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Public Perceptions of Mt. Merapi and Mt. Agung
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2019 There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung Trey Atticus Spadone SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Asian Studies Commons, Civic and Community Engagement Commons, Emergency and Disaster Management Commons, Organizational Communication Commons, Pacific Islands Languages and Societies Commons, Place and Environment Commons, and the Volcanology Commons Recommended Citation Spadone, Trey Atticus, "There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung" (2019). Independent Study Project (ISP) Collection. 3165. https://digitalcollections.sit.edu/isp_collection/3165 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung Trey Atticus Spadone Project Advisor: Rose Tirtalistyani SIT Study Abroad Indonesia: Arts, Religion, and Social Change Spring 2019 PUBLIC PERCEPTIONS OF MT. MERAPI AND MT. AGUNG 2 Table of Contents Acknowledgments ..................................................................................................................................................................... -
Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music Instruments, Mechanisms That Produce Sounds, Have Been Used for Various Purposes
Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music instruments, mechanisms that produce sounds, have been used for various purposes. In earlier times they were also used as an adjunct to dance or to labor. In later civilizations, instrumental music was used for entertainment. Present day musicological studies, following the Hornbostel-Sachs classification, divide instruments into the following categories: idiophones, aerophones, chordophones, and membranophones. Idiophones Instruments that produce sound from the substance of the instrument itself (wood or metal) are classified as idiophones. They are further subdivided into those that are struck, scraped, plucked, shaken, or rubbed. In the Philippines there are metal and wooden (principally bamboo) idiophones. Metal idiophonse are of two categories: flat gongs and bossed gongs. Flat gongs made of bronze, brass, or iron, are found principally in the north among the Isneg, Tingguian, Kalinga, Bontok, Ibaloi, Kankanai, Gaddang, Ifugao, and Ilonggot. They are most commonly referred to as gangsa . The gongs vary in sized, the average are struck with wooden sticks, padded wooden sticks, or slapped with the palm of the hand. Gong playing among the Cordillera highlanders is an integral part of peace pact gatherings, marriages, prestige ceremonies, feasts, or rituals. In southern Philippines, gongs have a central profusion or knot, hence the term bossed gongs. They are three of types: (1) sets of graduated gongs laid in a row called the kulintang ; (2) larger, deep-rimmed gongs with sides that are turned in called agung , and (3) gongs with narrower rims and less prominent bosses called gandingan . These gongs may be played alone but are often combined with other instruments to form various types of ensembles. -
Musical Worship As a Pentecostal Sacrament: Toward a Soteriological Liturgy Richard I
Southeastern University FireScholars Selected Honors Theses Spring 4-28-2017 Musical Worship as a Pentecostal Sacrament: Toward a Soteriological Liturgy Richard I. Griggs Southeastern University - Lakeland Follow this and additional works at: http://firescholars.seu.edu/honors Part of the Christianity Commons, and the Music Commons Recommended Citation Griggs, Richard I., "Musical Worship as a Pentecostal Sacrament: Toward a Soteriological Liturgy" (2017). Selected Honors Theses. 64. http://firescholars.seu.edu/honors/64 This Thesis is brought to you for free and open access by FireScholars. It has been accepted for inclusion in Selected Honors Theses by an authorized administrator of FireScholars. For more information, please contact [email protected]. MUSICAL WORSHIP AS A PENTECOSTAL SACRAMENT: TOWARD A SOTERIOLOGICAL LITURGY by Richard Isaac Griggs Submitted to the Honors Program Committee in partial fulfillment of the requirements for University Honors Scholars Southeastern University 2017 Griggs – Musical Worship as a Pentecostal Sacrament © Copyright by Richard Griggs 2017 All Rights Reserved 2 Griggs – Musical Worship as a Pentecostal Sacrament Dedication This thesis is dedicated to the incredible faculty of the College of Christian Ministries and Religion. Without your support and encouragement, I would never have been able to accomplish a work like this. Thank you for challenging me. Thank you for sticking with me through my hard questions, my doubts, and my disappointments. Thank you for seeing the call of God in each of your students and for drawing the best out of us. The world is better because of your determination and dedication to the truth. You have helped me to build and to rebuild. -
