DOCSLIB.ORG

Resume 3-16-21

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Resume 3-16-21 NANCY MARIE ROGERS Professor of Music Theory Florida State University College of Music Tallahassee, Florida ACADEMIC EMPLOYMENT Florida State University College of Music Tallahassee, Florida Professor 2016 - present Associate Professor 2008 - 2016 Assistant Professor 2002 - 2008 Graduate courses: pedagogy of music theory, atonal theory and analysis, music cognition, doctoral seminar, survey course for non-theory majors. Undergraduate courses: first- and second- semester theory, nineteenth-century music, Broadway musicals. Coordinate the first-year theory program; responsible for all aspects of the curriculum, including supervision of four to six teaching assistants. Advise students in the M.M. Theory program; direct independent studies (both graduate and undergraduate); serve on graduate and undergraduate degree committees. Lawrence University Conservatory of Music Appleton, Wisconsin Assistant Professor 2000 - 2002 Taught freshman and sophomore written theory and ear training. Solely responsible for developing and implementing intensive theory sequence (new for 2001-2002 school year) geared towards students entering with relatively weak theory and/or aural skills. Supervised the theory tutoring program. Established a program for a minor in music theory. University of Iowa School of Music Iowa City, Iowa Visiting Assistant Professor 1997 - 2000 Graduate courses: seminar in music cognition, pedagogy of theory class, independent study projects. Undergraduate courses: independently responsible for first-year musicianship and theory. This included lecturing three times per week (primary focus: written theory), coordinating lab sections two times per week (primary focus: aural skills), and overseeing four to six teaching assistants. Northwestern University School of Music Evanston, Illinois Lecturer 1994 - 1996 Independently responsible for freshman aural skills curriculum, including lectures and supervision of four to six teaching assistants. Taught sophomore theory as part of a comprehensive musicianship program coordinated with music history (Medieval, Renaissance, Romantic, and twentieth-century music). Eastman School of Music Rochester, New York Teaching Assistant 1989 - 1994 Taught freshman, sophomore, and junior (twentieth-century) theory. For two years, independently taught intensive theory, a class that met five days per week for students who entered Eastman with particularly weak backgrounds. By the end of this course, students were prepared to enter regular sophomore theory. I was responsible for all aspects of the course: content and pace, tests, assignments, grading, etc. Nancy Marie Rogers Page 2 EDUCATION Degrees: Eastman School of Music Ph.D. in Music Theory 2000 Dissertation: “The Role of Verbal Encoding in Memory for Musical Timbre and Pitch Patterns” (Elizabeth West Marvin, advisor) Minor in Musicology University of Michigan M.M. in Music Theory 1989 Musicology cognate; received honors pass on Master’s examination Northwestern University B.M. in Music Theory and Composition 1987 Graduated with distinction Northwestern University B.A. in Linguistics 1987 Graduated with highest distinction Other: Mannes Institutes for Advanced Studies in Music Theory Institute on Music and the Mind, Mannes College 2009 Institute on Chromaticism, Yale University 2006 PUBLICATIONS Books: Music for Sight Singing, tenth edition (copyright 2019) 2018 Music for Sight Singing, Chinese language edition (copyright 2014) 2015 Music for Sight Singing, ninth edition (copyright 2014) 2013 Music for Sight Singing, eighth edition (copyright 2011) 2010 Music for Sight Singing, seventh edition (copyright 2007) 2006 Co-written with Robert W. Ottman (Pearson) Book Chapters, Articles, and Conference Proceedings: “Small-Scale Improvisation in the Music Theory Classroom” 2020 in The Routledge Companion to Music Theory Pedagogy, ed. Leigh VanHandel (Routledge, 2020), 87-95 “The Relative Importance of Math- and Music-Related Cognitive 2019 and Affective Factors in Predicting Undergraduate Music Theory Achievement” (co-written with Connie Barroso, Colleen Ganley, Sara Hart, and Jane Clendinning), in Applied Cognitive Psychology (2019), 1-13 “Hearing an Old Story in a New Way: An Analysis of Loewe’s 2017 Erlkönig,” in