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Class of 1959 55 Th Reunion Yearbook
Class of 1959 th 55 Reunion BRANDEIS UNIVERSITY 55th Reunion Special Thanks On behalf of the Offi ce of Development and Alumni Relations, we would like to thank the members of the Class of 1959 Reunion Committee Michael Fisher, Co-chair Amy Medine Stein, Co-chair Rosalind Fuchsberg Kaufman, Yearbook Coordinator I. Bruce Gordon, Yearbook Coordinator Michael I. Rosen, Class Gathering Coordinator Marilyn Goretsky Becker Joan Roistacher Blitman Judith Yohay Glaser Sally Marshall Glickman Arlene Levine Goldsmith Judith Bograd Gordon Susan Dundy Kossowsky Fern Gelford Lowenfels Barbara Esner Roos Class of 1959 Timeline World News Pop Culture Winter Olympics are held in Academy Award, Best Picture: Marty Cortina d’Ampezzo, Italy Elvis Presley enters the US music charts for fi rst Summer Olympics are held in time with “Heartbreak Hotel” Melbourne, Australia Black-and-white portable TV sets hit the market Suez Crisis caused by the My Fair Lady opens on Broadway Egyptian Nationalization of the Suez Canal Th e Wizard of Oz has its fi rst airing on TV Prince Ranier of Monaco Videocassette recorder is invented marries Grace Kelly Books John Barth - Th e Floating Opera US News Kay Th ompson - Eloise Alabama bus segregation laws declared illegal by US Supreme Court James Baldwin - Giovanni’s Room Autherine Lucy, the fi rst black student Allen Ginsburg - Howl at the University of Alabama, is suspended after riots Federal-Aid Highway Act of 1956 signed into law for the construction of 41,000 miles of interstate highways over a 20-year period Movies Guys and Dolls Th e King and I Around the World in Eighty Days Economy Gallon of gas: 22 cents Average cost of a new car: $2,050 Ground coff ee (per lb.): 85 cents First-class stamp: 3 cents Died this Year Connie Mack Tommy Dorsey 1956 Jackson Pollock World News Pop Culture Soviet Union launches the fi rst Academy Award, Best Picture: Around the World space satellite Sputnik 1 in 80 Days Soviet Union launches Sputnik Leonard Bernstein’s West Side Story debuts on 2. -
LOGLINE January / February 2020 Volume 13: Number 1 the Screenwriter’S Ezine
LOGLINE January / February 2020 Volume 13: Number 1 The Screenwriter’s eZine Published by: Letter From the Editor The PAGE International Screenwriting Awards It’s a new year and a new day for screenwriters around the 7190 W. Sunset Blvd. #610 Hollywood, CA 90046 world! Here at PAGE HQ we hope you had a wonderful holiday www.pageawards.com season, feel recharged, and are ready to take the next step in your writing career. In this issue: One way to potentially make a major breakthrough: the 2020 LO PAGE Awards contest. Our Early Entry Deadline is now just 1 Latest News From two weeks away – Monday, January 20 – and with our low the PAGE Awards Early Entry Discount rates, now is the very best time to get your script in the running for one of this year’s awards. Many past PAGE Award winners have optioned and sold their scripts, been signed 2 The Writer’s by Hollywood representatives, and built highly successful careers in the industry. Perspective You could be next! Is It Ever “Too Late” to Chase Your Dream? As we begin lucky Volume 13 of the bimonthly LOGLINE eZine, we welcome new Erin Muroski readers to the publication designed to share industry intel and advice with all writers. First, 2019 PAGE Award winner Erin Muroski reflects on her rush to find success, and how she got over it. PAGE Judge Genie Joseph introduces us to three prevailing story 3 The Judge’s P.O.V. styles that inform a film from page to screen. Script consultant Ray Morton strikes a Three Styles of Story: balance between art and commerce and Dr. -
Bebopnet: Deep Neural Models for Personalized Jazz Improvisations - Supplementary Material
