S U M M E R 2 0

Total Page:16

File Type:pdf, Size:1020Kb

S U M M E R 2 0 Published by the American Recorder Society, Vol. LVI, No. 2 • www.americanrecorder.org summer 2015 Editor’s ______Note ______ ______ ______ ______ Volume LVI, Number 2 Summer 2015 Features n Words Without Music, composer Philip Glass defines his idea of musical lineage: Reading Original Notation: “TheI past is reinvented and becomes the It should be on your Bucket List! . 10 future ”. Several stories in this AR link past to future: Allison Hutton chronicles the Aus­ By Barbara Prescott tralian Recorder Project premiere, playing 4 “both new, contemporary repertoire and Departments early repertoire that is rarely heard” (page 5) . Barbara Prescott shares her goal of Advertiser Index . 32 playing from original notation (page 10)— coincidentally added to her bucket list at the Book Reviews . 12 Thomas Forrest Kelly’s book, Capturing Music: same time that an account of the history of The Story of Notation—how music came to be early notation, by Thomas Forrest Kelly, written down was published . Read Gwyn Roberts’s review of this important book (page 12) . Compact Disc Reviews . 13 8 Two guest columnists bring things up Medieval to modern, including a DVD with to date in key areas for recorder players: footage of masters of the contemporary recorder Gustavo Francisco completes his Educa­ Education . 22 science of tuning, tion series examining the Gustavo de Francisco completes his series on information available otherwise only online the history and science of tuning and in Portuguese (page 22) . Jorge Isaac’s thought­provoking essay on the recorder’s Music Reviews . 26 A few selections without bar lines place in the modern music world also appears only here in English (page 17) . On the Cutting Edge . 17 10 Even this issue’s CD Reviews (page 13) Guest columnist Jorge Isaac provides his thoughts on and Music Reviews (page 26) trace our lin­ The Recorder in Contemporary Music eage—old and new, listening and playing . President’s Message . 3 We look back fondly at years of leader­ ARS President Laura Sanborn Kuhlman Kathy Sherrick ship by (page 8); we look thanks several retiring Board members, and new ARS Admini stra­ forward to meeting encourages members to consider serving on the Board tive Director Susan Burns at the Boston Early Music Festival in June . See you there! Tidings . 4 1000 Voices for Peace; Orpheus Music Recorder Gail Nickless 17 Boutique; Piffaro competition for young recorder www.youtube.com/user/americanrecordermag players; new ruling on flying with instruments; www.facebook.com/groups/177397989075511/ ARS Administrative Director Kathy Sherrick retires Gail Nickless, Editor ON THE COVER: Music and Dance (Sonare et balare). From “Tacuinum Contributing Editors sanitatis,” a medical codex Tom Bickley, Compact Disc Reviews written & illuminated for the Sue Groskreutz, Book & Music Reviews • Mary Halverson Waldo, Education Cerruti family, probably from Amanda Pond, Line Editor Verona, end 14th century. Codex s.n.2644, f.104. Advisory Board Österreichische Nationalbibliothek. Martha Bixler • Valerie Horst • David Lasocki • Bob Marvin © 2015, Nimatallah / Thomas Prescott • Kenneth Wollitz Art Resource, NY. www.AmericanRecorder.org Copyright©2015 American Recorder Society, Inc. ARS Chapters & Recorder Orchestras Alabama Idaho North Carolina Birmingham: Les Bois (Boise): Kim Wardwell Carolina Mountains: Susan Hartley Janice Williams 205­870­7443 360­202­3427 423­612­0421 Arizona Illinois Greenville Recorder Society: Desert Pipes (Phoenix): Chicago: John Shaw 252­355­2737 AMERICAN Karen Grover 623­687­4791 Ben Eisenstein 