MSO-March-2021-Concert-Program
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
COURSE CATALOG 2016-2017 Academic Calendar
COURSE CATALOG 2016-2017 Academic Calendar . 4 Academic Programs . 46 About LACM . .. 6 Performance LACM Educational Programs . 8 Bass . 46 CONTENTS Administration . 10 Brass & Woodwind . .. 52 Admissions . 11 Drums . .. 58 Tuition & Fees . 13 Guitar . 64 Financial Aid . 18 Vocal. 70 Registrar . 22 Music Composition International Student Services . 26 Songwriting . 76 Academic Policies & Procedures . 27 Music Production Student Life . 30 Composing for Visual Media . 82 Career Services . .. 32 Music Producing & Recording . 88 Campus Facilities – Security. 33 Music Industry Rules of Conduct & Expectations . 35 Music Business . 94 Health Policies . 36 Course Descriptions . 100 Grievance Policy & Procedures . .. 39 Department Chairs & Faculty Biographies . 132 Change of Student Status Policies & Procedures . 41 Collegiate Articulation & Transfer Agreements . 44 FALL 2016 (OCTOBER 3 – DECEMBER 16) ACADEMIC DATES SPRING 2017 (APRIL 10 – JUNE 23) ACADEMIC DATES July 25 - 29: Registration Period for October 3 - October 7: Add/Drop January 30 - February 3: Registration Period for April 10 - April 14: Add/Drop Upcoming Quarter Upcoming Quarter October 10 - November 11: Drop with a “W” April 17 - May 19: Drop with a “W” August 22: Tuition Deadline for Continuing Students February 27: Tuition Deadline for November 14 - December 9: Receive a letter grade May 22 - June 16: Receive a letter grade October 3: Quarter Begins Continuing Students November 11: Veterans Day, Campus Closed April 10: Quarter Begins November 24: Thanksgiving, Campus Closed May 29: Memorial Day, Campus Closed November 25: Campus Open, No classes. June 19 - 23: Exams Week December 12-16: Exams Week June 23: Quarter Ends December 16: Quarter Ends December 24 - 25: Christmas, Campus Closed December 26: Campus Open, No classes. -
Canadian Studies Center Canadian Studies Center
WINTER QUARTER REPORT 2009 CANADIANCANADIAN STUDIESSTUDIES CENTERCENTER HENRY M. JACKSON SCHOOL OF INTERNATIONAL STUDIES, UNIVERSITY OF WASHINGTON RESEARCH | TEACHING | OUTREACH ARCTIC SOVEREIGNTY: A TEN-WEEK CRASH COURSE BY PATRICK LENNON Patrick Lennon is a newly-minted alumnus of the Henry M. Jackson School of International Studies at the University of Washington. He was one of thirteen International Studies students enrolled in SIS 495C Task Force on Arctic Sovereignty, taught by Canadian Studies Center Associate Director, Nadine Fabbi, and Center Affiliate, Vincent Gallucci, Aquatic and Fishery Sciences. After graduation, Patrick plans to work and consider his options for graduate school. During this past fall quarter, I was along with Emily Epsten, to write faced with the question that awaits the chapter on North America and every student in International Studies the Arctic. Canada and the United – which Task Force did I want to States both have significant interests take? Task Force is a senior capstone in the Arctic, so Emily and I dove project where students work in into the wealth of information from groups to write a policy paper about governments, academics, and a current issue. When I looked at the non-governmental organizations list of choices, one jumped out at (NGOs). We chose to focus on the me immediately – Arctic sovereignty. Northwest Passage, which runs It was an issue that I didn’t even through Canada’s Arctic archipelago know existed, but it encompassed and is slowly opening to increased several of my interests, including shipping as ice cover melts. The US international law and human rights, and Canada dispute the legal status particularly the rights of indigenous of the Passage, so we thought it peoples. -
North Carolina
