DOCSLIB.ORG

Anders Åstrand: a Paragon of the Modern Musical Aesthetic

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anders Åstrand: a Paragon of the Modern Musical Aesthetic University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 Anders Åstrand: A Paragon of the Modern Musical Aesthetic Matthew Geiger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.069 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Geiger, Matthew, "Anders Åstrand: A Paragon of the Modern Musical Aesthetic" (2017). Theses and Dissertations--Music. 81. https://uknowledge.uky.edu/music_etds/81 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Matthew Geiger, Student James B. Campbell, Major Professor Dr. Michael Baker, Director of Graduate Studies ANDERS ÅSTRAND: A PARAGON OF THE MODERN MUSICAL AESTHETIC ________________________________ DISSERTATION ________________________________ A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Matthew Ryan Geiger Lexington, Kentucky Director: Prof. James B. Campbell, Professor of Music Lexington, Kentucky 2017 Copyright © Matthew Ryan Geiger 2017 ABSTRACT OF DISSERTATION ANDERS ÅSTRAND: A PARAGON OF THE MODERN MUSICAL AESTHETIC Swedish musician Anders Åstrand sustains a career as a performing soloist and chamber musician, composer for small and large chamber ensembles, and improviser in a vast variety of styles. His career represents the future within the musical world as it shifts from the orchestras and concert halls to a society more interested social media outlets such as YouTube and Facebook Live. His compositions integrate elements of improvisation in concept and execution. The primary aim of this study examines the life and career of Anders Åstrand and the correlation of those influences with his compositional aesthetic. The secondary objective connects the inspirations and music of Anders Åstrand with the College Music Society’s manifesto on progressive change for the undergraduate curriculum. KEYWORDS: Composition, Contemporary Musician, Improvisation, Musical Pedagogy, Percussion Performance Matthew Ryan Geiger April 8, 2017 ________________________ ANDERS ÅSTRAND: A PARAGON OF THE MODERN MUSICAL AESTHETIC By Matthew Ryan Geiger James B. Campbell Director of Dissertation______ Dr. Michael Baker Director of Graduate Studies _ March 9, 2017 _____________________ ACKNOWLEDGEMENTS This document, along with all my achievements thus far and in the future, would never have been possible without God, my supportive family, friends, and committee members. My family has put up with my drumming in the house for years; not only did they ignore the ruckus, but they loved me, pushed me, and believed in me to do greater things: I could not ask for a better family. I am thankful that my committee consists of valuable, compassionate teachers that have known me for several years and been able to witness my growth through that time. Next, I would like to thank my mentor Jim Campbell for his constant and unwavering support throughout my career. He has pushed me into a world of possibilities and never stopped providing opportunities. I would never have become the player and teacher that I am today without his education and guidance. I also want to thank my great teachers and mentors of the past who still influence and guide me today, especially Brandon Wood, Brian Mason, Joseph Gramley, Jonathan Ovalle, Ben Stiers, Brian Nozny, Paul Berns, Jim DeCaro, Steve Yoder, Chad Kohler, Matthew James, Randy Greenwell, and Jay Young. Finally, I would like to extend the greatest thanks to Anders and his wonderful family for their compassion and hospitality during my study in Sweden. I had a great time visiting Stockholm and getting a small insight into Swedish culture. I also deeply appreciate the support provided by the University of Kentucky Graduate School. This venture was extremely insightful, and it was a true joy to witness the passion and spirit surrounding Anders and his life. Copyright © Matthew Ryan Geiger 2017 iii TABLE OF CONTENTS Acknowledgements ...................................................................................................... iii List of Figures ................................................................................................................. vi PART ONE Chapter 1: An Introduction and Overview ................................................................ 2 Chapter 2: Composer Biography .................................................................................. 9 Early Life ................................................................................................................................... 10 Pursuit of Excellence ............................................................................................................... 14 The Many Adventures of Anders Åstrand .......................................................................... 16 A Week with Anders............................................................................................................... 21 Drive .......................................................................................................................................... 27 Chapter 3: The Use of Improvisation to Create Compositions ............................ 29 Chapter 4: Musical Examples ...................................................................................... 38 Finding Fossils ......................................................................................................................... 41 Kvart i Fyra ............................................................................................................................... 45 Bluegrass Bounce ..................................................................................................................... 51 Bell Power ................................................................................................................................. 57 Chapter 5: Interpretation and Reception .................................................................. 65 Interpreting the Music ............................................................................................................ 65 The Reception of Anders Åstrand ........................................................................................ 68 Chapter 6: Anders as a Representation of the Future of Higher Education ...... 70 The College Music Society’s Manifesto ................................................................................ 70 Anders as the Improviser-Composer-Performer ................................................................ 76 Chapter 7: Lessons for a Successful Career .............................................................. 79 Confidence ................................................................................................................................ 79 Passion ...................................................................................................................................... 80 Pride .......................................................................................................................................... 85 Joy .............................................................................................................................................. 86 iv Appendix A: Selected Interview Transcriptions .................................................... 88 Stockholm and Learning to be Independent: ...................................................................... 88 Thoughts on Music: ................................................................................................................. 94 General Compositional Techniques and Specific Examples: .........................................