847­998­0198 Triangle: Jan Jenkins 919­870­0759 Arizona Central Highlands—Prescott: Chicago–West Suburban: Ohio RECORDER Georgeanne Hanna 928­775­5856 Kathleen Hall­Babis 630­464­1828 Greater Cleveland: Tucson: Scott Mason 520­721­0846 INDIANA Edith Yerger 440­826­0716 SOCIETY Arkansas Recorder Orchestra of the Midwest: Toledo: Charles Terbille 419­474­6572 INC. Aeolus Konsort: Marilyn Perlmutter 419­265­3537 Oregon Don Wold 501­666­2787 Louisiana Bella Vista: Barbara McCoy Eugene: Lynne Coates 541­345­5235 Honorary President 479­855­6477 Baton Rouge: Oregon Coast: Corlu Collier Erich Katz (1900-1973) California William Behrmann 225­766­9465 541­961­1228 Honorary Vice President New Orleans: Victoria Blanchard Portland: Zoë Tokar 971­325­1060 Barbary Coast Recorder Orchestra: 504­810­8540 Pennsylvania Winifred Jaeger Frances Feldon 510­527­9029 Maryland Central Coast: Margery Seid Bloomsburg Early Music Ens :. Northern Maryland: Statement of Purpose 805­474­8538 Susan Brook 570­784­8363 Richard Spittel 410­242­3395 The mission of the American Recorder Society East Bay: Susan Jaffe 510­482­4993 Erie: Linda McWilliams 814­868­3059 Massachusetts is to promote the recorder and its music by Inland Riverside: Greg Taber Philadelphia: Sarah West 215­984­8923 951­683­8744 Boston: Sara Rex 781­237­3927 Pittsburgh: Helen Thornton developing resources to help people of all ages Los Angeles Recorder Orchestra: Recorders/Early Music Metro­West 412­486­0482 and ability levels to play and study the recorder, Matt Ross 949­697­8693 Boston: Bonnie Kelly 781­862­2894 Rhode Island presenting the instrument to new constituencies, Mid­Peninsula Recorder Orchestra Worcester Hills: Alan Karass (Palo Alto): Fred Palmer 650­591­3648 508­847­8559 Rhode Island: David Bojar encouraging increased career opportunities for Nevada City: Michigan 401­944­3395 professional recorder performers and teachers, Miriam Morris 530­265­0986 North Coast: Kathleen Kinkela­Love Ann Arbor: Kevin Gilson 734­780­7476 Tennessee and enabling and supporting recorder playing as 707­822­8835 Kalamazoo: Annette Brown Greater Knoxville: Ann Stierli Orange County: 269­762­7503 a shared social experience. Besides this journal, 828­877­5675 ARS publishes a newsletter, a personal study Russell Wilson 435­630­1061 Metropolitan Detroit: Redding: Kay Hettich 530­241­8107 Molly Sieg 313­532­4986 Greater Memphis: program, a directory, and special musical Sacramento: Mark Schiffer Northwinds Recorder Society: Samuel Sidhom 901­848­1955 editions. Society members gather and play 916­685­7684 John MacKenzie, M D. 231­547­7072 Greater Nashville: Carol Vander Wal San Diego County: Western Michigan: Jocelyn Shaw 615­226­2952 together at chapter meetings, weekend Vanessa Evans 619­297­2095 231­744­8248 Southern Middle Tennessee and summer workshops, and many San Francisco: Greta Hryciw Minnesota (Tullahoma): Vicki Collinsworth ARS-sponsored events throughout the year. 415­377­4444 931­607­9072 Sonoma County: Dale Celidore Twin Cities: Anne Mundahl In 2014, the Society celebrated 75 years 707­874­9524 651­895­5049 Texas of service to its constituents. South Bay: Liz Brownell 408­358­0878 Nevada Austin: Susan Page 512­467­7520 Southern California: Las Vegas: Buddy Collier 702­610­6148 Dallas: Alice Derbyshire 940­300­5345 Ricardo Beron 818­782­0710 Sierra Early Music Society: Rio Grande: Sylvia Burke 575­522­1742 Board of Directors Colorado Kathy Bohrer 775­393­9002 Utah Boulder: Trudy Wayne 303­651­6860 New Hampshire Laura Sanborn-Kuhlman, President Utah Salt Lake: Mary Johnson Colorado Recorder Orchestra: Cynthia Shelmerdine, Vice-President Monadnock: Rose Marie Terada 