Gowan MALS Final Project Spring 2014 2 Table of Contents The Roots of Jazz in North Carolina ................................................................................................. 3 Setting the Stage ............................................................................................................................ 4 The 19th Century: Songs of Joy and Freedom .................................................................................. 9 19th Century Secular Music in North Carolina: In the String of Things ......................... 10 Sacred Music in 19th Century North Carolina: Lined Up and Ready ............................. 19 The 20th Century: Repression, Deliverance, and Escape ............................................................. 28 Secular Music in 20th Century North Carolina: Getting the Blues ................................... 29 Sacred Music in the 20th Century: Shout It Out ................................................................... 39 North Carolina: Fertile Ground for Jazz? ..................................................................................... 48 Works Cited .......................................................................................................................................... 52 Gowan MALS Final Project Spring 2014 3 The Roots of Jazz in North Carolina An analysis of the musical heritage of the Tar Heel State and its connection to jazz greats North Carolina is not known for its jazz music. When you think about the hubs of jazz, New Orleans, New York, -
Tolono Library CD List
Tolono Library CD List CD# Title of CD Artist Category 1 MUCH AFRAID JARS OF CLAY CG CHRISTIAN/GOSPEL 2 FRESH HORSES GARTH BROOOKS CO COUNTRY 3 MI REFLEJO CHRISTINA AGUILERA PO POP 4 CONGRATULATIONS I'M SORRY GIN BLOSSOMS RO ROCK 5 PRIMARY COLORS SOUNDTRACK SO SOUNDTRACK 6 CHILDREN'S FAVORITES 3 DISNEY RECORDS CH CHILDREN 7 AUTOMATIC FOR THE PEOPLE R.E.M. AL ALTERNATIVE 8 LIVE AT THE ACROPOLIS YANNI IN INSTRUMENTAL 9 ROOTS AND WINGS JAMES BONAMY CO 10 NOTORIOUS CONFEDERATE RAILROAD CO 11 IV DIAMOND RIO CO 12 ALONE IN HIS PRESENCE CECE WINANS CG 13 BROWN SUGAR D'ANGELO RA RAP 14 WILD ANGELS MARTINA MCBRIDE CO 15 CMT PRESENTS MOST WANTED VOLUME 1 VARIOUS CO 16 LOUIS ARMSTRONG LOUIS ARMSTRONG JB JAZZ/BIG BAND 17 LOUIS ARMSTRONG & HIS HOT 5 & HOT 7 LOUIS ARMSTRONG JB 18 MARTINA MARTINA MCBRIDE CO 19 FREE AT LAST DC TALK CG 20 PLACIDO DOMINGO PLACIDO DOMINGO CL CLASSICAL 21 1979 SMASHING PUMPKINS RO ROCK 22 STEADY ON POINT OF GRACE CG 23 NEON BALLROOM SILVERCHAIR RO 24 LOVE LESSONS TRACY BYRD CO 26 YOU GOTTA LOVE THAT NEAL MCCOY CO 27 SHELTER GARY CHAPMAN CG 28 HAVE YOU FORGOTTEN WORLEY, DARRYL CO 29 A THOUSAND MEMORIES RHETT AKINS CO 30 HUNTER JENNIFER WARNES PO 31 UPFRONT DAVID SANBORN IN 32 TWO ROOMS ELTON JOHN & BERNIE TAUPIN RO 33 SEAL SEAL PO 34 FULL MOON FEVER TOM PETTY RO 35 JARS OF CLAY JARS OF CLAY CG 36 FAIRWEATHER JOHNSON HOOTIE AND THE BLOWFISH RO 37 A DAY IN THE LIFE ERIC BENET PO 38 IN THE MOOD FOR X-MAS MULTIPLE MUSICIANS HO HOLIDAY 39 GRUMPIER OLD MEN SOUNDTRACK SO 40 TO THE FAITHFUL DEPARTED CRANBERRIES PO 41 OLIVER AND COMPANY SOUNDTRACK SO 42 DOWN ON THE UPSIDE SOUND GARDEN RO 43 SONGS FOR THE ARISTOCATS DISNEY RECORDS CH 44 WHATCHA LOOKIN 4 KIRK FRANKLIN & THE FAMILY CG 45 PURE ATTRACTION KATHY TROCCOLI CG 46 Tolono Library CD List 47 BOBBY BOBBY BROWN RO 48 UNFORGETTABLE NATALIE COLE PO 49 HOMEBASE D.J. -
View Geff's Resume
Geffery B. Stewart 1347 Gorsuch Ave Baltimore, Maryland 21218 443.454.1875 [email protected] Summary/Bio My name is Geffery Stewart. I was born in 1985 in Baltimore, MD. I was raised in Pasadena, MD where I attended public school. I am a self taught musician specializing in string instruments, mainly guitar, banjo, violin/fiddle, and mandolin. With the influence of my parents, I came obsessed with music of all kinds at a very young age. In my elementary school years, I discovered I had a keen ear and began singing along with music I heard at home and in church. At age 10, I began teaching myself guitar, with tuning and some chording assistance from my father. I was soon able to tune by ear. I worked hard at my 3 first chords, and played incessantly. More musical influence from my father began to influence my direction, and obsession such as Experimental, Jazz, Punk Rock, Reggae, Folk, Bluegrass, Hip