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Hough Expounds on Andropov's Mayer
I ~~ Where You Read It First Wednesday, November 16, 1983 Volume VI1 Number 47 Mayer Addresses West Hall Residents in Fireside Chat by PRUDENCE GRANT Tufts President Jean Mayer con- Mayer responded to this concern with ducted another of his series of fireside an anecdote, stating that he had learn- chats in West Hall Monday night. ed to speak English from three main As there was no single area offocus, sources - a list of irregular verbs Mayer discussed and answered ques- given to him by his father, church ser- tions on a variety of campus concerns. mons and Jimmy Cagney movies. The West Hall audience was predom- Mayer also addressed last week’s at- inantly male, and there were about ffi- lacks against Professor Elliott of the ty in attendance. Political Science department. Mayer After some brief opening remarks in labelled the issue, which coincided which he outlined upcoming im- with Elliott’s resignation as depart- provements to the campus and ex- ment chairman, “a minor tragedy,” pressed satisfaction and optimism with and he praised Elliott’s outstanding the present state of Tufts, Mayer op- character and devotion to Tufts ened the floor to questions. students. When asked to comment on what Mayer also spoke at length about the will be done about parking availabili- denial of tenure to Peter Dreier and Planners of the Elizabeth Van Huysen Mayer Campus Center, which began ty on campus, Mayer said that there about Tufts’ hiring procedures in construction last week, hope that the center will “bring the community are solutions,“but not ones that general. -
Lawrence D. “Butch” Morris
Lawrence D. “Butch” Morris American Cornetist, Composer & Conductor (February 10, 1947 – January 22, 2013) 1 Track listing 1. title: Conduction #1: Current Trends in Racism in Modern America (Part 1 (cont.)) personnel: Butch Morris (conductor), Frank Lowe (saxophone), John Zorn (saxophone, game calls), Christian Marclay (turntables), Thurman Barker (marimba), Curtis Clark (piano), Brandon Ross (guitar), Zeena Parkins (harp), Eli Fountain (vibraphone), Tom Cora (cello), Yasunao Tone (vocal) album title (format): Current Trends in Racism in Modern America (lp) label (country) (catalog number): Sound Aspects Records (Germany) (SAS 4010) recording location and date: New York, USA, February 1st, 1985 release date: 1986 duration: 12:12 2. title: Ozone – Burning Blue personnel: Butch Morris (cornet), Lê Quan Ninh (percussion), J.A. Deane (trombone, flute, electronics) album title (format): Burning Cloud label (country) (catalog number): Free Music Productions (Germany) (FMP CD 77 ) recording location and date: Berlin, Germany, October 29, 1993 release date: 1996 duration: 18:27 3. title: Conduction #26, E personnel: Butch Morris (conductor), Hasan Esen (kemence), Mehmet Emin Bitmez (ud), Göskel Baktagir (kanun), Süleyman Erguner (ney), Lê Quan Ninh (percussion), Bryan Carrott (vibraphone), J.A. Deane (trombone, electronics, drum machine), Elizabeth Panzer (harp), Brandon Ross (acoustic guitar), Steve Colson (piano), Hugh Ragin (pocket trumpet) album title (format): Testament: A Conduction Collection Disc 5 (cdx10+book+box) label (country) (catalog -
Blabla Bio Fred Frith
BlaBla Bio Fred Frith Multi-instrumentalist, composer, and improviser Fred Frith has been making noise of one kind or ano- ther for almost 50 years, starting with the iconic rock collective Henry Cow, which he co-founded with Tim Hodgkinson in 1968. Fred is best known as a pioneering electric guitarist and improviser, song-writer, and composer for film, dance and theater. Through bands like Art Bears, Massacre, Skeleton Crew, Keep the Dog, the Fred Frith Guitar Quartet and Cosa Brava, he has stayed close to his roots in rock and folk music while branching out in many other directions. His compositions have been performed by ensembles ranging from Arditti Quartet and the Ensemble Modern to Concerto Köln and Galax Quartet, from the BBC Scottish Symphony Orchestra to ROVA and Arte Sax Quartets, from rock bands Sleepytime Gorilla Museum and Ground Zero to the Glasgow Improvisers’ Orchestra. Film music credits