DOCSLIB.ORG

The Minnesota Alumni Weekly Volume 30 December 13, 1930 Number 13

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Minnesota Alumni Weekly Volume 30 December 13, 1930 Number 13 December 13, 1930 Number Thirteen ~ MINNEJOTA ALUMNI ~ John F. Sinclair '06 Writer, CldSS President :IAL PUBLICATION OF THE UNIVERSITY OF MINNE TI 1930 Aerial View o~ the U. o~ M. Campus What a Picture! Thi picture ha bt'en ~ e l ce t d a· th b t neraJ \ lew of 11 eri e. taken by th 1 orth- w t's premi r aerial photographer. Th aho\'c cut s how~ what i~ included in th picture but do not do justice to the rema rka bl e d tail shown in the print from lit ' originlll 8xl0 negatiye. " Te arc r eady to mail prints from th orig in al n gati\'e at th folio" in~ prices : ize 8x10 plain, unmounted, ,'1.25, ca ~ h with order or . '1.50 . D. ize 8xl 0 in arti tic silv l' gray frame, g lassed in, .:2.25, rash. or . '2 . .30 . O. D . 24x30 enlarg ment. b autifully framed, complete including pa (, king and (klh ny cbarg $ 22.50. -------- ----~ ----------- )~=====~ l\IERTOX ._ APSlIOT 'ERVICE, Hl17 Bloomington An'., :\Iinncap Ii" ~ I inlH'sota . ~r e also ha\' clos ­ Pleas . nd m prepaid the following quantity : up aerial vi ews of the ( ) 8x I 0 plain gl'TlI'r li i yi ew 01' l':l mp\l~ . ho pital section th . ( ) 8xl0 in ~ilv e r ~ra;. frame. tadium and Field ( ) 21x30 enlargement. framed. 1I0ll e in th sam ' sizes and at th same ( ) priee • am .. .. .. .. .. ..... ... .. ... .. .... ........... .. ... l)-======j( Addr ss ... ..... ....... ... ....... ..... .. .. .. ... ...... THE MINNESOTA ALUMNI WEEKLY VOLUME 30 DECEMBER 13, 1930 NUMBER 13 Developing Journalists By College Classes J H. MADER '27 OCR.-.\l'L~I teaching- entered it. that the,- might "click," and pop up in b\'l'nty-fifth yenr when colIe:re and a )'l'ar or two a columni b of \\ orld J renown. uninr,itie throughout tht: countr~ he­ With the e five rea on pre ented a ~an their fall tam. in 1930. Today, a a emi-apologetical an wer to the oft­ quarter c ntury after the proces of repeated question, it mi~ht be fitting teachin~ tudent to prepare them ehes 'ational orga.ni;ations 01 lIeu' ­ to call attention ~o the foundation for for I'ntr .nee into the newspaper PTO­ paper publi her and editor have the point. e ,ion he;!nn to tak tanj!:ible form in ginn much thought lately to \(id-\\'l"tern tnte univer itie<;. teachers Journali m student are put on a chool 01 journa.lism. ome profe"ional tatu enrly in their under­ in tim, profe' ion till are a~ke? rel!ularl~ que tion the t:alue 01 uclt ~e­ graduate trainin!!,. There b no molly­ to iu'tib their work nnd their pre enct! partmenU in our colle e tdule coddlinj!;, no free and ea ~ Qranting of on 'colle~e nnd univer it) tnff,. others leel that the college cour e e,euses, no con~ideration for tho e who i a 000 training ground lor Perif)dic~lly the (Jue. tion, "HUll much do not like or are not adapted to the luture netC paper men and teo­ enn .J ourn Ii-Ill 'chool und depa rtmt'nts work. The requiremcnts are n good men. lust recentl) a committee do to I'rrpnre II tudent for new,paper /!round work in Engli h. an in atiable including prominent publisher work," i, tllln~ in the direction of men t'uriositr and a flair for hard work. The and editor tt'Os named to confer IOd w"men "hn are :ruidinp: the de'­ onh' rna ior difference between a tu­ tinit'. of thi new and grent field of pro­ t!'ith a committee repre en/in tlte dent jo'urnali t and a profe. iona} teacher 01 journali m