Hop and more, but it was the Blues that grabbed my attention. My life was altered after hearing the Blues/Gospel of Blind Willie Johnson. Country blues and pre-war American music became a full time passion around age 15. The other pivotal musical experience was hearing John Coltrane at some point in Middle School. This opened my ears and mind to the possibilities of improvisation. At this time I was attempting to translate some of these concepts that I was hearing in country blues, punk, and jazz onto electric guitar. I was trying to comprehend using alternate tunings, using a slide, and eventually alternating bass fingerpicking from various American Folk Music. -
The Place of Music, Race and Gender in Producing Appalachian Space
University of Kentucky UKnowledge Theses and Dissertations--Geography Geography 2012 PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE Deborah J. Thompson University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Thompson, Deborah J., "PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE" (2012). Theses and Dissertations--Geography. 1. https://uknowledge.uky.edu/geography_etds/1 This Doctoral Dissertation is brought to you for free and open access by the Geography at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Geography 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 and attached hereto needed written permission statements(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). I hereby grant to The University of Kentucky and its agents the non-exclusive 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 a preapproved embargo applies. -
Loreena Mckennitt in San Francisco by Jay Freeman
Loreena McKennitt in San Francisco by Jay Freeman Concert reviews are like sex scenes: It's no fun just to keep being told how good it was, or how kinky. We want all the details, and we want them slowly. Therefore, since Loreena McKennitt fans are already well familiar with her music, a review of other aspects of the process and esthetics of attending one of her concerts might be welcome to those who have not yet seen her perform. I am a newcomer to her work. In 1992, I tuned to a radio station playing "The Lady of Shalott", recognized that Tennyson had acquired an extraordinary interpreter, and was dismayed when the disc jockey did not name the artist after the song. It took most of a year to find someone who could identify the singer, but then only a few weeks more till I had all four Loreena McKennitt albums then extant. Thanks to the "old-ways" electronic mailing list, I knew the schedule of her spring 1994 tour well in advance -- proof positive that the "information highway" does from time to time contain information -- and was hounding the box-office agencies long before ticket release. For my zeal, I obtained front-row orchestra seats for myself and three friends. After weeks of eager anticipation, May 19 finally arrived, and we car-pooled into San Francisco. Getting to the Palace of Fine Arts is risky business: It's the last exit off US 101 before the Golden Gate Bridge. We avoided an unintended visit to Marin County, but San Francisco's web of one-way streets and no-left-turn signs defeated us temporarily. -
2017 NCMEA Professional Development Conference November 11
NORTH CAROLINA MUSIC EDUCATOR 2017 NCMEA Professional Development Conference The Every Student Succeeds Act: Over 200 clinics, sessions and Opportunities for Music concerts, including Educator Action by Lynn Tuttle Tim Lautzenheiser Sunday Afternoon Keynote U.S. Navy Band Commodores Sunday Evening Concert Piedmont Wind Symphony Monday Evening Concert November 11 - 14 • Winston-Salem #musicmakesmeNC Volume 68 Number 2 NORTH CAROLINA Conference MUSIC EDUCATOR 2017 | 1 Board of Directors EXECUTIVE OFFICERS SECTION CHAIRS President: James Daugherty Band: Rodney Workman Jazz Education: Keith Grush [email protected] [email protected] [email protected] Immediate Past President: Band Section Delegate: Jamie Beam Jazz Section Delegate: Richard Holmes [email protected] Marjorie