Intégral 30 (2016), 31-40 “Specific Mathematical and Spatial Abilities Correlate with 2016 Music Theory Abilities,” in Proceedings of the 14th International Conference on Music Perception and Cognition (2016), 537-543 Invited contribution to Research and Publication Column of 2015 Mosaic: A Journal of Music Research 3 (2015) Nancy Marie Rogers Page 3 PUBLICATIONS, continued Foreword to Engaging Students: Essays in Music Pedagogy 2 (2014) 2014 <http://www.flipcamp.org/engagingstudents2/essays/rogers.html> “Modernizing the Minuet Composition Project,” in Journal of 2013 Music Theory Pedagogy 27 (2013), 71-110 “Engaging Musical Expectation Research in Pedagogy of 2012 Musical Form and Phrase Structure,” in Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music, ed. Cambouropoulos, Tsougras, Mavromatis, and Pastiadis (School of Music Studies, Aristotle University of Thessaloniki, 2012), 853-856 “How Structured Improvisation Can Improve Sight-Singing 2008 Performance (and More),” in AP® Music Theory: Teaching Sight Singing (part of the Special Focus series), ed. Ken Stephenson (New York: The College Board, 2008), 49-58 “Interpreting and Harmonizing Melodies: Some Formulas 2008 for Success,” in AP® Music Theory: Building AP Music Theory Skills from the Ground Up (part of the Curriculum Module series), ed. Melissa Cox (New York: The College Board, 2008), 32-38 “Solmization Expertise Correlates with Superior Pitch Memory,” 2007 Em Pauta 18/30 (2007), 131-152 “Teaching Tonal Sight-singing” in AP® Music Theory Teacher’s Guide, 2007 ed. David Lockhart (New York: The College Board, 2007), 154-161 “Judgments of Distance between Trichords” (co-written with Clifton 2006 Callender), in Proceedings of the 9th International Conference on Music Perception and Cognition, ed. Baroni, Addessi, Caterina, and Costa (Bononia University Press [publishing house for University of Bologna], 2006), 1686-1691 “Reinforcing Written Theory with Aural Skills,” AP® Central Teaching 2005 Resources, an online publication of The College Board (October 2005) “Conference Report: Eighth International Conference on Music Perception 2005 and Cognition,” Journal of Music Theory Pedagogy 18 (2004), 147-155 “Verbal Labels Affect Memory for Musical Timbre,” Actes du 2005 Colloque interdisciplinaire de musicologie: Le timbre dans la composition, l’interprétation, la perception et la réception de la musique, ed. Traube and Lacasse (Observatoire international de la création musicale, 2005) “Square Dance Moves and Twelve-Tone Operators: Isomorphisms and 2003 New Transformational Models” (co-written with Michael Buchler), Music Theory Online 9/4 (October 2003) <http://mto.societymusictheory.org/issues/mto.03.9.4/toc.9.4.html> Book Review: Review of Gary Karpinski’s Aural Skills Acquisition 2003 Indiana Theory Review 22/2 (Fall 2001), 83-93 Nancy Marie Rogers Page 4 PUBLICATIONS, continued Unjuried: Vice President’s Report semi-annually, 2018 - 2019 SMT Newsletter (Vice President’s report to the membership of the Society for Music Theory) Professional Development Committee Report semi-annually, 2013 - 2015 SMT Newsletter (Chair of Professional Development Committee’s report to the membership of the Society for Music Theory) Music Theory Southeast Report semi-annually, 2008 - 2010 SMT Newsletter (Music Theory Southeast President’s report to the membership of the Society for Music Theory) “Actions of the Executive Board” semi-annually, 2005 - 2008 SMT Newsletter (Society for Music Theory Secretary’s report to the membership) Book manuscripts in progress: Music for Ear Training Ear training materials for undergraduate core aural skills courses, coordinated with Music for Sight Singing; under contract by Pearson A Concise Guide to Tonal Harmony and Form (working title) Textbook and ancillary materials for undergraduate core music theory courses; under contract by Pearson JURIED CONFERENCE PRESENTATIONS “Mathematics and Music Theory: Assisting Music Theory 2019 Students with Math-Related Learning Disabilities” (joint research with Jane Clendinning, Colleen Ganley, and Sara Hart) Pedagogy into Practice conference (Santa Barbara, CA) “Exploring Links between Mathematics and Music Theory: 2018 Investigating Pattern Processing Using Eye Tracking” (joint research with Jane Clendinning, Sara Hart, and Colleen Ganley) College Music Society annual