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
Post-9/11 Brown and the Politics of Intercultural Improvisation A
UNIVERSITY OF CALIFORNIA RIVERSIDE “Sound Come-Unity”: Post-9/11 Brown and the Politics of Intercultural Improvisation A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Dhirendra Mikhail Panikker September 2019 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. Robin D.G. Kelley Dr. René T.A. Lysloff Dr. Liz Przybylski Copyright by Dhirendra Mikhail Panikker 2019 The Dissertation of Dhirendra Mikhail Panikker is approved: Committee Chairperson University of California, Riverside Acknowledgments Writing can feel like a solitary pursuit. It is a form of intellectual labor that demands individual willpower and sheer mental grit. But like improvisation, it is also a fundamentally social act. Writing this dissertation has been a collaborative process emerging through countless interactions across musical, academic, and familial circles. This work exceeds my role as individual author. It is the creative product of many voices. First and foremost, I want to thank my advisor, Professor Deborah Wong. I can’t possibly express how much she has done for me. Deborah has helped deepen my critical and ethnographic chops through thoughtful guidance and collaborative study. She models the kind of engaged and political work we all should be doing as scholars. But it all of the unseen moments of selfless labor that defines her commitment as a mentor: countless letters of recommendations, conference paper coachings, last minute grant reminders. Deborah’s voice can be found across every page. I am indebted to the musicians without whom my dissertation would not be possible. Priya Gopal, Vijay Iyer, Amir ElSaffar, and Hafez Modirzadeh gave so much of their time and energy to this project. -
Bass Clarinets
Cinematic Tension FX 2 User Manual Bass Clarinets Cinematic Tension FX 2: Bass Clarinets is our second offering of a unique new woodwind library that offers original composed and orchestrated runs up, spills down, crescendo pushes, hits, textures and ambiences, phrase gestures and ostinatos of 8 bass clarinets. In the future we are planning on offering more of these in the same layout with woodwinds such as the piccolo, flute, contrabass flute, clarinet, contrabass clarinet, alto and tenor saxophones, bari and bass saxophones, ethnic winds and more. Included with the library is a pdf score of all the composed samples in case you would like to augment these sounds with a live woodwind section. Notes from Frank Macchia: One of the main things I wanted to accomplish with CTFX2 was the ability to tempo sync the various phrases and textures to the DAW's tempos, and we have accomplished that with this volume. This means that when you trigger a sample phrase that will do a one bar effect, whether the tempo is mm= 76, mm= 123 or mm= 276 the phrase will play at that tempo for one bar. I feel this is a big deal for composers who want a flurry upward, a crescendo push or a spill downward to not have to spend time trying to "fly in" one of those effects and randomly have to keep adjusting it until it fits correctly. Now you can just start your sequence one bar before the hit point and perfectly play in your phrase. I have also included reverse samples of the sounds which get triggered by using the mod wheel, to give even more sound possibilities with this library. -
The Application of Bonang Gamelan Music Based on Mobile Application
International Journal of Recent Technology and Engineering (IJRTE) ISSN: 2277-3878, Volume-8 Issue-6, March 2020 The Application of Bonang Gamelan Music Based on Mobile Application Wan Hassan W A S., Rosli D.I., Ariffin A., Ahmad F., Jamin J learning which was practiced at local institutions of higher Abstract: The application of bonang gamelan music based on learning such as Malaysian Open University (OUM) (Zoraini, mobile application was developed with the aim of maintaining the 2010). This aspect will indirectly increase the productivity of tradition of traditional musical instruments in the society of this individual skills in daily life as well as foster continuous modern day. Users can recognise and learn how to play the traditional musical instruments, especially bonang gamelan by learning practices. Striking from the use of distance learning using mobile phone technology. This application provides and e-learning methods, the education world strives to convenience for users without spending time and money and they explore the dimensions of learning for users who want to learn can also access it anywhere. The development of this animated anytime and anywhere. Then, the term learning method is application is based on the ADDIE methodology and uses Adobe mobile or is called m-learning (Brown, 2005). This Flash software as a platform to develop this music app. The respondents involved in the development of this music app consist m-learning method is akin to self-learning using mobile of six (6) specialists in bonang gamelan music and IT devices such as mobile telephony, personal digital assistant professionals. The user respondents were ten (10) students of the (PDA), Palm Talk and others as learning tools (Wagner, Faculty of Technical and Vocational Education (FPTV). -