BEBOPNET: DEEP NEURAL MODELS FOR PERSONALIZED JAZZ IMPROVISATIONS - SUPPLEMENTARY MATERIAL 1. SUPPLEMENTARY MUSIC SAMPLES We provide a variety of MP3 files of generated solos in: https://shunithaviv.github.io/bebopnet Each sample starts with the melody of the jazz stan- dard, followed by an improvisation whose duration is one chorus. Sections BebopNet in sample and BebopNet out of sample contain solos of Bebop- Net without beam search over chord progressions in and out of the imitation training set, respectively. Section Diversity contains multiple solos over the same stan- Figure 1. Digital CRDI controlled by a user to provide dard to demonstrate the diversity of the model for user- continuous preference feedback. 4. Section Personalized Improvisations con- tain solos following the entire personalization pipeline for the four different users. Section Harmony Guided Improvisations contain solos generated with a har- monic coherence score instead of the user preference score, as described in Section 3.2. Section Pop songs contains solos over the popular non-jazz song. Some of our favorite improvisations by BebopNet are presented in the first sec- Algorithm 1: Score-based beam search tion, Our Favorite Jazz Improvisations. Input: jazz model fθ; score model gφ; batch size b; beam size k; update interval δ; input in τ sequence Xτ = x1··· xτ 2 X 2. METHODS τ+T Output: sequence Xτ+T = x1··· xτ+T 2 X in in in τ×b 2.1 Dataset Details Vb = [Xτ ;Xτ ; :::; Xτ ] 2 X ; | {z } A list of the solos included in our dataset is included in b times scores = [−1; −1; :::; −1] 2 Rb section 4. -
An Analytical Approach to Vibraphone Performance Through the Transcription and Analysis of Gary Burton’S Solo on Blue Monk
AN ANALYTICAL APPROACH TO VIBRAPHONE PERFORMANCE THROUGH THE TRANSCRIPTION AND ANALYSIS OF GARY BURTON’S SOLO ON BLUE MONK A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in Partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Charles B. Brooks B.A., Western Kentucky University, 1997 M.A., Austin Peay State University, 2000 December 2007 ACKNOWLEDGMENTS This document would not exist without the guidance and counsel of several extraordinary individuals. It is dedicated to my father for introducing me to the world of music. I would like to extend special gratitude to my mother for her guidance, strength, and belief that anything is possible. In addition I would like to thank Johnny Walker and my brother, Michael Brooks, without whom none of this would possible. This document is also dedicated to Kenneth Welch and Larry Long for their counsel and friendship. I extend special thanks to my teachers Dr. Christopher Norton, Mr. David Steinquest, Dr. Charles Smith, Dr. Thomas King, Dr. Jefferey Wood, Dr. Dinos Constantinides, Dr. Joseph Skillen, Dr. Robert Peck, and Dr. Michael Kingan. I would especially like to thank Dr. Willis Delony for staying the course and guiding me through rough terrain. ii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................ii LIST OF MUSICAL EXAMPLES................................................................................iv -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
New Mexico Lobo, Volume 069, No 79, 3/16/1966." 69, 79 (1966)
University of New Mexico UNM Digital Repository 1966 The aiD ly Lobo 1961 - 1970 3-16-1966 New Mexico Lobo, Volume 069, No 79, 3/16/ 1966 University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/daily_lobo_1966 Recommended Citation University of New Mexico. "New Mexico Lobo, Volume 069, No 79, 3/16/1966." 69, 79 (1966). https://digitalrepository.unm.edu/ daily_lobo_1966/30 This Newspaper is brought to you for free and open access by the The aiD ly Lobo 1961 - 1970 at UNM Digital Repository. It has been accepted for inclusion in 1966 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. PageS . ' NEW MEXICO I,OBO Monday, Marcb. 14, 1966 U· Trackmen Run Over Arizona Sports Workshop Listen. New Mexico opened up the 1966 tilage while participating· in the SII()T PUT: 1. Rich, NM, 55·7'%: 2, tt•ack and field season Saturday Marks. NM, 53~; 3, Jim Wiadecke, • long jump, He still took a third tl:A. 51-4\io. to KNMD ,, NewBy BILL W AID . Constitution Increases Franchise '·'-· afternoon with a 108-37 victory in the event with 23-0 and three .JAVELIJOI: ChrlsUanson, NM, 235·10: 2. resents students instead o£ clubs. over the Arizona Wildcats at 'l'ushaus, UA, 225-oY,; ;. nouser, UA. ·· LOBO Staff Writer president. He would have· autho:r quaz·ters mark. Ira Robinson won 138·101!.. Promotes Skiing . Under ~he proposed constitution They are: Publications Board, University Stadium. ity to appoint, with concurrence cil to the Dean of Students. -