to di euss fe, iooal tlo,lching .h a memher of the new. paper man in the eyes of the fiT't cht j:!raduating from the {'niHr­ 'he Ichole motter. The author 01 J ournlliism in tructor b that the tu­ the timely article on thi po e i ­ «it\" 01 \linnc,ota with lllu.iOT' in d nt doe n t get paid . .rnurnulhm, nd a n new pap r man a teacher 01 journalism in North who hn j:!lllle into the field of Jl.urnnl­ Dakota (,,,iter it)'. i'tIl tt'al'lnn/!,. I feel that chool of In working out thi,• plan it has often heen found eif('('tiYl' to employ a -tu­ .J,'urlw!i rn n nl no ju,tific1ltil'l1 c,ct'pt tllnt col' nn")lnpli,lultent dent lI"i_tant, one who ;" accepted h~­ be u cd at time when the,e people are the . tudent it one M them ell"e.. He in the new' or at the time of their llco,' "H'r, 'lu~'lion a, to their utilit~ is detailed to gile out regular a ign­ death. i enl inl" 1\ fair 11IlC, ,ince but'h train­ ments to h !!,inning tudent, and they Publication furni he.; immediate proof in~ i, till ,. 'r~ n('1\ and quite mi-­ report to him with the writtell re-;ult to the ,tudent him'elf of hi ability or IIlld~r'tood t)\ men and women of other of their work. When all i well, their inabilih' to mensure up to the tandaTd prof,' ,inn.·11 w II a. 1)\' ~(ll'iety at II ork is credited to their record. When of !!ood Journalism. Follo\\;ng publica­ large. To nn,wer that qu~,tion I "i,h thin!!' Ito ukew, their e,cu e' !!,O to tion there i no har,h or brutal crit­ to I" int out fly WilY" in which ,rcouTOIII­ tht' in tructm, Wl10 deal with them iei m of the work publbhcd. Howe\,er. hm tCllchinl!' prepnr"" tudcnh for milch as an editor would with an errant direct placing of re.pon.ibility. ,ror IIt'W pnpt'r "nrk, lilly ont' of whit'h ul,llle or idlin,r r!'porter. Individual prob­ hirkin!!. lo\'"n1\- or careles wrIting, would .illstit)' it in univer,ity curricula. lems confronting the students are d .. alt "nd direct and' hone t appreciation of with separntely in TegU}llr conference !!,ood work timulnte all to pply their houn" 1lrst bt'tween tudent a"i,tant C"lJnriak jOUrI\IIU-UC• education lrain b~'t effort- in fu ture work. t'hurllrtcr, 1;11 dHlC'lcter i, the !!:rclItt'st and . tudent. and th n b('twcen instruc­ tor and student. Probabk th> !!:reate<t• "'llue of u. in:; sillgle fuet"r in tht' requiremenl of /I goud jOllTlla1i,t. This ellrl~ placl'lIlt'nt of Te~pon ibilit~· puhlica tion a laborntoCl' utcn iL for tin the ,houlder, of thc ,tudent ,en' the student is that it pro~'ide the fine t Journnli III dill"\-, throUl!'h lahora­ quickly in/!Ies ut th reliable, th'e competition po"ible. Instead of the tory work anll pllhlication U,",III) H'r~ 1llll1t·,t lind the f.lithful. fhlse three hattie for Tade', alway. a di'puted dost'l,· :I' ,,('i'lted with the cnu"e', !rh'e IJulllilics, of more importllnce thnn th,· ,·tlltll'llt. nwdia for e pre"icm. mea<ure of "bilit, and lIpplication. the I!'t'niu, to the ne\\'~p per editor, nre ,tudent compete' for publication. for n.,· urging ,tudl'nh <'lIrl) tIl apply \·"sily tmeed by fnculh member' allotted 'pace, for prcferred di play in tlwir llllt-nl- in a practi'lIl 'Ill), l'lwol thro~l/!h the conf~renet' pion. the publication. for by-line". fM hoxed of .[ollrn:llt m ('nahll' thc_e yOlln!!: tn('n Xothin/! nn do more to encournge a <lr feature headin;rs, or for the pridlege :tud W<lrnrn tn '.an(\" ieh practical lmin­ -tud('nt 'thnn to ee phy,it'nl rt'sult of ,.f writ;\lg all editorial or column of illl: ill ht'lwren thl'or, nnd al'ndemk his !'trorh. Thi< thl' ,cI1(l01' of .iourn:ll­ IlIl'lIh'm. comment. Here i whole ome competi­ ism do by prol'illing for their protege ' tion thot PTIWid(', the student II. much 'Illtlt'nh of Journa1i'JI) UrI' tought to renl nw(\ia for c'pn'"ing th'm,ehl". 