conference (Vancouver, BC) “Links between Music Theory and Mathematics: 2017 Visual Processing and Strategies” (joint research with Jane Clendinning, Sara Hart, and Colleen Ganley) Conference on Music and Eye-Tracking (Max Planck Institute, Franfurt, Germany) “Specific Mathematical and Spatial Abilities Correlate with 2017 Music Theory Abilities” (joint research with Jane Clendinning, Sara Hart, and Colleen Ganley) Society for Music Theory annual conference (Washington, DC) Also presented at the Music Theory Southeast annual conference 2017 (Fort Myers, FL) Also presented at the Fourteenth International Conference on 2016 Music Perception and Cognition (San Francisco, CA) Nancy Marie Rogers Page 5 JURIED CONFERENCE PRESENTATIONS, continued “The Development of the Music Theory Anxiety Scale” 2016 (joint research with Colleen Ganley, Sara
Load more

Recommended publications
  • Download Finding
    National Federation of Music Clubs Records This finding aid was produced using the Archivists' Toolkit April 05, 2018 Describing Archives: A Content Standard National Federation of Music Clubs Indianapolis, Indiana National Federation of Music Clubs Records Table of Contents Summary Information ................................................................................................................................. 3 Collection Inventory...................................................................................................................................... 5 History and Governance.......................................................................................................................... 5 Proceedings, Minutes, Reports, Programs.............................................................................................17 Financial/Legal/Administrative..............................................................................................................34 NFMC Publications............................................................................................................................... 59 Presidential papers................................................................................................................................. 78 Activities/Projects/Programs..................................................................................................................82 Scrapbooks..........................................................................................................................................
    [Show full text]
  • (Julia) Papers, 1965-1967
    Texas A&M University-San Antonio Digital Commons @ Texas A&M University-San Antonio Finding Aids: Guides to the Collection Archives & Special Collections 2020 Smith (Julia) Papers, 1965-1967 DRT Collection at Texas A&M University-San Antonio Follow this and additional works at: https://digitalcommons.tamusa.edu/findingaids A Guide to the Julia Smith Papers, 1965-1967 Descriptive Summary Creator: Smith, Julia, 1905-1989 Title: Julia Smith Papers Dates: 1965-1967 Creator Born in Denton, Texas, Julia Smith (1905-1989) graduated from North Abstract: Texas State Teachers College (now the University of North Texas) and studied at St. Mary's Institute of Musical Art in Dallas. She next attended the Julliard School of Music in New York and later received her Master's degree and Ph.D. from New York University. Smith performed as a pianist and wrote, taught, and lectured on music. Her compositions included operas, symphonic, piano, and choral works. Remember the Alamo was commissioned by the U.S. Navy Band for its inaugural concert of 1965 and completed in collaboration with Cecile Vashaw. Content Musical scores, printed material, photographs, and a letter make up the Abstract: Julia Smith papers, documenting the composition and performance of Remember the Alamo. Four versions of the score are included, along with programs and clippings related to the performance. President Lyndon B. Johnson, to whom the work was dedicated, expresses his appreciation in a letter to the leader of the Navy band. Identification: Col 918 Extent: 0.42 linear feet (1 box) Language: Materials are in English. Repository: DRT Collection at Texas A&M University-San Antonio Biographical Note Julia Frances Smith was born in Denton, Texas, on January 25; sources give the year of her birth as 1905 or 1911.