include the acclaimed documentaries Rivers and Tides, Touch the Sound and Leaning into the Wind, directed by Thomas Riedelsheimer, The Tango Lesson, Yes and The Party by Sally Potter, Werner Penzel’s Zen for Nothing, Peter Mettler’s Gods, Gambling and LSD, and the award-winning (and Oscar-nominated) Last Day of Freedom, by Nomi Talisman and Dee Hibbert- Jones. Composing for dance throughout his long career, Fred has worked with Rosalind Newman and Bebe Miller in New York, François Verret and Catherine Diverrès in France, and Amanda Miller and the Pretty Ugly Dance Company over the course of many years in Germany, as well as composing for two documentary films on the work of Anna Halprin. -
The APDT CHRONICLE Summer 2014 of the Dog
The APDT CHRONICLE Summer 2014 of the Dog BAT 2.0: A New Version of BAT for Fear and Aggression by Grisha Stewart, MA, CPDT-KA, KPA CTP Where Did Dogs Come From? What We Know and What We Don't Know About Dog Domestication by Jessica Hekman, DVM, MS Clearing Up the Confusion: Assistance Dogs and Their Public Access Rights by Mary McNeight, CPDT-KA, CCS, BGS CertifyInBehavior.org Broaden your horizons. How do you stand out from other trainers? You’ve spent a lot of time developing your skills through education and by solving real world problems. It’s time your colleagues, clients, and local veterinarians see you in a new light. The IAABC offers two certification levels, including the field’s only mid-level certification for trainers working in behavior: • FULL CERTIFICATION (CDBC) Indicates your proven expertise and critical thinking, sound reasoning in client assessments, and excellent skills in behavior modification application. • ASSOCIATE CERTIFICATION (ACDBC) Associate Certified status indicates your excellent, yet still burgeoning skills in behavior modification and understanding of current scientific theory and application. Certification is for the serious professional. Our applications for certification require written case studies as well as responses to questions about application of learning theory and common practices in behavior consulting. Learn more about our professional behavior consulting community at CertifyInBehavior.org INTERNATIONAL ASSOCIATION OF ANIMALIAABC BEHAVIOR CONSULTANTS iaabc.org 2 w The APDT Chronicle of the Dog w Summer 2014 www.APDT.com The Association of Professional Dog Trainers P.O. Box 1148 Table of Contents Greenville, SC 29602-1148 Summer 2014 1-800-PET-DOGS [email protected] Columns www.APDT.com A Message From the Chair - Jill Marie O'Brien, CNWI, CPDT-KA 4 APDT Vision Statement: The APDT is the recognized voice of the dog training Member News - Mychelle Blake, MSW, CDBC, CAE 5 profession. -
ANNIE GOSFIELD, Whom the BBC Called “A One Woman Hadron
ANNIE GOSFIELD, whom the BBC called “A one woman Hadron collider,” lives in New York City and works on the boundaries between notated and improvised music, electronic and acoustic sounds, refined timbres and noise. Her music is often inspired by the inherent beauty of found sounds, noise, and machinery. She was dubbed “a master of musical feedback” by The New York Times, who wrote “Ms. Gosfield’s choice of sounds — which on this occasion included radio static, the signals transmitted by the Soviet satellite Sputnik I, and recordings of Hurricane Sandy — are never a mere gimmick. Her extraordinary command of texture and timbre means that whether she is working with a solo cello or with the ensemble she calls her “21st-century avant noisy dream band,” she is able to conjure up a palette of saturated and heady hues.” In 2017 Gosfield collaborated with Yuval Sharon and the Los Angeles Philharmonic on the multi-site opera “War of the Worlds.” This large-scale, citywide collaborative performance was a powerful engagement with public life, bringing opera out of the concert hall and into the streets. Three defunct air raid sirens located in downtown Los Angeles were re-purposed into public speakers to broadcast a free, live performance from Walt Disney Concert Hall. The sirens also served as remote sites for singers and musicians to report back to the concert hall from the street. The notorious 1938 radio drama created by Orson Welles came to new life, directed by The Industry’s Yuval Sharon, conducted by Christopher Rountree and narrated by Sigourney Weaver. -