11I0re rea onahle h[l is for ratin!! himself rculI, IInaly,!: :tnd appr 'inte nell ,­ Thi., training takes dl'finite form; he­ and other' thlln Itn) alphnb~tical or paper" tht' grentesl single medium in ,rinninf( h) ll"ignm!'l1ts to coyer the l,umeric:.l Ii b \'\~t (h'l'i'e(\. lhe world fIll' lli"eminating inrurlllntiou, ('lImpu, for news and feature,; then With ~tate. di~trict lind regional pres­ ellncation. cntl'rhlinment and culture. ('(wering cil~ nd town benl fOr 1I1l fl' ociations working in closer co-opera­ In,trudors III tmll valu'lhle school~ lIews of the dll)" pedal 11'. ignment tion with JouTIIlllism tenchec< n~ar hellt'flt thOU'llIlll, M' _ludent, pllrt'nh, induding interlil'lI', speeches, 'onyen­ after ye.n. a practic ,I training ground 1\('\\ 'pII}"'r ('ditor, nud publisht''' hy lions, e,hibitions, etc.: lind p('l'ial i< TlIpidly openin!! up a field in which \\~t'clinl!' Ollt or dht'IHlrnging "htln!!'l' rs- fl'ature artides lind preparation of the studl'nt can test his mettle durin!! 011:' whll 1,,",(, hlinclly ,rone inlo thc hio~r, phie of \I ell known peopk in the 'ummer ""ootion,. l hri,tmll' and fl,·ltl lIf ,rollnlillLm \I ith th .. fninl hnJl~ l'ni\('rsit~ and the Cniwr.it) city to Enster holitlay, and aftt'r 'chOl)1 hour 216 THE MINNESOTA ALUMNI WEEKLY and evenings.
Load more

Recommended publications
  • Lip-Blown Instruments of Ireland Before the Norman Invasion
    DOWNEY 75 LIP-BLOWN INSTRUMENTS OF IRELAND BEFORE THE NORMAN INVASION Peter Downey t is generally assumed that metal lip-blown instruments were introduced into Europe by the Arabs and Moors during the Middle Ages as the result of the Crusades and other Ibelligerent contacts. This assumption requires subscribing to the belief that, with the fall of the Roman Empire, all knowledge of the manufacture and use of lip-blown instruments, such as the Roman tuba and comu or the Gallic carnyx, was lost in the turmoil and destruction of the Dark Ages. Serious doubts have been cast on the concept recently, most notably by Don Smithers.1 The arguments have been presented in a quite persuasive manner. However, what has been missing to date is "test-case" evidence from a part of Europe in which there can be shown a continuity of manufacture and use of lip-blown instruments throughout the period under scrutiny, and whose history shows that: 1) they remained outside the Roman Empire; 2) they were cushioned from the events of the Dark Ages that followed the fall of that empire in the west; 3) they did not participate in the early confrontations between Christian and Muslim. One such example is actually to be found on the fringe of Western Europe, namely, Ireland. Aspects of Ireland's testimony have been mentioned briefly in various texts, but much misunderstanding and misrepresentation has accompanied and clouded the clarity of that evidence. What follows is the first stage of an attempt to dispel some of those clouds by bringing into clearer focus the material riches preserved in Ireland from its long-lasting cultural independence.2 Because many readers may be unfamiliar with Ireland's prehistory and early history, short overviews of the historical situation are also included as appropriate to provide a contact for the instruments described.