303­666­4307 801­272­9015 Kristine Schramel 413­648­9916 Tony Griffiths, Secretary Denver: Jon Casbon 719­799­6630 Vermont & Lynn Herzog 802­254­1223 Fort Collins: Pattie Cowell Jennifer Carpenter, Assistant Secretary Monadnock: 970­484­0305 New Jersey Nancy Buss, Assistant Treasurer Kristine Schramel 413­648­9916 Bergen County: Connecticut & Lynn Herzog 802­254­1223 Win Aldrich Mary Comins 201­489­5695 Connecticut: Elise Jaeger 203­792­5606 & Reita Powell 201­944­2027 Virginia Alice Derbyshire Eastern Connecticut: Betty Monahan Nancy Gorbman Highland Park: Donna Messer Northern Virginia: Edward Friedler 860­536­7368 732­828­7421 703­425­1324 Greta Haug–Hryciw District of Columbia Montclair Early Music: Shenandoah (Charlottesville): Barbara Prescott Washington: Vicki Walter 301­891­1367 Julianne Pape 845­943­0610 Princeton: Skip Kestler Gary Porter 434­284­2995 David Podeschi Delaware 609­683­0358 Tidewater (Williamsburg): Ruth Seib Brandywine: Roger Matsumoto New Mexico Vicki H . Hall 757­784­2698 Anne Timberlake 302­731­1430 Washington Florida Albuquerque: Bryan Bingham 505­299­0052 Moss Bay: Ft . Myers: Sue Groskreutz Flat & Baroque in Las Vegas: Michael Bancroft 206­523­6668 Staff 239­676­5968 Tom Curtis 505­454­4232 Seattle: Kathleen Arends 425­649­9869 Rio Grande: Sylvia Burke 575­522­1742 Susan Burns, Administrative Director Largo/St . Petersburg: Wisconsin P. O. Box 480054 Elizabeth Snedeker 727­596­7813 Santa Fe: John O’Donnell 505­662­5745 Miami: Ruth Trencher 305­665­3380 New York Milwaukee: Carole Goodfellow Charlotte, NC 28269­0054 Orlando Consort: Sheri Grayson 262­763­8992 407­299­3076 Buffalo: Bonnie Sommer 716­662­5975 704­509­1422; tollfree 1­844­509­1422 Hudson Mohawk: Southern Wisconsin: Greg Higby Palm Beach: Gail Hershkowitz 608­256­0065 866-773-1538 fax 561­732­5985 Kathryn Kuhrt 518­477­8450 [email protected] Sarasota: Charlotte Trautwein Long Island: Canada 941­929­9137 Patsy Rogers 631­734­7485 www.AmericanRecorder.org New York City: Gene Murrow Edmonton: Vivien Bosley Georgia 646­342­8145 780­439­3215 Atlanta: Mickey Gillmor 404­872­0166 Recorder Orchestra of New York: Merrie Pipers Rec . Orch (Kelowna, BC): Hawaii Karen Wexler 631­751­5969 Bruce Sankey 250­766­1550 In accordance with the Internal Revenue Service Rochester: Jessica Brennan Montréal: Mary McCutcheon
Recommended publications
  • Digital Media-Video Design and Production 19-20 Recommended Program Sequence All Courses with a + Sign Indicate a Pre-Requisite Or Co-Requisite
    Certificate/AS-Digital Media-Video Design and Production 19-20 Recommended Program Sequence All courses with a + sign indicate a pre-requisite or co-requisite DM 101 & Lab is a prerequiste for DM 115 & an Advisory course prior to the program (General Elective-offered fall, spring, summer) Term 1 (Semester: Maximum 19 units, 15 units recommended) Units Term 5 (Semester: Maximum 19 units, 15 units recommended) Units DM 113+, Photoshop I 3 DM 112+, Experimental Digital Video 3 DM 106+, Video Design & Production I 3 DM 127+, Web Design & Production I 3 Program Elective (Advised: DM 101) 3 General Education Area A (Science) 3 General Education Area D1 (English 101+) 3 General Ed. Area F (Diversity Studies) 3 General Education Area E (Additional Breadth) 3 General Education C (Humanities) 3 Total 15 Total 15 Term 2: (Intersession(6/3)-Summer (9/6) Max./Recommended units) Term 6: (Intersession(6/3)-Summer (9/6) Max./Recommended units) Term 3 (Semester: Maximum 19 units, 15 units recommended) Units Term 7 (Semester: Maximum 19 units, 15 units recommended) Units DM 110+, Motion Graphics 3 DM 246+, Portfolio and Job Search 3 DM 206+, Video Design & Production II 3 DM 298+, Special Studies in DM 3 General Education Area D2 3 General Education Area B (Social Science) 3 General Elective 3 General Elective 3 General Elective 3 General Elective 3 Total 15.0 Total 15.0 Term 4: (Intersession(6/3)-Summer (9/6) Max./Recommended units) Transfer or Graduate Take Summer or Intersession classes if needed to complete the program in a timely manner.
