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The GAVIN REPORT SINCE 1958
ISSUE 1562 JUNE 21, 1985 the GAVIN REPORT SINCE 1958 ONE HALiLIDIE PLAZA, SUITE 725, SAN FRANCISCO, CALIFORNIA 94102 415.392.7750 RONN EV His brand new single 1'1 EF FT ESUN j ( In the Still of the Night)" .................................. ................................................................... FRO HIS CURRENT ALBUM "GREATEST HITS, VOLUE 2" \-000.0-\ RC,' Records and Cassettes the GAVIN REPORT Editor: Dave Sholin TOP 40 MOST ADDED El MI El 3. 1. 1. PHIL COLLINS - Sussudio (Atlantic) 5. 4. 2. PRINCE - Raspberry Beret (Warner Bros.) //va1Lwf 10. 5. 3. DURAN DURAN - A View To A Kill (Capitol) AND THE NEWS 1. 3. 4. Bryan Adams - Heaven (A&M) 2. 2. 5. Madonna - Angel (Sire/Warner Brothers) 9. 6. 6. A HUEY LEWIS & THE NEWS Survivor - The Search Is Over (Scotti Bros.) The Power Of Love 15. 9. 7. PAUL YOUNG - Every Time You Go Away (Columbia) 12. 10. (Chrysalis) 8. EURYTHMICS - Would I Lie To You (RCA) 20. 182 Adds 15. 9. MADONNA - Into The Groove (Sire/Warner Bros.) 13. 11. 10. CYNDI LAUPER - The Goonies "R" Good Enough (Portrait) BRYAN ADAMS 17. 14. 11. 'TIL TUESDAY - Voices Carry (Epic) Summer Of '69 7. 7. 12. Mary Jane Girls - In My House (Gordy) (A&M) 26. 18. 13. BRUCE SPRINGSTEEN - Glory Days (Columbia) 101 Adds 21. 17. 14. WHITNEY HOUSTON - You Give Good Love (Arista) 19. 16. 15. John Cafferty - Tough All Over (Scotti Bros.) ARETHA FRANKLIN 29. 23. 16. \STING - If You Love Somebody Set Them Free (A&M) Freeway Of Love 25. 22. 17. NIGHT RANGER - Sentimental Street (Camel/MCA) (Arista) 24. -
Depotentiation of Symptom-Producing Implicit Memory in Coherence Therapy
Journal of Constructivist Psychology, 2008, in press DEPOTENTIATION OF SYMPTOM-PRODUCING IMPLICIT MEMORY IN COHERENCE THERAPY BRUCE ECKER1 AND BRIAN TOOMEY2 1Private practice in psychotherapy, Oakland, California 2Clinical Psychology Department, University of Memphis, Memphis, Tennessee In this second of three articles we suggest criteria defining the optimal use of neuro- plasticity (synaptic change) in psychotherapy and provide a detailed examination of the use of neuroplasticity in coherence therapy. We delineate a model of how coherence therapy engages native mental processes that (a) efficiently reveal specific, symptom- generating, unconscious personal constructs in implicit emotional memory, and then (b) selectively depotentiate these constructs, ending symptom production. Both the psy- chological and the neural operation of this methodology are described, particularly how it defines and follows the built-in rules of change of the brain-mind-body system. On neuroscientific grounds we suggest a fundamental distinction between transforma- tive change, which permanently eliminates symptom-generating constructs and neural circuits, and counteractive change, which creates new constructs and circuits that compete against the symptom-generating ones and is inherently susceptible to relapse. We propose that coherence therapy achieves transformative change through the reconsolidation of memory, a recently discovered form of neuroplasticity, and present evidence consistent with this hypothesis. Subjective attention emerges as a critical agent of change in both the phenomenological and neural viewpoints, profoundly connecting these two domains. The constructivist clinical methodology now tory.2 The goal of this study was to identify the known as coherence therapy and its conceptual brain-mind-body system’s native processes and framework, coherence psychology,1 emerged from rules of change. -
Martha's Vineyard Concert Series
THA’S VINEY AR ARD M SUMMER 2017 CONCERT SERIES 2ND ANNUAL SEASON ALL SHOWS ON SALE NOW! MVCONCERTSERIES.COM MARTHA’S VINEYARD CONCERT SERIES your year - round connection to Martha’s Vineyard SUmmER LINE-UP! JUNE 28 • AIMEE MANN over 6,500 photo, canvas WITH SPECIAL GUEST JONATHAN COULTON images & metal prints published agendas JULY 6 • LOUDON WAINWRIGHT III daily photos calendars JULY 13 • PINK MARTINI sent to your inbox notecards WITH LEAD SINGER CHINA FORBES JULY 18 • GRAHAM NASH JULY 23 • PRESERVATION HALL JAZZ BAND JULY 29 • JACKOPIERCE WITH SPECIAL GUEST IAN MURRAY FROM VINEYARD VINES AUGUST 15 • THE CAPITOL STEPS ALL NEW SHOW! ORANGE IS THE NEW BARACK AUGUST 19 • ARETHA FRANKLIN AUGUST 21 • DIRTY DOZEN BRAss BAND AUGUST 23 • BLACK VIOLIN GET YOUR TICKETS TODAY! www.vineyardcolors.com MVCONCERTSERIES.COM AIMEE MANN WITH SPECIAL GUEST JONATHON COULTON WEDNESDAY, JUNE 28 | MARTHA’S VINEYARD PAC Aimee Mann is an