Ambiant Creativity Mo Fr Workshop Concerts Lectures Discussions
workshop concerts lectures discussions ambiant creativity »digital composition« March 14-18 2011 mo fr jérôme bertholon sebastian berweck ludger brümmer claude cadoz omer chatziserif johannes kreidler damian marhulets thomas a. troge iannis zannos // program thursday, march 17th digital creativity 6 pm, Lecture // Caught in the Middle: The Interpreter in the Digital Age and Sebastian Berweck contemporary ZKM_Vortragssaal music 6.45 pm, IMA | lab // National Styles in Electro- acoustic Music? thomas a. troged- Stipends of “Ambiant Creativity” and Sebastian fdfd Berweck ZKM_Vortragssaal 8 pm, Concert // Interactive Creativity with Sebastian Berweck (Pianist, Performer), works by Ludger Brümmer, Johannes Kreidler, Enno Poppe, Terry Riley, Giacinto Scelsi ZKM_Kubus friday, march 18th 6 pm, Lecture // New Technologies and Musical Creations Johannes Kreidler ZKM_Vortragsaal 6.45 pm, Round Table // What to Expect? Hopes and Problems of Technological Driven Art Ludger Brümmer, Claude Cadoz, Johannes Kreidler, Thomas A. Troge, Iannis Zannos ZKM_Vortragssaal 8 pm, Concert // Spatial Creativity, works by Jérôme Bertholon, Ludger Brümmer, Claude Cadoz, Omer Chatziserif, Damian Marhulets, Iannis Zannos ZKM_Kubus 10pm, Night Concert // Audiovisual Creativity with audiovisual compositions and dj- sets by dj deepthought and Damian Marhulets ZKM_Musikbalkon // the project “ambiant creativity” The “Ambiant Creativity” project aims to promote the potential of interdisciplinary coopera- tion in the arts with modern technology, and its relevance at the European Level. The results and events are opened to the general public. The project is a European Project funded with support from the European Commission under the Culture Program. It started on October, 2009 for a duration of two years. The partnership groups ACROE in France, ZKM | Karlsruhe in Germany and the Ionian University in Greece. -
Sélection De La Commission Musique Nouvelle 40176 PCDM3 450 and 40177 PCDM3 450 CHA Voir PCDM4 Voir PCDM4 PCDM4 7 and CC PCDM4 7 CHA Gris Gris
Sélection de la commission Musique nouvelle 40176 PCDM3 450 AND 40177 PCDM3 450 CHA voir PCDM4 voir PCDM4 PCDM4 7 AND CC PCDM4 7 CHA Gris Gris 1CD Elektra WAR 1CD Tzadik ORK Anderson, Laurie Charming Hostess Homeland Bowls project (The) Laurie Anderson : voix, claviers J Eisenberg: voice, dulcimer, harmonium Eyvind Kang, Lou Reed, John Zorn, Antony, etc... Minimaliste Etats-Unis C Taylor: voice / J Ditzian: clarinets / s Ismaily: bass, perc, guit/ C Nouvel album de Laurie Anderson qui résume le spectacle Smith: drums + invités multimédia qu'elle fait tourner et évoluer depuis plusieurs rock chant west coast Amerique années. Elle n'avait pas sorti d'album en studio depuis "Life on a Chant rock décalé d'une charmante hôtesse qui passe de l'ange String" en 2001. au démon sans détour dans le registre vocal qui peut faire Ce nouvel opus est accompagné d'un DVD retraçant la genèse de penser à la chanteuse d'Art Bears. Des violons rock punk fusent, ce projet. les textes s'inspirent des inscriptions anciennes du babylon juif ; La musique et les textes sont quand à eux dignes du talent de les genres s'entremèlent mais restent mystiques sur des airs qui cette grande artiste-performeuse avec les mêmes composantes peuvent faire penser à la tradition celte ou à celle d'Afrique du que sur ses disques précédents : une musique minimaliste nord, on croise même des airs de bluegrass qui décoiffent ou accessible et sophistiquée, des textes mi-parlés mi-chantés, un baladent. Des percussions font envenimer ces univers insensés mélange d'influences qui vont de l'avant-garde new-yorkaise des et poétiques, des troubadours femmes avancent comme des annés 70-80 aux couleurs "world". -
Fred Frith (Filmmusik)