    [Show full text]
  • CHECKLIST for the MINOR in NEW MEDIA and DIGITAL DESIGN 6 TOTAL COURSES
    CHECKLIST for THE MINOR IN NEW MEDIA AND DIGITAL DESIGN 6 TOTAL COURSES CORE COURSES (MUST TAKE BOTH COURSES): _____ NMDD 1001: EXPLORATIONS IN DIGITAL DESIGN ______CISC 2500: INFORMATION AND DATA MANAGEMENT COURSEWORK: MUST TAKE 4 COURSES (THESE MAY BE IN A SINGLE CONCENTRATION, OR IN ANY COMBINATION FROM ACROSS CONCENTRATIONS) THE FOLLOWING COURSES COUNT IN ALL CONCENTRATIONS: ______CISC 2530: Computer GraphiCs ______CMBU 4471: The Business of New Media ______DTEM 3476: SoCial Media ______DTEM 2421: Digital ProduCtion for New Media ______NMDD 3880: Designing Smart Cities (ServiCe Learning Course) ______VART 2003: GraphiC Design and Digital Tools ______VART 2400: Fundamentals of Web Design A. New Media and Information ______DTEM 1401: IntroduCtion to Digital TeChnology and Emerging Media ______CISC 2350: Information and Web Programming ______CISC 2530: Digital Video and Multimedia ______CISC 2850: Computer and Data Analysis or INSY 4431: Web AnalytiCs ______CISC 3850: Information Retrieval Systems ______CISC 4001: Computers and Robots in Film (ICC) ______DTEM 1402: Digital Cultures ______DTEM 2417: Data Visualization ______DTEM: 3463: CiviC Media ______DTEM 2427: Digital Audio ProduCtion ______FITV 2621: Digital Video Design ______COMC 3340: Freedom of Expression ______COMC 3380 International CommuniCation (Globalism) ______COMC 3374: Media EffeCts ______COMC3350 or BLBU 4451: New Media and CommuniCation Law ______DTEM 2775: Writing for Online Media ______INSY 4431: Web AnalytiCs or CISC 2850: Computer and Data Analysis ______INSY 3442:
    [Show full text]
  • A Study on Development and Current Application of Motion Graphic in Taiwan’S Popular Music
    PEOPLE: International Journal of Social Sciences ISSN 2454-5899 Chen & Chang, 2019 Volume 5 Issue 1, pp. 124-134 Date of Publication: 23rd March 2019 DOI-https://dx.doi.org/10.20319/pijss.2019.51.124134 This paper can be cited as: Chen, C. M., & Chang. Y. J., (2019). A Study on Development and Current Application of Motion Graphic in Taiwan’s Popular Music. PEOPLE: International Journal of Social Sciences, 5(1), 124-134. This work is licensed under the Creative Commons Attribution-Non Commercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. A STUDY ON DEVELOPMENT AND CURRENT APPLICATION OF MOTION GRAPHIC IN TAIWAN’S POPULAR MUSIC Chia Min Chen Department of Graphic Arts and Communications, National Taiwan Normal University, Taipei, Taiwan [email protected] Yen Jung Chang Department of Graphic Arts and Communications, National Taiwan Normal University, Taipei, Taiwan [email protected] Abstract With the advances in technology, the way of communications has become more diverse. Motion graphic combines graphic design, animation design, and film languages. Motion graphic is a new industry with intense performance styles and can be used in different media and platforms, such as commercials, music videos, film and television titles, web pages, and various display screen sizes, etc. Because motion graphic is a non-narrative time-based media, mostly it combines with music. The Taiwan 25th Golden Melody Awards introduced motion graphic design for the first time in 2014.