    [Show full text]
  • A Look Forward to the Wmct's
    117TH SEASON 14 MUSIC IN THE AFTERNOON 15 NEWS NOTES & NUMBER 51 | MARCH 2015 A LOOK FORWARD TO THE WMCT’S 118TH SEASON By Simon Fryer, WMCT Artistic Director t is my very great pleasure to share some Hall, and their wide range of musical motivation background and detail with you concerning is documented in commissions of new music, Ithe artists appearing on the 118th Music in the educational outreach initiatives, and projects with Afternoon season. My thanks go to the members of jazz and Latin musicians, as well as scratch DJ, Kid the Artists Selection Committee for their hard work, Koala. excellent judgement and open-mindedness. It is a veritable tonic to work with this wonderful group oseph Phillips is a multi-faceted artist. Principal of people and I am sure you will agree that work Double Bassist with Orchestra London, he has resulted in a superb series of concerts for the Jappears regularly in the Via Salzburg chamber 118th. music series and in concerts with the Art of Time Ensemble and the Sweetwater Music Festival. ur series opens October 15, 2015 with harpist, Caroline Léonardelli, joined by ogether this magnificent group of artists Othe Afiara Quartet: Valerie Li and Timothy present a program featuring Caroline in solo Kantor, violins; Eric Wong, viola; and Adrian Fung, Tharp repertoire in the grand French tradition, cello; with Joseph Philips, doublebass. the Afiara Quartet in Beethoven’s last quartet: Op.135, and all the forces together in works by aroline is known for her passionate Grandjany, Tournier and Canada’s own Marjan and bold interpretations of French and Mozetich.
    [Show full text]
  • Bible Translators, Educators, and Suffragists: the Smith Women, a Nineteenth-Century Case Study in America About Power, Agency, and Subordination
    Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 4-23-2013 Bible Translators, Educators, and Suffragists: The Smith Women, a Nineteenth-Century Case Study in America About Power, Agency, and Subordination Laurel Koontz Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Koontz, Laurel, "Bible Translators, Educators, and Suffragists: The Smith Women, a Nineteenth-Century Case Study in America About Power, Agency, and Subordination." Dissertation, Georgia State University, 2013. https://scholarworks.gsu.edu/history_diss/36 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. BIBLE TRANSLATORS, EDUCATORS, AND SUFFRAGISTS: THE SMITH WOMEN, A NINETEENTH-CENTURY CASE STUDY IN AMERICA ABOUT POWER, AGENCY, AND SUBORDINATION by LAUREL KOONTZ Under the Direction of H. Robert Baker ABSTRACT The methodological approach used to tell the Smith sisters’ story is first and foremost a case study of women in the nineteenth century and the gendered categories that were constructed to define women. The story will be told through a biographical narrative, which will allow Hannah, Julia, and Abby Smith’s to tell their story in their own voice. Also, included within the biography is an examination of the nineteenth-century theories that defined women’s lives, and what effect, if any, these theories had on the Smiths. Each chapter is layered with three different narratives in an attempt to unravel the world that women lived in the nineteenth century.