    [Show full text]
  • Tutti Brassi
    Tutti Brassi A brief description of different ways of sounding brass instruments Jeremy Montagu © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Why Mouthpieces 1 Cornets and Bugles 16 Long Trumpets 19 Playing the Handhorn in the French Tradition 26 The Mysteries of Fingerhole Horns 29 Horn Chords and Other Tricks 34 Throat or Overtone Singing 38 iii This began as a dinner conversation with Mark Smith of the Ori- ental Institute here, in connexion with the Tutankhamun trum- pets, and progressed from why these did not have mouthpieces to ‘When were mouthpieces introduced?’, to which, on reflection, the only answer seemed to be ‘Often’, for from the Danish lurs onwards, some trumpets or horns had them and some did not, in so many cultures. But indeed, ‘Why mouthpieces?’ There seem to be two main answers: one to enable the lips to access a tube too narrow for the lips to access unaided, and the other depends on what the trumpeter’s expectations are for the instrument to achieve. In our own culture, from the late Renaissance and Early Baroque onwards, trumpeters expected a great deal, as we can see in Bendinelli’s and Fantini’s tutors, both of which are avail- able in facsimile, and in the concert repertoire from Monteverdi’s L’Orfeo onwards. As a result, mouthpieces were already large, both wide enough and deep enough to allow the player to bend the 11th and 13th partials and other notes easily. The transition from the base of the cup into the backbore was a sharp edge.
    [Show full text]
  • Title Page Echoes of the Salpinx: the Trumpet in Ancient Greek Culture
    Title Page Echoes of the salpinx: the trumpet in ancient Greek culture. Carolyn Susan Bowyer. Royal Holloway, University of London. MPhil. 1 Declaration of Authorship I Carolyn Susan Bowyer hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Echoes of the salpinx : the trumpet in ancient Greek culture. Abstract The trumpet from the 5th century BC in ancient Greece, the salpinx, has been largely ignored in modern scholarship. My thesis begins with the origins and physical characteristics of the Greek trumpet, comparing trumpets from other ancient cultures. I then analyse the sounds made by the trumpet, and the emotions caused by these sounds, noting the growing sophistication of the language used by Greek authors. In particular, I highlight its distinctively Greek association with the human voice. I discuss the range of signals and instructions given by the trumpet on the battlefield, demonstrating a developing technical vocabulary in Greek historiography. In my final chapter, I examine the role of the trumpet in peacetime, playing its part in athletic competitions, sacrifice, ceremonies, entertainment and ritual. The thesis re-assesses and illustrates the significant and varied roles played by the trumpet in Greek culture. 3 Echoes of the salpinx : the trumpet in ancient Greek culture Title page page 1 Declaration of Authorship page 2 Abstract page 3 Table of Contents pages
    [Show full text]
  • The History and Revival of the Meråker Clarinet
    MOT 2016 ombrukket 4.qxp_Layout 1 03.02.2017 15.49 Side 81 “I saw it on the telly” – The history and revival of the Meråker clarinet Bjørn Aksdal Introduction One of the most popular TV-programmes in Norway over the last 40 years has been the weekly magazine “Norge Rundt” (Around Norway).1 Each half-hour programme contains reports from different parts of Norway, made locally by the regional offices of NRK, the Norwegian state broad- casting company. In 1981, a report was presented from the parish of Meråker in the county of Nord-Trøndelag, where a 69-year old local fiddler by the name of Harald Gilland (1912–1992), played a whistle or flute-like instrument, which he had made himself. He called the instrument a “fløit” (flute, whistle), but it sounded more like a kind of home-made clarinet. When the instrument was pictured in close-up, it was possible to see that a single reed was fastened to the blown end (mouth-piece). This made me curious, because there was no information about any other corresponding instrument in living tradition in Norway. Shortly afterwards, I contacted Harald Gilland, and we arranged that I should come to Meråker a few days later and pay him a visit. The parish of Meråker has around 2900 inhabitants and is situated ca. 80 km northeast of Trondheim, close to the Swedish border and the county of Jamtlandia. Harald Gilland was born in a place called Stordalen in the 1. The first programme in this series was sent on October 2nd 1976.