Load more

Recommended publications
  • December 1992
    VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F.
    [Show full text]
  • Sweden As a Crossroads: Some Remarks Concerning Swedish Folk
    studying culture in context Sweden as a crossroads: some remarks concerning Swedish folk dancing Mats Nilsson Excerpted from: Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 Edited by Ian Russell and Mary Anne Alburger First published in 2008 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-5-7 About the author: Mats Nilsson works as a senior lecturer in folklore and ethnochoreology at the Department of Ethnology, Gothenburg University, Sweden. His main interest is couple dancing, especially in Scandinavia. The title of his1998 PhD dissertation, ‘Dance – Continuity in Change: Dances and Dancing in Gothenburg 1930–1990’, gives a clue to his theoretical orientation. Copyright © 2008 the Elphinstone Institute and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 8 Sweden as a crossroads: some remarks concerning Swedish folk dancing MATS NILSSON his article is an overview of folk dancing in Sweden. The context is mainly the Torganised Swedish folk-dance movement, which can be divided into at least three subcultures. Each of these folk dance subcultural contexts can be said to have links to different historical periods in Europe and Scandinavia.
    [Show full text]
  • Swedish Folk Music
    Ronström Owe 1998: Swedish folk music. Unpublished. Swedish folk music Originally written for Encyclopaedia of world music. By Owe Ronström 1. Concepts, terminology. In Sweden, the term " folkmusik " (folk music) usually refers to orally transmitted music of the rural classes in "the old peasant society", as the Swedish expression goes. " Populärmusik " ("popular music") usually refers to "modern" music created foremost for a city audience. As a result of the interchange between these two emerged what may be defined as a "city folklore", which around 1920 was coined "gammeldans " ("old time dance music"). During the last few decades the term " folklig musik " ("folkish music") has become used as an umbrella term for folk music, gammeldans and some other forms of popular music. In the 1990s "ethnic music", and "world music" have been introduced, most often for modernised forms of non-Swedish folk and popular music. 2. Construction of a national Swedish folk music. Swedish folk music is a composite of a large number of heterogeneous styles and genres, accumulated throughout the centuries. In retrospect, however, these diverse traditions, genres, forms and styles, may seem as a more or less homogenous mass, especially in comparison to today's musical diversity. But to a large extent this homogeneity is a result of powerful ideological filtering processes, by which the heterogeneity of the musical traditions of the rural classes has become seriously reduced. The homogenising of Swedish folk music started already in the late 1800th century, with the introduction of national-romantic ideas from German and French intellectuals, such as the notion of a "folk", with a specifically Swedish cultural tradition.
    [Show full text]
  • The PAS Educators' Companion
    The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr.
    [Show full text]
  • PASIC 2010 Program
    201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space.