Harrison [email protected] [email protected] Collegiate NAfME: Emily Lott President-Elect: Jazzmone Sutton [email protected] Middle School Choral: Catherine Butler [email protected] [email protected] Elementary: Janet Berry Recording Secretary: Aria Westbrook [email protected] Orchestra: Sarah Russell [email protected] [email protected] High School Choral: Eddie Adams Member-at-Large: Andy Carter [email protected] Orchestra Section Delegate: Joey Walker [email protected] Higher Education: Cynthia Wagoner [email protected] Member-at-Large: Jeffrey Danielson [email protected] [email protected] Non-Voting Members COMMISSION & COMMITTEE CHAIRS DISTRICT PRESIDENTS Exceptional Children & General Music: Research: Jennifer Walter District 1: Jennifer Fowler Rue S. Lee-Holmes [email protected] [email protected] [email protected] Retired Membership: David S. Albert D i s t r i c t 2 : V i c k i e W h i t fi e l d Conference Chair: Barbara Geer [email protected] [email protected] [email protected] Student Activities: Jazzmone Sutton District 3: Jessica Ferguson Asst. -
Annual Report
Downtown Columbia Arts and Culture Commission Annual Report 2018 Table of Contents WELCOME 2 INTRODUCTION 3 THE COMMISSION 4 MISSION AND VISION 4 LEADERSHIP 4 MANAGEMENT 5 2018 ACCOMPLISHMENTS OVERVIEW 5 PROGRAMS 7 VISION AND PHILOSOPHY 7 ROOTED IN COMMUNITY 7 A BEACON FOR THE WORLD 9 OPERATIONS 11 FINANCIAL ACTIVITIES 11 OUTLOOK 12 MERRIWEATHER POST PAVILION 13 ABOUT MERRIWEATHER 13 RENOVATION UPDATE 13 MERRIWEATHER IN THE COMMUNITY 18 OUTLOOK 19 Welcome On behalf of the Downtown Columbia Arts and Culture Commission, I am pleased to introduce our 2018 report on activities and impact. This was a year of “ups” and a very notable “down” for the Downtown Columbia Arts and Culture Commission. The year’s low point came at the beginning—January 13th, when the iconic roof of Merriweather Post Pavilion collapsed while being raised as part of the venue’s ongoing renovation project. This was unexpected, to say the least, but we were incredibly fortunate that there were no injuries and little ancillary damage to the property as a result of this accident. Thanks to the dedicated team at Merriweather and with our contractor, Costello Construction of Maryland, the roof was rebuilt in time for the season to start. The show must go on, and it did. As owners of this iconic amphitheater since 2016, the Downtown Columbia Arts and Culture Commission has developed expertise and partnerships to overcome the challenges big and small that arise. The roof collapse tested us, but now, nearly a year later, we see this test in the same way that we see others: As a reminder that our work as stewards of Merriweather Post Pavilion must be our main priority. -
Access to JHU and Stacy Cofield at 443-287-9900
NeighborhoodMatters FALL 2005 HIGHLIGHTS NeighborhoodMatters New Life for a Venerable Building www.jhu.edu/~gcpa/matters nearly 100-year-old Charles Village offers classes on the Montgomery County September 10 of the closed-to-traffic JFX on foot, bike, or For more information, 410-516-0341 or landmark will soon become the Campus and at the Columbia Center. Volunteers from James W. Rouse skateboard; paddle a canoe in the river; www.jhu.edu/historichouses. Community Service Day, an outreach pro- cheer on the racing frogs. 8:30 a.m. to 2:30 A home for the Baltimore-based pro- Edward Pajak, chair of Teacher October 8 gram of Struever Bros. Eccles & Rouse and p.m. www.jonesfalls.com. grams of JHU’s School of Professional Development and Leadership, said that the The dynamic young contempo- the Enterprise Foundation, visit the Studies in Business and Education’s building will allow SPSBE to better serve October 1 and November 5 rary ensemble Eighth Blackbird JOHNS HOPKINS, THE COMMUNITY, AND YOU FALL 2005 Wyman Park Dell for cleanup and repair Graduate Division of Education. In January, the Greater Baltimore area.“We always had 1 and 3 p.m. In conjunction with kicks off Shriver at the BMA, a work. To join in, go to www.jwrday.com/ faculty and staff are scheduled to move into a strong urban mission, and what this facili- the museum’s current exhibitions new, free series of performances volunteer.htm. Outdoor Sculpture Seton Court, a 73,000-square-foot building ty will do is raise the visibility of the educa- (see Sept. -