    [Show full text]
  • Catalogue Orchestral Music by Historical Women Composers
    ORCHESTRAL MUSIC BY HISTORICAL WOMEN COMPOSERS Alphabetical Catalogue; Chronological Index; Line-up Connections Orchestration numbers: woodwinds – brass – percussion, etc - strings Andrée, Elfrida (b Visby 19 Feb 1841; d Göteborg 11 Jan 1929): Fritiof Suite (1904; 3 3 3 3 - 4 3 3 1 – timp – perc – hp - str) Edition Reimers or Edition Suecia http://www.mic.se/avd/mic/prod/micv6eng.nsf/docsbycodename/soekresultat?opendocument&fra ga=elfrida+andree CD Sterling: B000024Q3Z Archer, Violet (b Montreal 24 Apr 1913; d Ottawa 21 Feb 2000) Scherzo sinfonico (1940; 4’; 3 2 2 2 – 2 4 3 1 – timp – perc – harp – str).Symphony Ni 1 (1946; 32’; 3 2 2 2 – 2 2 3 1 – timp – perc – str). Piano Concerto (1956; 17’; solo pf; 2 2 2 2 – 2 2 0 0 – timp – per c – str). Divertimento (1957; 8’; 2 2 2 2 – 2 2 3 0 – timp – perc –str). Violin Concerto (1959; 30’; solo vn; 2 2 2 2 – 2 2 2 0 – timp – perc – str). Clarinet Concerto (1960; 21’; solo cl; 2 2 1 2 – 3 2 0 0 – str). Sinfonia (1969; 14’; 2 3 2 2 – 3 4 3 1 –timp – perc – str). http://musiccentre.ca/search/node/violet%20archer CMC B00008ZGT3 Canadian portraits. Arrieu, Claude b Paris 30 Nov 1903; d Paris 7 Mar 1990): Concerto for 2 pianos (1932; 14’; 2 2 2 2 – 2 2 0 0 – perc- timp – str) http://www.billaudot.com/en/catalog.php#haut . Ballet La Statue (1968; 28’; 3 2 2 2 – 2 3 2 0 – 2 perc- pf – str). Violin Concerto No 2 in D minor (1949; 22’; 2 2 2 2 – 2 2 0 0 – perc – harp – str) http://www.alphonseleduc.com/EN/orchestre_recherche_oeuvres.php?orchestre_categorie=&soli_i nstru=&compositeur=ARRIEU+Cl.&titre=&editeur=&valider=valider&page=1 Aulin, Valborg (b Gävle 9 Jan 1860; d Örebro 13 Mar 1928): Scenes Parisiennes (1886; 20’; 2 2 2 2 – 4 2 3 1 – timp –perc – hp – str.
    [Show full text]
  • Barbara Cooney." Gale Literature: Contemporary Authors, Gale, 2004
    Disclaimer: This is a machine generated PDF of selected content from our products. This functionality is provided solely for your convenience and is in no way intended to replace original scanned PDF. Neither Cengage Learning nor its licensors make any representations or warranties with respect to the machine generated PDF. The PDF is automatically generated "AS IS" and "AS AVAILABLE" and are not retained in our systems. CENGAGE LEARNING AND ITS LICENSORS SPECIFICALLY DISCLAIM ANY AND ALL EXPRESS OR IMPLIED WARRANTIES, INCLUDING WITHOUT LIMITATION, ANY WARRANTIES FOR AVAILABILITY, ACCURACY, TIMELINESS, COMPLETENESS, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. Your use of the machine generated PDF is subject to all use restrictions contained in The Cengage Learning Subscription and License Agreement and/or the Gale Power Search Terms and Conditions and by using the machine generated PDF functionality you agree to forgo any and all claims against Cengage Learning or its licensors for your use of the machine generated PDF functionality and any output derived therefrom. Barbara Cooney Date: Mar. 31, 2004 From: Gale Literature: Contemporary Authors Publisher: Gale Document Type: Biography Length: 4,711 words Lexile Measure: 1310L About this Person Born: August 06, 1917 in Brooklyn, New York, United States Died: March 10, 2000 in Portland, Maine, United States Nationality: American Updated:Mar. 31, 2004 PERSONAL INFORMATION: Family: Born August 6, 1917, in Brooklyn, NY; died after a long illness on March 10, 2000, at the Maine Medical Center in Portland, Maine; cremated; daughter of Russell Schenck (a stockbroker) and Mae Evelyn (an artist; maiden name, Bossert) Cooney; married Guy Murchie (an author and war correspondent), December, 1944 (divorced, March, 1947); married Charles Talbot Porter (a physician), July 16, 1949; children: (first marriage) Gretel Goldsmith, Barnaby; (second marriage) Charles Talbot, Jr., Phoebe.