Fred Frith (Filmmusik) Geboren 1949 in Heathfield, East Sussex, England. Im Alter 5 Jahren begann Fred Frith mit dem Violinen-Spiel, später kamen das Klavierspiel, mit 13 Jahren die Gitarre hinzu. Während seines Studiums in Cambrige gründete er 1968 mit dem Saxophonisten Tim Hodgkinson die wegweisende Independent-Band Henry Cow, die u.a. mit Chris Cutler, John Greaves und Lindsay Cooper zusammen arbeitete. Nach der Auflösung von Henry Cow ging Frith 1979 nach New York, wo er mit Künst- lern der Downtown-Szene um Tom Cora, Bob Ostertag, Ikue Mori, John Zorn und anderen in Kontakt kam. Die Arbeit von Fred Frith ist seitdem ungewöhnlich vielfäl- tig. Er arbeitete u.a. zusammen mit Amy Denio, Brian Eno, Half Japanese, Material, The Residents, Robert Wyatt, Heiner Goebbels und Yo Yo Ma, produzierte Alben für The Orthotonics, David Moss, Tenko und V- Effec, war Bassist in John Zorns Band Naked City und gründete so unterschiedliche Formationen wie The Guitar Quartett, Massacre (mit Bill Laswell und Charles Hayward) und Skeleton Crew (mit Tom Cora und Zeena Parkins). "Nach mehr als 20 Jahren mit Aufnahmen und Perfor- mances ist Fred Frith so etwas wie die Ikone der Avant- garde Music geworden“ schrieb Die Zeit 1991. „Die Kri- tiker haben ihm Unrecht getan, indem sie ihn als impro- visierenden Cage-Jünger beschrieben... Bei der Anerken- nung der intellektuellen Aspekte seiner Musik dürfen aber nicht die unsterbliche Neugier, der bittere Witz, sein kindlicher Spieltrieb und die schleichende Melan- cholie übersehen werden." In den letzten Jahren verla- gerte sich der Schwerpunkt von Friths Arbeit von der Perfomance hin zur Komposition, dazu kamen zahlrei- che Arbeiten für Theater, Tanz, Film, Malerei und Video. -
An Examination of Minimalist Tendencies in Two Early Works by Terry Riley Ann Glazer Niren Indiana University Southeast First I
An Examination of Minimalist Tendencies in Two Early Works by Terry Riley Ann Glazer Niren Indiana University Southeast First International Conference on Music and Minimalism University of Wales, Bangor Friday, August 31, 2007 Minimalism is perhaps one of the most misunderstood musical movements of the latter half of the twentieth century. Even among musicians, there is considerable disagreement as to the meaning of the term “minimalism” and which pieces should be categorized under this broad heading.1 Furthermore, minimalism is often referenced using negative terminology such as “trance music” or “stuck-needle music.” Yet, its impact cannot be overstated, influencing both composers of art and rock music. Within the original group of minimalists, consisting of La Monte Young, Terry Riley, Steve Reich, and Philip Glass2, the latter two have received considerable attention and many of their works are widely known, even to non-musicians. However, Terry Riley is one of the most innovative members of this auspicious group, and yet, he has not always received the appropriate recognition that he deserves. Most musicians familiar with twentieth century music realize that he is the composer of In C, a work widely considered to be the piece that actually launched the minimalist movement. But is it really his first minimalist work? Two pieces that Riley wrote early in his career as a graduate student at Berkeley warrant closer attention. Riley composed his String Quartet in 1960 and the String Trio the following year. These two works are virtually unknown today, but they exhibit some interesting minimalist tendencies and indeed foreshadow some of Riley’s later developments. -
Larry Ochs' Interview with Luca Canini for Allaboutjazzitalia.Com Via Email in Winter 2013.(Published April 2013.) Questions
Larry Ochs’ interview with Luca Canini for AllAboutJazzItalia.com via email in winter 2013.(published April 2013.) Questions in bold. Some years ago, when I first listened to “Electric Ascension”, I was shocked by the intensity and power of the performance: past/future, tradition/innovation. That disc and the few concerts around the world are a deep reflection on jazz, history, improvisation, sound. But everything started back in 1995, when Rova decided to celebrate the 30th anniversary of John Coltrane’s masterpiece. Can you tell me something about the birth of the project? How do you decide to approach such a “problematic” piece (if you consider Ascension a “piece”)? And do you remember the first time you listen to Ascension? I think Coltrane’s “Ascension” is one of