American rock singer-songwriter, bassist and guitarist. In 1983, she co-founded ‘Til Tuesday, a new-wave band that found success with its first album, Voices Carry. The title track became an MTV favorite, winning the MTV Video Music Award for Best New Artist, propelling Mann and the band into the spotlight. After releasing three albums with the group, she broke up the band and embarked on a solo career. Her first solo album, Whatever, was a more introspective, folk-tinged effort than ‘Til Tuesday’s albums, and received uniformly positive reviews upon its release in the summer of 1993. Mann’s song “Save Me” from the soundtrack to the Paul Thomas Anderson film Magnolia was nominated for an Academy® Award and a Grammy®. -
The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN 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 Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music. -
Coherence Therapy for Depression
Case example of Coherence Therapy for Depression Website edition of an article by Bruce Ecker & Laurel Hulley first published in Psychotherapy Networker as “Deep from the Start: Profound Change in Brief Therapy is a Real Possibility” Psychotherapy Networker, 26 (1), pp. 46-51, 64 (Jan-Feb 2002) © 2007 Bruce Ecker & Laurel Hulley There is a moment that we therapists savor above all. We've just done or said something decisively effective and put our client in touch with a deep emotional reality. Before our eyes, a shift takes place--a shift in both mind and body--and the client slips from the grip of a lifelong pattern. Such breakthroughs are the heart and soul of good therapy and they give most of us our greatest sense of professional satisfaction and purpose. Yet, few therapists like to admit how infrequently they occur in the average practice, no matter what the clinical approach. In much long-term therapy, breakthrough experiences seem to come almost randomly, and then only after months or years. In briefer therapies, on the other hand, deeply rooted emotional realities are often ignored altogether in favor of "reframes" and other forms of cognitive or behavioral change. Two decades ago, seeking both depth and brevity in our clinical work, we began going over the process notes and audiotapes of thousands of our interactions with clients, especially those that yielded the most powerful turning points. What, we wondered, had happened differently in those sessions? Could we find a way to focus and organize depth-oriented therapy so that transforming moments could occur from the very first session? And could we fashion a brief therapy that could dive deep into unconscious emotional realities without sacrificing much-valued speed and focus? We discovered that what distinguished the pivotal interactions was that--whether due to serendipity, curiosity, desperation or fatigue--we had completely stopped trying to counteract, override, or prevent the client’s debilitating difficulties. -
The Roots Report: an Interview with Aimee Mann
The Roots Report: An Interview with Aimee Mann John Fuzek: Hi, Aimee, how are you? Where are you calling from? Aimee Mann: Good, I am in Los Angeles. JF: Are you currently on tour or home? AM: I am at home for a couple of weeks, we’re going back out on the 19th JF: How long will you be out on the road? AM: This time I think it’s just a few weeks. JF: So, you live in LA? AM: Yes JF: Does being in LA help you get involved with film work as well as music? AM: You know I think there is a thing that living in LA, it helps just being around, there are certain things where you just run into people or seeing someone at a party and they have a project, it’s more likely that they think of you than somebody that they haven’t seen for a long time, I think there’s a weird causal effect that helps JF: Is that how you wound up playing a maid in Portlandia? AM: Yeah, well, I’ve known Fred Armisen for a long time, he lived out here, i knew him from the Largo Comedy scene, there’s a comedy club out here called Cafe Largo and um, before he was on Saturday Night Live, so, yeah, we’ve been friends for a long time, I did meet him out here. JF: Do you have any projects like that coming up or do they just pop up randomly? AM: There’s a new Comedy Central TV show, I don’t think it will be out until next year, called Anton Deville (somewhat inaudible ?) and I have a part, I am in one of those, it’s fun to get calls for that stuff JF: Are you still married to Michael Penn? AM: Yes JF: How come I never really hear about his music anymore? AM: He’s not into performing, it’s not his thing, he does a lot of scoring, he scored The Girls TV show and Masters Of Sex, he likes to be more behind the scenes. -