    [Show full text]
  • Copyright by Holly Ann Schwartz 2008
    Copyright by Holly Ann Schwartz 2008 The Treatise Committee for Holly Ann Schwartz certifies that this is the approved version of the following treatise: Operas by Women in Twentieth Century America Committee: ____________________________________ K.M. Knittel, Supervisor ____________________________________ Darlene Wiley, Co-Supervisor ______________________________ Katherine Arens ____________________________________ Andrew Dell’Antonio ____________________________________ Robert Desimone ____________________________________ Rose Taylor Operas by Women in Twentieth Century America by Holly Ann Schwartz, B.M.; M.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2008 Acknowledgements I would like to thank Dr. Kay Knittel, Prof. Darlene Wiley, Dr. Katherine Arens, Dr. Andrew Dell’Antonio, Dr. Robert Desimone, and Prof. Rose Taylor for their generous participation in my doctoral committee. I am especially indebted to my supervisor, Dr. Knittel, who guided my research and waded through countless drafts and revisions of my treatise. I also extend my deepest heartfelt gratitude to Prof. Darlene Wiley, my voice teacher, who inspired me to attend the University of Texas and supported me throughout both my Master’s and Doctoral Degrees under her expert tutelage. Thank you, as well, to Dr. Elizabeth Crist and Dr. Lorenzo Candelaria, who also had a hand in guiding me in the earlier stages of my research. Finally, I must thank my family and friends, for their love and patience throughout my scholastic journey. iv Operas by Women in Twentieth Century America Publication No.______________ Holly Ann Schwartz, D.M.A.
    [Show full text]
  • Orchestral Music by Historical Women Composers
    ORCHESTRAL MUSIC BY HISTORICAL WOMEN COMPOSERS Alphabetical Catalogue; Chronological Index; Line-up Connections Orchestration numbers: woodwinds – brass – percussion, etc - strings Andrée, Elfrida (b Visby 19 Feb 1841; d Göteborg 11 Jan 1929): Fritiof Suite (1904; 3 3 3 3 - 4 3 3 1 – timp – perc – hp - str) Edition Reimers or Edition Suecia http://www.mic.se/avd/mic/prod/micv6eng.nsf/docsbycodename/soekresultat?opendocument&fra ga=elfrida+andree CD Sterling: B000024Q3Z Archer, Violet (b Montreal 24 Apr 1913; d Ottawa 21 Feb 2000) Scherzo sinfonico (1940; 4’; 3 2 2 2 – 2 4 3 1 – timp – perc – harp – str).Symphony Ni 1 (1946; 32’; 3 2 2 2 – 2 2 3 1 – timp – perc – str). Piano Concerto (1956; 17’; solo pf; 2 2 2 2 – 2 2 0 0 – timp – per c – str). Divertimento (1957; 8’; 2 2 2 2 – 2 2 3 0 – timp – perc –str). Violin Concerto (1959; 30’; solo vn; 2 2 2 2 – 2 2 2 0 – timp – perc – str). Clarinet Concerto (1960; 21’; solo cl; 2 2 1 2 – 3 2 0 0 – str). Sinfonia (1969; 14’; 2 3 2 2 – 3 4 3 1 –timp – perc – str). http://musiccentre.ca/search/node/violet%20archer CMC B00008ZGT3 Canadian portraits. Arrieu, Claude b Paris 30 Nov 1903; d Paris 7 Mar 1990): Concerto for 2 pianos (1932; 14’; 2 2 2 2 – 2 2 0 0 – perc- timp – str) http://www.billaudot.com/en/catalog.php#haut . Ballet La Statue (1968; 28’; 3 2 2 2 – 2 3 2 0 – 2 perc- pf – str). Violin Concerto No 2 in D minor (1949; 22’; 2 2 2 2 – 2 2 0 0 – perc – harp – str) http://www.alphonseleduc.com/EN/orchestre_recherche_oeuvres.php?orchestre_categorie=&soli_i nstru=&compositeur=ARRIEU+Cl.&titre=&editeur=&valider=valider&page=1 Aulin, Valborg (b Gävle 9 Jan 1860; d Örebro 13 Mar 1928): Scenes Parisiennes (1886; 20’; 2 2 2 2 – 4 2 3 1 – timp –perc – hp – str.