the great jazz compositions of all time. A great formal structure; a great piece. Not that I consider myself an expert on all jazz music. I really don’t. But I am an expert on the greatness of that composition. We have played it 11 times as “Electric Ascension.” And yes it is true that we re- arranged the piece and changed the instrumentation, but the basic composition “Ascension” is absolutely at the center of “Electric Ascension;” it totally influences all the music we play in the spontaneous performance. There is no doubt of that. I remember seeing John Coltrane live at the Village Vanguard with his late great quartet in 1967. I was 18. The music overwhelmed me completely. There were maybe 20 people there for that second set of their night. -
John Lurie/Samuel Delany/Vladimir Mayakovsky/James Romberger Fred Frith/Marty Thau/ Larissa Shmailo/Darius James/Doug Rice/ and Much, Much More
The World’s Greatest Comic Magazine of Art, Literature and Music! Number 9 $5.95 John Lurie/Samuel Delany/Vladimir Mayakovsky/James Romberger Fred Frith/Marty Thau/ Larissa Shmailo/Darius James/Doug Rice/ and much, much more . SENSITIVE SKIN MAGAZINE is also available online at www.sensitiveskinmagazine.com. Publisher/Managing Editor: Bernard Meisler Associate Editors: Rob Hardin, Mike DeCapite & B. Kold Music Editor: Steve Horowitz Contributing Editors: Ron Kolm & Tim Beckett This issue is dedicated to Chris Bava. Front cover: Prime Directive, by J.D. King Back cover: James Romberger You can find us at: Facebook—www.facebook.com/sensitiveskin Twitter—www.twitter.com/sensitivemag YouTube—www.youtube.com/sensitiveskintv We also publish in various electronic formats (Kindle, iOS, etc.), and have our own line of books. For more info about SENSITIVE SKIN in other formats, SENSITIVE SKIN BOOKS, and books, films and music by our contributors, please go to www.sensitiveskinmagazine.com/store. To purchase back issues in print format, go to www.sensitiveskinmagazine.com/back-issues. You can contact us at [email protected]. Submissions: www.sensitiveskinmagazine.com/submissions. All work copyright the authors 2012. No part of this book may be used or reproduced in any manner whatsoever without the prior written permission of both the publisher and the copyright owner. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. ISBN-10: 0-9839271-6-2 Contents The Forgetting -
A Zeitgeist Films Release Theatrical Booking Contact: Festival Booking and Publicity Contact
Theatrical Booking Festival Booking and Contact: Publicity Contact: Clemence Taillandier / Zeitgeist Films Nadja Tennstedt / Zeitgeist Films 212-274-1989 x18 212-274-1989 x15 [email protected] [email protected] a zeitgeist films release act of god a film by Jennifer Baichwal Is being hit by lightning a random natural occurrence or a predestined event? Accidents, chance, fate and the elusive quest to make sense out of tragedy underpin director Jennifer Baichwal’s (Manufactured Landscapes) captivating new work, an elegant cinematic meditation on the metaphysical effects of being struck by lightning. To explore these profound questions, Baichwal sought out riveting personal stories from around the world—from a former CIA assassin and a French storm chas- er, to writer Paul Auster and improvisational musician Fred Frith. The philosophical anchor of the film, Auster was caught in a terrifying and deadly storm as a teenager, and it has deeply affected both his life and art: “It opened up a whole realm of speculation that I’ve continued to live with ever since.” In his doctor brother’s laboratory, Frith experiments with his guitar to demonstrate the ubiquity of electricity in our bodies and the universe. Visually dazzling and aurally seductive, Act of God singularly captures the harsh beauty of the skies and the lives of those who have been forever touched by their fury. DIRECTOR’S NOTES I studied philosophy and theology before turning to documentary and, in some ways, the questions I was drawn to then are the ones I still grapple with now, although in a different context. Two of these, which specifically inform this film, are the relationship between meaning and randomness and the classical problem of evil.