New Mexico Lobo, Volume 069, No 78, 3/14/1966." 69, 78 (1966)
University of New Mexico UNM Digital Repository 1966 The aiD ly Lobo 1961 - 1970 3-14-1966 New Mexico Lobo, Volume 069, No 78, 3/14/ 1966 University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/daily_lobo_1966 Recommended Citation University of New Mexico. "New Mexico Lobo, Volume 069, No 78, 3/14/1966." 69, 78 (1966). https://digitalrepository.unm.edu/ daily_lobo_1966/29 This Newspaper is brought to you for free and open access by the The aiD ly Lobo 1961 - 1970 at UNM Digital Repository. It has been accepted for inclusion in 1966 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Pare a ,. 1 i' NEW MEXICO LOBO Page ol ·, . :I . i I IBM Dance .. , .. ,; I I I I TGIF Party The comput~r has pon~ thp be~t There will be a TGIF Friday it ·can.· The Spedial 'Everits cotp. afternoon March 11, from 3 to 4 EXICOLOBO mittee is full · of bloodshot' eyes SPORTS 'PAGE at the SAE house. Alt':fraternity OUR SIXTY-SEVENTH YEAR OF EDITORIAL FREEDOM and sleepless nights now: THE and sorority members are invited. Vol. 69 SUCCESS OF THIS DANCE IS EDITOR PAUL COUEY YOU GET Monday, March 14, 1966 IN THE HANDS OF YOU STU· There will be a. band. No. 78 DENTS WHO HAVE BEEN MATCHED BY THE COM· Nothing succeeds like success. ball which showed them what was . ' . ·ALL PUTER. The 1966 National. Amateur going to happen (7 world records COVERED WAGON Athletic Track and Field cham· broken) and decided the comp!;!ti 'OF YOUR tion was a little too stiff. -
23. Other Major Players
23. Other Major Players s the 21st century began, a small army of jazz "Woody never told us in advance what tunes we would artists from Cleveland were making their marks play," said Fedchock, "but the band would know what A on world jazz stages. Perhaps never before had the upcoming number was after a couple ofwords ofthe so many excellent musicians from Cleveland received little rap he gave the audience." such widespread recognition simultaneously. After touring with the Herman Herd for a couple of In addition to Joe Lovano, Jim Hall and Ken years, Fedchock wrote his first arrangement for the Peplowski, there were many world class musicians from band, a tune called "Fried Buzzard." Cleveland playing and recording. Some traveled In 1985, when Woody was doing a small group tour, extensively; others remained in their hometown and Fedchock returned to Eastman and fmished up his made Cleveland their base of operations. masters. Here is a closer look at some of them: Five months later, he returned to the Herman Orchestra and became Herman's music director and an John Fedchock arranger. He did 16 or 17 charts for the band. Looking In 1974, when Woody back, Fedchock said, "Woody didn't like to do the old Herman and his Orchestra stuff." were in Cleveland for a series In a radio interview, Herman said, "We try to find of performances, they went new material and try to find things that are reasonably to Mayfield High School on new and different. I think that I would have lost interest Wilson Mills Road to playa a long, long time ago if I had been very stylized and concert and conduct a clinic. -
Season 2016-2017