    [Show full text]
  • 90 ICO ISO IWS 7-15.Docx
    90th Program of the 89th Season Interlochen, Michigan * INTERMEDIATE CONCERT ORCHESTRA INTERMEDIATE WIND SYMPHONY INTERMEDIATE SYMPHONY ORCHESTRA Friday, July 15, 2016 7:00pm, Corson Auditorium INTERMEDIATE CONCERT ORCHESTRA Symphony No. 104 in D Major, “London” ................................................... Franz Joseph Haydn (1732-1809) I. Adagio. Allegro arr. Robert McCashin Variations on One String on a Theme by Rossini (Moses in Egypt) ................... Nicolò Paganini (1782-1840) arr. Aaron Tenney Aaron Tenney, double bass, IAC faculty Beneath the Irish Sky ....................................................................................................................... Peter Terry (b. 1957) World Premier Suite Concertante ........................................................................................................................... Alfred Reed IV. Chorale (1921-2005) V. Toccata la rocca SCOTT LAIRD, conductor INTERMEDIATE WIND SYMPHONY Fanfare and Flourishes .............................................................................................................. James Curnow (b. 1943) Music for the Royal Fireworks, HWV 351 ............................................... George Frideric Handel (1685-1759) arr. Robert Krause Piano Concerto No. 21 in C Major, K. 467 ....................................... Wolfgang Amadeus Mozart (1756-1791) I. Allegro maestoso arr. Merlott Lucia Unrau, piano, IAC faculty Variations on “Russian Sailor’s Dance” from The Red Poppy ............................ Reinhold Glière
    [Show full text]
  • Information to Users
    INFORMATION TO USERS Tàis manuscript has been reproduced from the microfilm master. UMl films the text directfy from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from zn y type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are m issing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wfil indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photogrq>hs included in the original manuscript have been reproduced xercgraphically in this copy. Higher quality 6" x 9” black and white photographic prints are available for aiy photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-47Q0 800/521-0600 THE DEVELOPMENT OF THE MARIMBA AS A SOLO INSTRUMENT AND THE EVOLUTION OF THE SOLO LITERATURE FOR THE MARIMBA DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sarah E.
    [Show full text]
  • The 1870S Tax Resistance of Julia and Abby Smith: from Natural Rights to Expediency in the Shadow of Separate Spheres
    Tennessee Journal of Race, Gender, & Social Justice Volume 2 Issue 2 (Fall/Winter) Article 2 2013 The 1870s Tax Resistance of Julia and Abby Smith: from Natural Rights to Expediency in the Shadow of Separate Spheres Jessica Hynes Quinnipiac University, [email protected] Follow this and additional works at: https://trace.tennessee.edu/rgsj Recommended Citation Hynes, Jessica (2013) "The 1870s Tax Resistance of Julia and Abby Smith: from Natural Rights to Expediency in the Shadow of Separate Spheres," Tennessee Journal of Race, Gender, & Social Justice: Vol. 2 : Iss. 2 , Article 2. Available at: https://trace.tennessee.edu/rgsj/vol2/iss2/2 This Article is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Tennessee Journal of Race, Gender, & Social Justice by an authorized editor. For more information, please visit https://trace.tennessee.edu/rgsj. THE 1870S TAX RESISTANCE OF JULIA AND ABBY SMITH: FROM NATURAL RIGHTS TO EXPEDIENCY IN THE SHADOW OF SEPARATE SPHERES Jessica Hynes I. The Smiths and the Birth of Tax Resistance ................................. 4 II. The Impact of Separate Spheres on Women’s Lives .................. 12 A. Anti-Retaliation Provision under Title VII .......................... 12 B. Abolition and Women’s Entry into Public Life ................... 14 C. Separate Spheres and Suffrage ............................................. 17 III. Tax Resistance: Its Role and Legacy ....................................... 24 Glastonbury, Connecticut, a rural New England town located seven miles downriver from Hartford, had just three thousand inhabitants when Julia and Abby Smith became the most widely publicized tax protesters of the women’s rights movement.
    [Show full text]