    [Show full text]
  • 5-Stepcoordination Challenge Pat Travers’ Sandy Gennaro Lessons Learned Mike Johnston Redefining “Drum Hero”
    A WILD ZEBRA BLACK FADE DRUMKIT FROM $ WIN DIXON VALUED OVER 9,250 • HAIM • WARPAINT • MIKE BORDIN THE WORLD’S #1 DRUM MAGAZINE APRIL 2014 DARKEST HOUR’S TRAVIS ORBIN BONUS! MIKE’S LOVES A GOOD CHALLENGE 5-STEPCOORDINATION CHALLENGE PAT TRAVERS’ SANDY GENNARO LESSONS LEARNED MIKE JOHNSTON REDEFINING “DRUM HERO” MODERNDRUMMER.com + SABIAN CYMBAL VOTE WINNERS REVIEWED + VISTA CHINO’S BRANT BJORK TELLS IT LIKE IT IS + OLSSON AND MAHON GEAR UP FOR ELTON JOHN + BLUE NOTE MASTER MICKEY ROKER STYLE AND ANALYSIS NICKAUGUSTO TRIVIUM LEGENDARYIT ONLYSTARTS BEGINS TO HERE.DESCRIBE THEM. “The excitement of getting my first kit was like no other, a Wine Red 5 piece Pearl Export. I couldn’t stop playing it. Export was the beginning of what made me the drummer I am today. I may play Reference Series now but for me, it all started with Export.” - Nick Augusto Join the Export family at pearldrum.com. ® CONTENTS Cover and contents photos by Elle Jaye Volume 38 • Number 4 EDUCATION 60 ROCK ’N’ JAZZ CLINIC Practical Independence Challenge A 5-Step Workout for Building Coordination Over a Pulse by Mike Johnston 66 AROUND THE WORLD Implied Brazilian Rhythms on Drumset Part 3: Cô co by Uka Gameiro 68 STRICTLY TECHNIQUE Rhythm and Timing Part 2: Two-Note 16th Groupings by Bill Bachman 72 JAZZ DRUMMER’S WORKSHOP Mickey Roker Style and Analysis by Steve Fidyk EQUIPMENT On the Cover 20 PRODUCT CLOSE˜UP • DW Collector’s Series Cherry Drumset • Sabian 2014 Cymbal Vote Winners • Rich Sticks Stock Series Drumsticks • TnR Products Booty Shakers and 50 MIKE JOHNSTON Little Booty Shakers by Miguel Monroy • Magnus Opus FiBro-Tone Snare Drums Back in the day—you know, like ve years ago—you 26 ELECTRONIC REVIEW had to be doing world tours or making platinum records Lewitt Audio DTP Beat Kit Pro 7 Drum to in uence as many drummers as this month’s cover Microphone Pack and LCT 240 Condensers star does with his groundbreaking educational website.
    [Show full text]
  • Chicago Symphony Orchestra Riccardo Muti Zell Music Director
    PROGRAM ONE HUNDRED TWENTY-FOURTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 2, 2014, at 8:00 Friday, October 3, 2014, at 1:30 Saturday, October 4, 2014, at 8:30 Riccardo Muti Conductor Christopher Martin Trumpet Panufnik Concerto in modo antico (In one movement) CHRISTOPHER MARTIN First Chicago Symphony Orchestra performances Performed in honor of the centennial of Panufnik’s birth Stravinsky Suite from The Firebird Introduction and Dance of the Firebird Dance of the Princesses Infernal Dance of King Kashchei Berceuse— Finale INTERMISSION Tchaikovsky Symphony No. 3 in D Major, Op. 29 (Polish) Introduction and Allegro—Moderato assai (Tempo marcia funebre) Alla tedesca: Allegro moderato e semplice Andante elegiaco Scherzo: Allegro vivo Finale: Allegro con fuoco (Tempo di polacca) The performance of Panufnik’s Concerto in modo antico is generously supported by the Adam Mickiewicz Institute as part of the Polska Music program. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Andrzej Panufnik Born September 24, 1914, Warsaw, Poland. Died October 27, 1991, London, England. Concerto in modo antico This music grew out of opus 1.” After graduation from the conserva- Andrzej Panufnik’s tory in 1936, Panufnik continued his studies in response to the rebirth of Vienna—he was eager to hear the works of the Warsaw, his birthplace, Second Viennese School there, but found to his which had been devas- dismay that not one work by Schoenberg, Berg, tated during the uprising or Webern was played during his first year in at the end of the Second the city—and then in Paris and London.