    [Show full text]
  • Characterization And' Taxonomy Acoustical Standpoint
    Characterization and' Taxonomy of Historic Brass Musical Instruments from ae Acoustical Standpoint Arnold Myers Ph.D. The University of Edinburgh 1998 I" V *\- Abstract The conceptual bases of existing classification schemes for brasswind are examined. The requirements of a taxonomy relating to the character of brass musical instruments as experienced by players and listeners are discussed. Various directly and indirectly measurable physical parameters are defined. The utility of these parameters in classification is assessed in a number of case studies on instruments in museums and collections. The evolution of instrument design since 1750 in terms of these characterization criteria is outlined. Declaration I declare that this thesis has been composed by me and that the work is my own. ? r % *} Acknowledgements I have been encouraged and helped by many in my investigations. My supervisors, D. Murray Campbell in the Department of Physics and Astronomy Christopher D.S. Field, and John Kitchen in the Faculty of Music have provided wise guidance whenever needed. Raymond Parks, Research Fellow in Fluid Dynamics, Department of Physics and Astronomy, University of Edinburgh, has given unfailing support, and has been responsible for much of the measuring equipment I have used. David Sharp has used the pulse reflectornetry techniques developed in the course of his own research to obtain bore reconstructions of numerous specimens for me. Herbert Heyde kindly discussed the measurement of historic brass instruments with me. Stewart Benzie has carried out instrument repairs for me and made the crook described in Chapter 5. I am grateful to the curators of many museums for allowing me access to the historic instruments in their care.
    [Show full text]
  • Francesca Berlinzani Aristonothos 1, 2007
    Aristonothos 1, 2007 STRUMENTI MUSICALI E FONTI LETTERARIE Francesca Berlinzani “Tutta l’affascinante storia millenaria della tromba narra del lento e faticoso tentativo umano, pienamente riuscito solo in epoca molto recente, agli inizi dell’Ottocento, di "addomesticare" questa terribile creatura sonora ultraterrena dai molti nomi (hasosrah, lur, šofar, salpinx, tuba, buccina) e dalle molte forme (diritta, ricurva, ritorta a spirale con campana più o meno svasata) che, fino al Medioevo e oltre, ebbe l’esclusivo incarico di presiedere alle cerimonie sacre o di incitare i guerrieri in battaglia producendo segnali, ma non musica. Tentativo di addomesticamento che passò attraverso l’ingegno dell’uomo: impiego di una tecnica costruttiva sempre più raffinata e di sofisticati marchingegni atti ad addolcirne la voce, a facilitare in essa l’emissione del suono, ad alleggerirne il peso e la struttura, ad aumentarne la maneggevolezza e soprattutto ad ampliarne la gamma sonora, per far sì che, da strumento-segnale, si trasformasse in strumento musicale vero e proprio, utilizzabile, come gli altri, nell’ambito delle più svariate formazioni orchestrali.” Cristiano Veroli Presentazione - La questione terminologica - Gli inventori - Polivalenze - Belli instrumentum : Salpinx e guerra nel mondo greco; Lituus e guerra nelle fonti latine. Un nesso reale? - Agoni e feste. Certaminis instrumentum - Instrumentum musicae - Suggellare il patto. Instrumentum sacrum - Aspetti formali, materiali, sonorità e simboli - Forma della tromba-lituo e richiami simbolici
    [Show full text]
  • PDF Download All About Trumpet Ebook, Epub
    ALL ABOUT TRUMPET PDF, EPUB, EBOOK Jonathan Harnum | 169 pages | 01 Apr 2008 | Hal Leonard Corporation | 9781423422426 | English | Milwaukee, United States All About Trumpet PDF Book By BC, trumpets were being crafted to high standards across the world in Africa, Europe and Asia from sheets of silver and bronze metal. Its practice has been around since BC. I hope, my article was capable of providing the most important facts about a trumpet in a glance. When users buy our independently chosen editorial He has given talks on debunking pseudoscience, the Dunning-Kruger effect, culinary technique, and traveling. How It's Made The trumpet has a cylindrical bore, which means that the tubing stays about the same size for most of the length of the instrument until it flairs at the end, forming a small bell. High-Quality brass gets better with time, and if you leave it long enough, there 'd a Updated March 04, Trumpet-Player in front of a Banquet , Gerrit Dou, c. All content from Kiddle encyclopedia articles including the article images and facts can be freely used under Attribution-ShareAlike license, unless stated otherwise. All submitted reviews become the licensed property of Sheet Music Plus and are subject to all laws pertaining thereto. The main tuning slide needs to be kept greased in order to be used effectively. One of the first things I noticed was how light it was — which is actually quite smart for student horns. Some of these may seem a little wild and weird to you, but those will surely surprise you.
