the world’s largest & most Exclusive uniquely designed popular guitar manufactures in the world, including Dobro, wood bridge & individually Fender ©, Music Man and G&L Guitars. And now, he’s unveiling adjustable string saddles. some his new uniquely innovated guitars & basses. “All our instruments are Handmade here in the USA. And we Premium figured tonewoods employ no CNC machines. I have always been drawn to the that enhance both sound early artist and craftsmen that continued a tradition of a true and beauty. -
Gretsch Junior Jet Bass Ii Modifications
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