Modes of Expression in the Songs of Aimee Mann Amy M
Macalester College DigitalCommons@Macalester College Music Honors Projects Music Department 5-20-2008 Modes of Expression in the Songs of Aimee Mann Amy M. Coddington Macalester College, [email protected] Follow this and additional works at: https://digitalcommons.macalester.edu/musi_honors Recommended Citation Coddington, Amy M., "Modes of Expression in the Songs of Aimee Mann" (2008). Music Honors Projects. 4. https://digitalcommons.macalester.edu/musi_honors/4 This Honors Project - Open Access is brought to you for free and open access by the Music Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Music Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Modes of Expression in the Songs of Aimee Mann Amy M. Coddington Senior Honors Thesis Advisor: Mark Mazullo Readers: Chris Gable and Peter Mercer-Taylor Macalester College, Music Department Spring 2008 2 Table of Contents Abstract 3 Introduction 4 Song analyses I. How Am I Different (Bachelor No. 2, 2000) 8 II. That’s How I Knew This Story Would Break My Heart (The Forgotten Arm, 2005) 13 III. Choice in the Matter (I’m With Stupid, 1995) 16 IV. Invisible Ink (Lost in Space, 2002) 20 V. The Fall of the World’s Own Optimist (Bachelor No.2, 2000) 25 Conclusion 31 Acknowledgements 33 Appendix I: Chordal analyses and lyrics of songs 34 Appendix II: Works Consulted 44 3 Abstract Singer-songwriter Aimee Mann has been creating music, both as a solo artist and as a former member of the band 'Til Tuesday, for the past twenty years. -
Betty Discography the Original Recordings
BETTY DISCOGRAPHY THE ORIGINAL RECORDINGS • RISE (BR Music). Producer: BETTY 2013 Released in conjunction with Eve Ensler’s “One Billion Rising” campaign, the global event to end violence against women and girls, the song “Rise” has been featured at humanitarian and Human Rights events worldwide. As Arts Envoys for the US State Department, BETTY began to run workshops using this song as a theme, which led to the creation of The BETTY Effect • BRIGHT & DARK (BR Music). Producer: David Maurice, 2010 BETTY’s most successful cd to date, with over 100,000+ YouTube plays of the single “Did You Tell Her” and tv licensing of every song. • SNOWBIZ (Stereo Society). Producer: Mike Thorne, 2006 The oft-requested and long-awaited Holiday Album: 13 Stirring Songs and Stories for the Seasonally Depressed. Guest Artists Gloria Steinem, Allison Miller (Natalie Merchant) and Genya Ravan (Goldie & The Gingerbreads) join BETTY and their superb side musicians. Songs like “Xmas Ain’t Coming”, “Miracles Can Happen” & “Lullabye” make this album a holiday radio classic. • BETTY RULES (BR Music). Producers: BETTY and Mike Thorne, 2005 The Original Cast Recording of the smash Off-Broadway hit, written by BETTY and directed by Michael Greif (“Rent”, “Next To Normal”). Songs, including “It Girl”, “Kissing You” and “Jungle Jane”, explore the band’s history • CARNIVAL (Stereo Society). Producer: Mike Thorne, 2000 This 30-minute concept CD whirls the listener through a day on the Midway. The mix of colorful music, passionate lyrics and introspective spoken word creates a highly addictive trip. Songs “Wishing Well”, “Jungle Jane” and “Millennium Man”. -
DIALOGUE 100 YEARS of Communicating for a Brighter Future
SPRING 2018 DIALOGUE 100 YEARS of communicating for a brighter future ALUMNI STORIES KT Tunstall Anita Anand Edward Stourton Sir Nicholas Mostyn Abie Philbin Bowman THE FUTURE OF ORACY Will voice technologies render us mute? VOICES AROUND THE WORLD How the International Public Speaking Competition has changed lives FROM THE CHAIRMAN DISCOVER DEBATING A centenary message from our Chairman HELPING STUDENTS DISCOVER THEIR VOICE LORD PAUL BOATENG Do your students have trouble communicating their ideas? Do they find it difficult to express how they feel, or struggle to understand the viewpoints of others? If so, ne hundred years ago, after a devastating war, from the society of which we all need to be a part. our Discover Debating programme can help. our founders sought to make a better life for all This plays into another challenge, too. The world is Offered as a two- or three-term curriculum, by promoting effective communication in the changing. There has never been a greater need for global it encourages confidence about speaking up English language, and encouraging global dialogue and understanding. Technology purports to make and teaches important active listening skills. O dialogue through increasing personal connectivity. communication easier (see page 16), but there is more to Research shows oracy interventions at I learnt early on the power of language. My father communication than posting something on the internet or was a lawyer and subsequently an activist in the struggle sending a tweet. True communication is not just expressing younger ages are particularly effective for independence of what was then the Gold Coast. -