Bulletin 19 of the Department of Geology, Mines and Water Resources
COMMISSION OF MARYLAND GEOLOGICAL SURVEY S. JAMES CAMPBELL Towson RICHARD W. COOPER Salisbury JOHN C. GEYER Baltimore ROBERT C. HARVEY Frostburg M. GORDON WOLMAN Baltimore PREFACE In 1906 the Maryland Geological Survey published a report on "The Physical Features of Maryland", which was mainly an account of the geology and min- eral resources of the State. It included a brief outline of the geography, a more extended description of the physiography, and chapters on the soils, climate, hydrography, terrestrial magnetism and forestry. In 1918 the Survey published a report on "The Geography of Maryland", which covered the same fields as the earlier report, but gave only a brief outline of the geology and added chap- ters on the economic geography of the State. Both of these reports are now out of print. Because of the close relationship of geography and geology and the overlap in subject matter, the two reports were revised and combined into a single volume and published in 1957 as Bulletin 19 of the Department of Geology, Mines and Water Resources. The Bulletin has been subsequently reprinted in 1961 and 1966. Some revisions in statistical data were made in the 1961 and 1968 reprints. Certain sections of the Bulletin were extensively revised by Dr. Jona- than Edwards in this 1974 reprint. The Introduction, Mineral Resources, Soils and Agriculture, Seafood Industries, Commerce and Transportation and Manu- facturing chapters of the book have received the most revision and updating. The chapter on Geology and Physiography was not revised. This report has been used extensively in the schools of the State, and the combination of Geology and Geography in one volume allows greater latitude in adapting it to use as a reference or textbook at various school levels. -
Mckennitt V Ash CA 14 Dec 2006
Neutral Citation Number: [2006] EWCA Civ 1714 Case No: A2/2006/0118 IN THE SUPREME COURT OF JUDICATURE COURT OF APPEAL (CIVIL DIVISION) ON APPEAL FROM THE HIGH COURT OF JUSTICE QUEEN’S BENCH DIVISION MR JUSTICE EADY [2005] EWHC 3003 (QB) Royal Courts of Justice Strand, London, WC2A 2LL Date: 14/12/2006 Before : LORD JUSTICE BUXTON LORD JUSTICE LATHAM and LORD JUSTICE LONGMORE - - - - - - - - - - - - - - - - - - - - - Between : Niema Ash and another Appellants - and - Loreena McKennitt and others Respondent - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Mr David Price (solicitor advocate) and Mr Korieh Duodu (instructed by Messrs David Price) for the Appellants Mr Desmond Browne QC and Mr David Sherborne (instructed by Messrs Carter-Ruck) for the Respondents Hearing dates : 21-23 November 2006 - - - - - - - - - - - - - - - - - - - - - Approved Judgment Judgment Approved by the court for handing down. McKennitt v Ash Lord Justice Buxton : Background 1. I set out no more than is necessary to understand the issues in the appeal. Much of what follows is taken largely verbatim from the judgment of Eady J, which was described by the constitution of this court that granted permission to appeal as detailed and careful. The case before Eady J was heard in private. The claim seeks to prevent the further publication of certain material, so this was a case where a public hearing would have defeated the object of that hearing, one of the cases for privacy that is provided by CPR 39.2(3)(a). The judge enjoined further publication of a significant part of the work complained of. He dealt with the problem of publicity in the course of litigation by (if I may respectfully say so, very skilfully), delivering an open judgment that described the objectionable material in general terms, but appended a confidential appendix in which the actual enjoined material was fully described.