    [Show full text]
  • Web Layout and Content Guide Table of Contents
    Web Layout and Content Guide Table of Contents Working with Pages ...................................................................................... 3 Adding Media ................................................................................................ 5 Creating Page Intros...................................................................................... 7 Using Text Modules ...................................................................................... 9 Using Additional Modules ............................................................................19 Designing a Page Layout .............................................................................24 Web Layout and Content Guide 2 Working with Pages All University Communications-created sites use Wordpress as their content management system. Content is entered and pages are created through a web browser. A web address will be provided to you, allowing you to access the Wordpress Dashboard for your site with your Unity ID via the “Wrap Account” option. Web Layout and Content Guide 3 Existing and New Pages Site Navigation/Links In the Wordpress Dashboard the “Pages” section — accessible in the left-hand menu — allows you to view all the pages Once a new page has been published it can be added to the appropriate place in the site’s navigation structure under that have been created for your site, and select the one you want to edit. You can also add a new page via the left-hand “Appearance” > “Menus” in the left-hand menu. The new page should appear in the “Most Recent” list on the left. It menu, or the large button in the “All Pages” view or “Tree View.” Once you have created a new page and you are in the can then be selected and put into the navigation by clicking the “Add to Menu” button. The page will be added to the “Edit Page” view, be sure to give the page a proper Title. bottom of the “Menu Structure” by default.
    [Show full text]
  • Application to Use Progressive Design-Build Project Review Committee Meeting: January 28, 2021 AGENDA
    Application to Use Progressive Design-Build Project Review Committee Meeting: January 28, 2021 AGENDA 1. West Sound Technical Skill Center Overview 2. Project Team & Management 3. Project Scope 4. Budget and Funding 5. Procurement Approach and Schedule 6. Schedule 7. Design Build Suitability 8. Questions WEST SOUND TECHNICAL SKILLS CENTER PROJECT TEAM PROJECT MANAGEMENT Bremerton SD /Central Kitsap Capital/ OAC / Legal Team DB Procurement: 1% 2% 5% 15% 40% 5% 10% 20% 1% Design: 1% 2% 1% 20% 75% 1% 1% 5% 1% Construction / Closeout: 1% 2% 1% 15% 90% 1% 1% 5% 1% Wallace Leavell (Legal, DB) (Legal, Sydney Thiel Sydney Aaron Aaron Stacy Shewell Stacy Dan ChandlerDan Shani Watkins Shani Steve Murakami Steve Garth Steedman Garth Graehm Item Description Shoemaker Robin Design-Build Procurement/Contracting x x x x x x x x x Project Management x x x PMP / Project Controls / Workflow Processes x x x x Schedule Review and Analysis x x x x Cost Review and Analysis x x x x FF&E Coordination x x Warranty Period x x PROJECT SCOPE PROJECT SCOPE • Cosmetology ACADEMIC PROGRAMS • Criminal Justice • Culinary Arts • Dental • Digital Animation & Video Design • Esthetics • Professional Medical Careers • Automotive Technology ACADEMIC PROGRAMS • Collision Repair • Diesel Technology • Fire Safety • Manufacturing Maritime • Multi-Craft Construction Trades • Welding BUDGET & FUNDING Funding Scenario #1 Gross SF Budget Request Single funding allocation for the entire project in 21/23 Biennium 121,695 gsf $82,658,000 Funding Scenario #2 Gross SF Budget Request Phase