    [Show full text]
  • Áskell Másson's Solos for Snare Drum: Maximizing Musical Expression Through Varying Compositional Techniques and Experimenta
    ÁSKELL MÁSSON’S SOLOS FOR SNARE DRUM: MAXIMIZING MUSICAL EXPRESSION THROUGH VARYING COMPOSITIONAL TECHNIQUES AND EXPERIMENTATION IN TIMBRE John Michael O’Neal, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 Christopher Deane, Major Professor Eugene Corporon, Related Field Professor Mark Ford, Committee Member Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School O’Neal, John Micheal. Áskell Másson’s Solos for Snare Drum: Maximizing Musical Expression through Varying Compositional Techniques and Experimentation in Timbre. Doctor of Musical Arts (Performance), December 2015, 38 pp., 7 figures, 29 musical examples, references, 27 titles. This dissertation and accompanying lecture recital explores the musical elements present in Áskell Másson’s three solos for snare drum, PRÍM (1984), KÍM (2001) and B2B: Back to Basics (2010). Two of the primary challenges for the performer when playing solo literature on a non-pitch oriented instrument are identifying thematic structures and understanding how to interpret all innovative sound production techniques employed within the music. A thematic and compositional analysis, as well as an investigation into the experimentation of timbre found in Másson’s three pieces for solo snare drum will help to clarify the musical complexities that are present throughout. Copyright 2015 by John Michael O’Neal ii ACKNOWLEDGEMENTS My sincere thanks and gratitude to my committee members and mentors Christopher Deane, Mark Ford and Eugene Corporon for their assistance with this project and their influence in shaping me as a teacher and performer.
    [Show full text]
  • Nordic Roots Dance Kari Tauring - 2014 "Dance Is a Feature of Every Significant Occasion and Event Crucial to Tribal Existence As Part of Ritual
    Nordic Roots Dance Kari Tauring - 2014 "Dance is a feature of every significant occasion and event crucial to tribal existence as part of ritual. The first thing to emphasize is that early dance exists as a ritual element. It does not stand alone as a separate activity or profession." Joan Cass, Dancing Through History, 1993 In 1989, I began to study runes, the ancient Germanic/Nordic alphabet system. I noticed that many rune symbols in the 24 Elder Futhark (100 ACE) letters can be made with one body alone or one body and a staff and some require two persons to create. I played with the combination of these things within the context of Martial Arts. In the Younger futhark (later Iron Age), these runes were either eliminated or changed to allow one body to create 16 as a full alphabet. In 2008 I was introduced to Hafskjold Stav (Norwegian Family Tradition), a Martial Arts based on these 16 Younger Futhark shapes, sounds and meanings. In 2006 I began to study Scandinavian dance whose concepts of stav, svikt, tyngde and kraft underpinned my work with rune in Martial Arts. In 2011/2012 I undertook a study with the aid of a Legacy and Heritage grant to find out how runes are created with the body/bodies in Norwegian folk dances along with Telemark tradition bearer, Carol Sersland. Through this collaboration I realized that some runes require a "birds eye view" of a group of dances to see how they express themselves. In my personal quest to find the most ancient dances within my Norwegian heritage, I made a visit to the RFF Center (Rådet for folkemusikk og folkedans) at the University in Trondheim (2011) meeting with head of the dance department Egil Bakka and Siri Mæland, and professional dancer and choreographer, Mads Bøhle.