Fonix Proudly Introduces Dectalk Version 5.01-E1, the World's Most
Fonix proudly introduces DECtalk version 5.01-E1, the world’s most intelligible text- to-speech (TTS) synthesizer, now with a more natural sounding voice. DECtalk has the smallest memory footprint in the industry for a full featured, multi-language voice synthesizer. DECtalk’s small footprint allows it to be used in devices where a TTS engine usually wouldn't be viable. DECtalk 5.01-E1 supports three languages: U.S. English, Castilian & Latin American Spanish. It also offers two voices, Paul and Wendy. DECtalk comes with an easy to use API, as well as Microsoft's Speech API, so you can give your application the power of speech. DECtalk has more than 1,400 letter- to-sound rules, as well as extensive text preprocessing, so it correctly speaks monetary text like: $1.25, or clock times: 12:31 pm, or dates: Jan. 1, 2004, and even phone numbers: 800-297-4863. Fonix DECtalk. Hear it for yourself. Table Of Contents Fonix DECtalk software ................................................................................... 1 Welcome to DECtalk .................................................................................... 1 Conventions ............................................................................................... 2 Copyrights and trademarks........................................................................... 4 Licensing.................................................................................................... 6 Getting started ............................................................................................. -
American Popular Music (01:512:392)
American Popular Music (01:512:392) Instructor: Matthew Friedman Email: [email protected] Office: TBA This course will focus on the role of popular music in American history and its relevance to American society and culture from the late-19 to late-20th century. Students will critically discuss genres like the blues, jazz, country, musical theatre, rock and hiphop as historical text and marks of cultural and political identity. While the course will discuss the stylistic evolution of American popular music, the main focus will be on reading, or listening to, music as a historical text as a key to understanding the major themes of American history in the 20 th century. We will focus on a number of themes: popular music as a mode of dissent, the influence of mass media and technology and the emergence of the music industry, as well as race, class and gender. READINGS There is no text book for this course. All readings will be available on Sakai and on Library databases. Students will also be required to listen to selected pieces of music for this course. It is highly recommended that you spend some of the money you save on a textbook on an iTune, or similar, card, to download MP3s. ASSIGNMENTS AND GRADING Attendance: Attendance is mandatory, and everyone is both expected and required to participate in class discussions. The attendance and grade will reflect your attendance in class and the participation grade will reflect the quality of your in-class participation. Journal: Students will keep a journal relating the music selections to issues discussed in class and in the readings. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Music Volume 1 of 2 Phono-somatics: gender, embodiment and voice in the recorded music of Tori Amos, Björk and PJ Harvey by Sarah Boak Thesis for the degree of Doctor of Philosophy October 2015 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Thesis for the degree of Doctor of Philosophy PHONO-SOMATICS: GENDER, EMBODIMENT AND VOICE IN THE RECORDED MUSIC OF TORI AMOS, BJÖRK AND PJ HARVEY Sarah Boak This thesis is a feminist enquiry into the relationship between gender, embodiment and voice in recorded popular music post-1990. In particular, the study focuses on the term ‘embodiment’ and defines this term in a way that moves forward from a simple understanding of representing the body in music.