27 Season 2016-2017 Friday, October 14, at 7:00 Saturday, October 15, The Philadelphia Orchestra at 7:00 Sunday, October 16, at 2:00 Stéphane Denève Conductor A Steven Spielberg Film Dee Wallace Peter Coyote Henry Thomas as Elliott Music by John Williams Written by Melissa Mathison Produced by Steven Spielberg & Kathleen Kennedy Directed by Steven Spielberg A Universal Picture E.T. The Extra-Terrestrial is a trademark and copyright of Universal Studios. Licensed by Universal Studios Licensing LLC. All Rights Reserved. E.T.—Available on Blu-ray and DVD from Universal Pictures Home Entertainment. This program runs approximately 2 hours, 30 minutes. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. PRODUCTION CREDITS E.T. The Extra-Terrestrial—Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC, and the Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Rebekah Wood Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Music composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for E.T. The Extra-Terrestrial has been adapted for live concert performance. With special thanks to Universal Studios, Steven Spielberg, Kathleen Kennedy, John Williams, David Newman, Chris Herzberger, Tamara Woolfork, Adrienne Crew, Darice Murphy, and Mark Graham. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. -
An Historical Survey of the Development of the Vibraphone As an Alterna Tive Accompanying Instrument in Jazz
AN HISTORICAL SURVEY OF THE DEVELOPMENT OF THE VIBRAPHONE AS AN ALTERNA TIVE ACCOMPANYING INSTRUMENT IN JAZZ. BY FRANK A MALLOWS (MLLFRA002) A MINOR DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE A WARD OF THE DEGREE OF MASTER OF MUSIC. SOUTH AFRICAN COLLEGE OF MUSIC UNIVERSITY OF CAPE TOWN SOUTH AFRICA 2004 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town 11 DECLARATION This work has not been previously submitted in whole, or in part, forthe award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. SIGNATURE DATE (Frank Arthur Mallows) III ABSTRACT AN HISTORICAL SURVEY OF THE DEVELOPMENT OF THE VIBRAPHONE AS AN ALTERNATIVE ACCOMPANYING INSTRUMENT IN JAZZ. by Frank Arthur Mallows 7 Muswell Hill Road Mowbray Cape Town A minor dissertation submitted in partial fulfilment of the requirements for the award of the degree of Master of Music. South African College of Music University of Cape Town South Africa 2004 The vibraphone, a melodic percussion instrument in which metal bars are struck with mallets to produce the sound and with a chromatic range of usually three octaves, was developed in the United States of America in the early 1900s. -
Film Essay for "E.T. the Extra-Terrestrial"
E.T. The Extra-Terrestrial By David Gibson “E.T. The Extra Terrestrial” may be one of the most personal blockbusters ever made. Inspired in part by director Steven Spielberg’s suburban upbringing and his parents’ divorce, the film tells the story of a subur- ban boy named Elliot, himself a child of divorced par- ents, who becomes the caretaker of a wise and gen- tle alien creature, stranded on Earth and desperate to find a way back to its home planet. It is the story of two lost souls, both longing for the comfort and secu- rity that only a true home and family can provide, who ultimately rescue each other through the power of love and friendship. With its small cast and domestic setting, “E.T. The Extra Terrestrial” practically seems like an independ- ent feature, particularly in comparison to Steven Spielberg’s two previous films, the big budgeted, un- der-performing “1941” and the serial-inspired, smash -hit action adventure “Raiders of the Lost Ark,” a co- production with Spielberg’s fellow blockbuster- producing wunderkind, George Lucas. Even Spielberg’s “Close Encounters of the Third Kind,” which deals with similar themes related to mankind’s encounter with a peaceful alien intelligence, is a story told on a global scale. “E.T. The Extra Terrestrial” never leaves the confines of the suburban neighbor- hood in which it is set, centering much of the action in Elliot’s cluttered bedroom. Spielberg’s creative choice to position the camera from the point of view Original release poster. Courtesy Library of Congress of the children in the film only adds to the intimate Prints and Photographs Online Collection.