    [Show full text]
  • 9Th ISGMA Symposium Programme + Abstracts.Pdf
    I MPRINT Organising committee Ricardo Eichmann Fang Jianjun Lars-Christian Koch Ricarda Kopal Ilka Krempel-Eichmann Juliane Aurora Lange Albrecht Wiedmann in collaboration with Arnd Adje Both (European Music Archaeology Project) as well as members of the International Study Group on Music Archaeology Organisation for the International Study Group on Music Archaeology Deutsches Archäologisches Institut Orient-Abteilung (Prof. Dr. Ricardo Eichmann) Podbielskiallee 69–71 14195 Berlin In cooperation with: Staatliche Museen zu Berlin Ethnologisches Museum Abteilung Musikethnologie, Medien-Technik und Berliner Phonogramm-Archiv (Prof. Dr. Lars-Christian Koch) Arnimallee 27 14195 Berlin In collaboration with Supported by PPPROGRAMME 9th Symposium of the International Study Group on Music Archaeology Tuesday 9th – Friday 12th September 2014 Ethnologisches Museum Lansstraße 8, 14195 Berlin, Germany Main Entrance 2 TUESDAY, 9TH SEPTEMBER 2014 09:00–10:00 Registration 10:00–10:30 Addresses of Welcome Lars-Christian Koch – Ricardo Eichmann Musical Opening by Steev Kindwald 10:30–11:00 Introduction Ricardo Eichmann – Lars-Christian Koch 11:0011:0011:00–11:00–––12:12:12:12:33330000 Chair: Lars-Christian Koch The Revision of the Hornbostel Sachs Classification by the MIMO Project Consortium Margaret Birley Organological Work of Franjo Ksaver Kuhač and His Classification of the Sound Sources of 1877–82 Zdravko Blažeković Animal Luring Calls, Their Organological Variety and Classification Annemies Tamboer Synopsis and Discussion 12:30–14:00 L U N C H B REAK 14:0014:0014:00–14:00–––15151515::::33330000 Chair: Stefan Hagel The Classification of Ancient Greek Musical and Sound Instruments in Antiquity and Its Reception in Modern Times (Texts and Artefacts) Sylvain Perrot Rhythm and Melody: Behind the Visual Narrative – Representation of Melographers in Ancient Greek Art.
    [Show full text]
  • MARYLAND GAZETTE. [[Lxviith YEAR.] WEDNESDAY, MAY 1, 1811
    MARYLAND GAZETTE. [[LXVIIth YEAR.] WEDNESDAY, MAY 1, 1811. [No. 3355.] WASHINGTON Public Sale. Sale Postponed. Public Sale. MONUMENT LOTTERY.' By virtue of decree of the court of chan­ j fHE fubfcriber will offer tor fale, on Thorf- cery, will be exuofed to Public SaJf, on By virtue of a decree of the Honourable the THE DAT FIXED. will be ekpofed the manageriof faid lottery, day the 2dday of May, at the late reft- Tuefday, the 18th day of. June next, Qmncellor i>f Maryland, smee'inifof the fith day of Tavern, Monoay e»en- dence of John Jacobs, junior, on the head ol at the Union Tavern, ia the city of An- to PuUic Sale, on Monday I held at Gadfby'* Court-liuufe, the ia in«. South RlTer' *' followinK Property, to"wit: . napolis, May next, at Montgomery Yr SOLVED That in cnnleqoenee of the Several valuable negroes, amongfl whicluare A LL that trail or parcel of land called ALL TROIt PART* Of to any in tbe liar r han't /tourney, lying in Amie-A- [^ advanced' ll'aie of the fale of the tickrli, an excellent houfe fervant equal TWO TRACTS OF LAND, j ..imr of the lottery be commenced on county, work horfe*, cattle, hog*, tobacco ruudel county, containing about 5OO acref, The term, of fale Snow. Hri-ing°the o, i4th of, September..^.__i__ _next, . .and ., tnd mBnr Other article*. and now in the polTe(fioa of Saniucl Hurri- Situate in Montgomery county, called to hi* Manor, and [continued werkly, without any interrupti- »ill be the purchaferi to give notes, with two fon, junior.