    [Show full text]
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [Show full text]
  • LISA D. BURKE Fashion/Costume and Puppet Designer , Costumer
    LISA D. BURKE Fashion/Costume and Puppet Designer , Costumer 11225 Morrison St., Apt.115, North Hollywood, CA 91601 Phone (Home): (818) 506-1352, (cell): (267) 971-4979 Email: [email protected] Website: http://web.mac.com/lburke3 QUALIFICATIONS Experienced in costume design/wardrobe styling, on set costumer, puppet designing,, foam sculpting and fabrication, flocking, sewing, crafts, puppet building, budgeting, wardrobe, and fitting costumes for Film, Television, and Theatrical productions. Also experienced in costume construction including draping, and flat pattern drafting. Skilled at making 3D forms using sculpting techniques and woodworking tools. Special skills include make-up, floral design, and trained in 3D and 2D CG programs, Maya, Render Man, Adobe Photoshop, Vectorworks, Lectra system, etc. EMPLOYMENT *Technical costume/puppet experience, portfolio, and references available upon request. GENERAL Roma, Los Angeles, CA. Designer and Pattern Maker for women’s fashion and costume line. 2009-present American Intercontinental University, Los Angeles, CA. Adjunct faculty for various costume design/pattern making classes 2007/08/09 in the Fashion/Costume Department. Cinema Secrets, Los Angeles, CA. Draper, First Samples Pattern Maker, Head Costume Designer, for Women’s wear, 2008-2009 Men’s wear, Children’s wear and Dogs for Fashion Company specializing in Costumes, creates tech packs, costing, fitting, manages department. The LA Opera, Los Angeles, CA. Pattern Maker, Assistant Draper men’s wear, flat pattern drafting, body padding/sculpting, tailoring, fitting, in charge of crew and delegating assignments. 2007/2008 The Character Shop, Los Angeles, CA. On Set Puppet Technician, Puppet Costume Construction for commercial work: 2006 Perdue Chickens, Foster Farms, Old Navy Moe’s Flower’s, Los Angeles, CA.
    [Show full text]
  • Glossary of Design Terms
    GLOSSARY OF TERMS Typography - The artistic arrangement of type in a readable and visually appealing way. Typography usually concerns the design and use of various typefaces in a way that helps to better visually communicate ideas. Vector images - Vector-based images (such as those created in Adobe Illustrator) are made up of points, each of which has a defined X and Y coordinate. These points join paths to form shapes, and inside these shapes you can add color fills. Because everything is generated based around this, vectors can be resized to any size without any loss of quality. Adobe Illustrator is a vector-based program. Raster images - (sometimes referred to as bitmap images) are made up of thousands of pixels which determine the color and form of the image. Photos are raster images. Because raster images are made up of a finite amount of pixels, resizing can be tricky. If you make a raster image larger dimensions in Photoshop, the software has to make up data in order to add the size. This results in loss of quality. Adobe Photoshop is a raster-based program. Body Copy - The main part of text in your design or publication – the written website content, the book contents, even this type you’re reading right now, it’s all body copy. Display Type - Type that is designed with the objective of attracting attention. Think of movie titles on posters, article titles in magazines, newspaper headlines, etc. Hierarchy - The visual arrangement of design elements in a way that signifies importance. For example, you might make a title big and bold to ensure it attracts more attention than a small, lightly colored image caption.