    [Show full text]
  • Killer UX Design Preface
    Killer UX Design About Jodie Moule Jodie Moule is co-founder and director of Symplicit, an experience design consultancy based in Australia that focuses on research, strategy, and design services. With a background in psychology, her understanding of human behavior is central to helping businesses see their brands through the eyes of customers, influencing the way they approach the design of their products, systems, and processes. About SitePoint SitePoint specializes in publishing practical, rewarding, and approachable content for web professionals. Visit http://www.sitepoint.com/ to access our books, blogs, newsletters, videos, and community forums. Preface When I embarked on my career as a psychologist, I never imagined I’d end up designing technology products and services. Funny where you end up in life, and lucky for me all those years at university weren’t wasted: the business of understanding humans and the way they behave is critical to designing. With the digital and physical worlds merging more than ever before, it is vital to understand how technology can enhance the human experience, and not cause frustration or angst at every touchpoint. To create technology that seamlessly fits into our daily lives, there’s a simple formula. First, consider the person attached to your technology solution and the context in which they’ll be using your creation; then, design your solution and involve users in the process to refine your thinking. Today, technology is used to change attitudes and behavior, creating amazing challenges for designers. And if we want to create products and services that have the power to educate people so that they may live better lives, or help to reduce the time people take to do certain tasks—or even attract them to our products instead of our competitors—we need to first understand what makes them tick.
    [Show full text]
  • Molina 2-25.Indd
    Dr. Moore’s sponsors include Pearl Drums/Adams Musical Instruments, REMO Drumheads, The Percussion Music of Marc Mellits SABIAN Cymbals, Black Swamp Percussion, and Vic Firth sticks and mallets. Featuring the Ninkasi Percussion Group Gregory Lyons is Associate Professor of Music and the James Alvey Smith Endowed Professor at Louisiana Tech University where he teaches applied percussion, directs the percussion ensemble, Smith Recital Hall coaches the drum line, and coordinates the area of instrumental music education. Formerly, he was an assistant band director in the Missouri public schools where he taught percussion and Tuesday, February 25, 2020 conducted beginning and intermediate bands. He earned the Doctor of Musical Arts degree 4:30 p.m. in percussion performance from The Ohio State University, the Master of Music degree in percussion performance from Central Michigan University, and the Bachelor of Music Education degree from the Wheaton College Conservatory. MARC MELLITS This Side of Twilight (2010) As a solo and ensemble performer, Dr. Lyons has made appearances in Missouri, Arkansas, (b. 1966) Illinois, Ohio, Texas, Louisiana, Oklahoma, Michigan, and California. He has performed at the Red (2008) Percussive Arts Society International Convention’s Technology Day (2014) and the National I. Moderately funky Conference on Percussion Pedagogy (2013, 2016, 2017). He was a semi-fi nalist in the Southern II. Fast, aggressive, vicious California International Marimba Competition (2009). He has performed with the West Shore III. Moderate, with motion Symphony Orchestra (Muskegon, MI), the Lansing Symphony Orchestra (Lansing, MI), the IV. Slow, with motion Monroe Symphony Orchestra (Monroe, LA), the Shreveport Symphony Orchestra (Shreveport, V.
    [Show full text]
  • Upcoming Album by the Cousins, Including a March 17Th Release and Full Track Listing
    I’m having a rather ‘One and Only’ Valentine’s Day evening as I write this editorial but at least I had Jim and Kevin bring me a little ‘Sunshine’ fresh from the studio earlier; new tunes beat roses any day. The serpentine return of The Cousins from the mists of time has also got me thinking lately about another obscure, old family band who haven’t put out an album since 2004 called the Brothers Creeggan. We can live in hope... - Mil NEWS The Ladies have been in the studio all month working on new music! We’ve seen 14 new songs listed so far. Check ‘Features’ on page 3 for the full details. More dates and three shows with The Persuasions have been announced. More details and dates on pages 2 & 4. New details about Rattlesnake Love, the upcoming album by The Cousins, including a March 17th release and full track listing. All the details below. (Apologies for the incorrect date/single last issue. That was the info we had at the time of publication) BUpcoming The Cousins Are Ready to Rattle! Kevin and real-life cousin Harland Williams are set to release Rattlesnake Love into the world on March 17th. 11 songs have slithered their way out of The Purple Pineapple Studios with a sound described as ‘a mixture of the sensual, the occult, the poppy, the rocky.’ With enough interest the duo might do a live show so hit their site, subscribe to their mailing list and order Rattlesnake Love soon! Full Track List: Meet The Cousins! ♫ You can listen to 01.
    [Show full text]