    [Show full text]
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
    [Show full text]
  • Board Architect Adds Approval to Low-Cost School Construction
    A Newspaper Devoted News, Pictures To the Community Interest Presented Fairly, dearly Full Local Coverage Impartially Each Week Snbepenbent-Ieaber PBICl HOHT CINT3 OnOTinRfl intered »• Second Clmu Mstirr WOODBRIDGE. N. J.. THURSDAY, OCTOBER 27, 1955 , .. ^""^ «'P2 XI.VII—NO. 36 It th« Post omen. Wnmltirlitui!, N J Sweetness and Light Board Architect Adds Ily CHARLES E. GREGORY awaiting my consultant's judgment on thfc Approval to Low-Cost |th of now school building concepts, I think I can in the time to advantage by clarflylng a point or concerning them which have been distorted. School Construction « * « * Whether these have been deliberate distortions, or Teen Vandals Leibowitz Asserts 4Careful Planning' Leiy the fruit of ignorance, I am not sure and I do • j particularly care. I am determined, however, that (hiu<*httnAct ^*" Assure Buildings 'Just as Good' will not be permitted to becloud the issue or igh bill rational consideration of it merely to accom- As at Present, with Bids Open to All flate reaction or some cynical interest. I want the Pros at 15 WOODBRIDGE Km; -•<> -lint! that the Board of Eriucntinu "live jessities of our children for 300 more classrooms WOODBRIDOE — Three 15- the people wh»t they want." in .vtmr-iilfl Woodbrldae boya, who 'Operation Muster' met as economically and promptly as the best the w»y of low-cost schools. YT- styled themselves as "school spe- ray LelbowiU, one of ihc B'vmi Mom of "a responsible community will permit. cialists." were caught red-hand- Due at 6 Tonight architects presented thiw pre- liminary sketches for eiuh ot tin' ed .Sunday afternoon while "In * * * * WOODBRIDGE — The New proposed elementary school* in the act of looting the.
    [Show full text]
  • APPROVE): La Minor Fro Feasor Iran of Fcha Sehoosf
    vest HISTORY OF THS rssntm TMMM THE MROQIIB » APPROVE): la Minor Fro feasor *jyuj Iran of fcha SehooSf '®T Ifuaic at* School THE nmmm of mm THSKPET FM MMMA THKSIS Presented to tim Sraiwat® Council of tfao Horth Tmi Stmt® College la Partial FulfilJUMmt of th* Requirement* For fcho Degree of MASTER OF MCSIC by Robert S. Douglaee, B* tf« 1/ Br®@fe®urlig®» Texaa August» 1953 /. ^ PREFACE The purpose of this study is to present the development of the trumpet from the primitive lip-vibrated instruments of aneient cultures to the baroque trumpet 011 which were performed the astounding parts composed by the culminating figures of that period, Baoh and Handel# The considerable interest displayed in the music of the baroque period and the recent revival of mch of it in modern performance demands an investigation of the instru- ments upon which it was performed, among which one of the least understood is the trumpet. It is desirable for modem performers using modern instruments in rendering these parts to understand the resouroes and limitations of the instru- ment contemporary with the music* ili TABLE OP CONTENTS fag® nmes . ifi LIST OF ILLtfSTKATIOSS v LIST OF PLATES Chapter I. AHTIQUITY AW THE MIDDLE AOSS ~-o. li^OO) . 1 II. THE RKUAISSAHCK (®. li*00-l600) 28 III* THJS BAROQUE ERA (l600-XT50) |^. IV. MODERN PERFORMANCE OF MSOQl® TRUMPET PARTS . , 138 Appendix I. HOJflJNCLATtJRg OP THB TRUMPKT AS) MOOTHPISCB . Xl|3 II. TABLR OP THE WORKS OF KAHDKL T7SING THUMP® . III. TABLE OF TIES 80BKS OP BACH USING 7RUSEPKT . ISO IV. DIGEST OF 140150 PSE IMPAHARE A SONARS CI TBGSBA.
    [Show full text]