    [Show full text]
  • Jazz Concert
    Aritst Series presents: City of Tomorrow Woodind Quintet Wednesday, October 7, 2015 at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music present Artist Series presents: City of Tomorrow Woodwind Quintet Elise Blatchford, Flute Stuart Breczinski, Oboe Rane Moore, Clarinet Nanci Belmont, Bassoon Leander Star, Horn Wednesday, October 7, 2015, at 8 pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM Rotary........................................................................................................... Karlheinz Stockhausen (1928-2007) Blow (1989) .............................................................................................................Franco Donatoni (1927-2000) INTERMISSION Daedalus ........................................................................................................................... John Aylward (b. 1980) East Wind ......................................................................................................................... Shulamit Ran (b. 1949) Elise Blatchford, flute Music for Breathing .............................................................................................................. Nat Evans (b. 1980) About the
    [Show full text]
  • Geschlecht Und Sexualität in Den Diskursiven Räumen Der Migrationsfilme
    Geschlecht und Sexualität in den diskursiven Räumen der Migrationsfilme Von der Fakultät für Wirtschaft, Recht und Gesellschaft der Brandenburgischen Technischen Universität Cottbus-Senftenberg zur Erlangung des akademischen Grades eines Doktor der Philosophie genehmigte Dissertation vorgelegt von Master of Arts Marine Sabauri geboren am 01.07.1980 in Tiflis (Georgien) Vorsitzende/Vorsitzender: Prof. Dr. Heike Radvan Gutachterin/Gutachter: Prof. Dr. Anna Amelina Gutachterin/Gutachter: Prof. Dr. Christer Petersen Tag der mündlichen Prüfung: 25.01.2021 DOI: 10.26127/BTUOpen-5473 Inhaltsverzeichnis Einleitung 7 1. Grundlagen der Genderforschung 17 1.1 Institutionalisierung und Diskursivität von Geschlecht: von den Analysen des Patriarchats bis zu poststrukturalistischen und feministischen Perspektiven 19 1.2 Institutionalisierung von Sexualität: die psychoanalytische, ideologiekritische und diskursanalytische Sexualitätsforschung sowie die Sex-Gender-Ordnungen 24 1.3 Perspektiven der Genderforschung in transnationalen Diskursräumen 29 2. Bausteine einer kritischen und migrationssensiblen Genderforschung Kontextanalyse aus der Geschlechter-, Sexualitäts- und Migrationsforschung 30 2.1 Kulturalisierte und mediale Performativität der Geschlechter 33 2.2 Intersektionalität - Marginalisierung von Geschlecht und Sexualität in den transnationalen sozialen Räumen 39 2.3 Die Macht der bildlich-symbolischen Darstellung von Differenz- und Hybriditätsmerkmalen im geschlechtlich-sexuellen und kulturalisierten Sinn 44 2.4 Dezentrierte und postmigrantische
    [Show full text]
  • Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
    NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists.
    [Show full text]
  • Thesis Is Presented in Partial Fulfilment of the Requirements for the Doctor of Musical Arts
    Redefining Moments: Interpreting Flexible Moment Form in the Late Solo Works of Franco Donatoni Ashley William Smith B.Mus (Hons.)W.Aust, M.Mus Yale This thesis is presented in partial fulfilment of the requirements for the Doctor of Musical Arts University of Western Australia Conservatorium of Music 2020 i Thesis Declaration I, Ashley William Smith, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. Third party editorial assistance was provided in preparation for this thesis by Laura Biemmi. This thesis does not contain work that I have published, nor work under review for publication. 3 March, 2020 ii Portfolio Components Required Material i) A dissertation of 37,000 words ii) Two recitals: Donatoni in Context, presented on 22 May 2016 at the University of Western Australia (DVD1) The Walk of Shame, presented on 16 June 2019 at the University of Western Australia (DVD2) iii) A lecture recital: Redefining Moments: An Introduction to Moment Form Theory, presented on 25 February 2020 at the University of Western Australia (DVD3) Supplementary Material iv) Recital Program (DVD1).
    [Show full text]