Debiutanci Pressbook
DEBIUTANCI (Beginners) W KINACH OD 15 LIPCA 2011 DYSTRYBUCJA W POLSCE ul. Wojska Polskiego 41/43, 01-503 Warszawa tel.: (+4822) 536 92 00, fax: (+4822) 635 20 01 e-mail: [email protected] http://www.gutekfilm.pl DEBIUTANCI BEGINNERS Re żyseria i scenariusz Mike Mills ( Rodzinka ) Muzyka Roger Neill Dave Palmer Brian Reitzell Zdj ęcia Kasper Tuxen W rolach głównych : Ewan McGregor („Autor Widmo”) Oliver Melanie Laurent („B ękarty wojny”) Anna Christopher Plummer („Parnassus”) Hal Producent Focus Features USA rok produkcji: 2010 czas trwania: 105 min. 35 mm – Dolby Digital Kolor 2 W miło ści ka żdy jest debiutantem. „Debiutanci” to oparty na autentycznej historii, entuzjastycznie przyj ęty przez światow ą krytyk ę komediodramat z Ewanem McGregorem ("Autor widmo") w roli głównej. Partneruje mu nowa gwiazda francuskiego kina Melanie Laurent ("B ękarty wojny") oraz Christopher Plummer ("Parnassus"). Główny bohater, Oliver, kilka miesi ęcy po śmierci ojca, przypadkowo poznaje i zakochuje si ę w nieprzewidywalnej, pełnej ekscentrycznych pomysłów Annie. Ich zwi ązek - zgodnie z życiow ą filozofi ą ojca Olivera - udowadnia, że życie zawsze potrafi nas zaskoczy ć i okaza ć si ę zabawne nawet w najbardziej powa żnych momentach. „Debiutanci” to film o uczuciach i zwi ązkach - zarówno tych, które rodz ą si ę zupełnie przypadkowo, jak i tych, które towarzysz ą nam całe życie, cho ć cz ęsto dorastamy do nich dopiero po wielu latach. Prasa o filmie Pełna energii opowie ść o tym, że zawsze jest dobry czas na zmian ę swojego życie, tak by zrobi ć w nim miejsce na szcz ęś cie. Entertainment Weekly Cudownie świe ża komedia romantyczna. -
Brian Simpson Again Tops Album and Singles Charts
JazzWeek with airplay data powered by jazzweek.com • Jan. 23, 2006 Volume 2, Number 9 • $7.95 In This Issue: J@LC, Radio Salute Pittsburgh. 4 Botti In PBS Spring Pledge Special . 5 MakeMusic Offers IAJE Special on SmartMusic . 6 Passings: Bob Weinstock, Phil Elwood . 6 Reviews and Picks . 15 Jazz Radio . 18 Smooth Jazz IAJE 2006 Radio. 25 WRAPUP Radio page 11 Panels. 24, 29 News. 4 Charts: #1 Jazz Album – Houston Person #1 Smooth Album –Brian Simpson #1 Smooth Single – Brian Simpson JazzWeek This Week EDITOR/PUBLISHER Ed Trefzger othing does more to charge my jets than to attend IAJE each MUSIC EDITOR year. While I’m usually exhausted by the end of the conference, Tad Hendrickson Nit’s energizing to catch up with friends and colleagues, to meet CONTRIBUTING EDITORS people face-to-face for the first time, to pick up new ideas, and to be Keith Zimmerman immersed in great music. Getting to spend time at a couple NYC clubs Kent Zimmerman is a big bonus. CONTRIBUTING WRITER/ The most thrilling thing, though, is to see the reactions of young PHOTOGRAPHER Tom Mallison students. The unbridled enthusiasm the young crowd displayed at the PHOTOGRAPHY Stefon Harris and Javon Jackson (with show-stealer Dr. Lonnie Smith) Barry Solof sets was contagious. And it gives me great hope for the vitality and fu- ture health of jazz. Founding Publisher: Tony Gasparre ••• ADVERTISING: Devon Murphy On the subject of young people, I’m watching with great interest the Call (866) 453-6401 ext. 3 or efforts to attract a younger audience at night on WEMU and KUVO. -
Korean March Defying Jnnta
"'v-'r—s V- '.- y'’- f >•'*,« V'‘V ; \- •. .. •■‘J' ■/ t C b s d a v , m a b c h m , 1 9 m A n n t. D dr Nri P i m m K m lilldftB'tW lLVB': The Weathet lEvpttfng F orth# Week Elided Foreeiaet ef H. 8. Wsothar nari— M a n iiU ,lM I Partial ’ cleaHiig and Mreeay to> chairman is Chester Andrew of Mid. give# them a sebss of Mystic Review Women’s Bene Hie Brtitlah American Club iVUl Ity and self estsem they need *t night with little drop la tempera fit Assn., will meet tonii^t at 8 have its aimiial meeting with elec 116 Ootemon Rd. Speaker Explains 1 3 ,9 6 6 About Town VSCG Band that age, ture. Lowest atronnd SO. Iw tty at Odd Fellows Hall. Guan& are tion of officers Saturday at 6 p.m. William L. Broodwell Is the softheAadlt cloudy, breesy and eoathraed eeoi at the cKibhouse. bandmaster. He has been with the Youth Prohlems ■ H ie Rev. James L. Ransom, New I Canter Churefa Mottien Ghib reminded to attend for guard I o f OirmUatioB lliursday^' HUgheet iUi to 40. work. band olnce 1946 and Its conductor pastor of the PrSebyterian Ohur^, M ancHe»ter-^A City of Village Charm ' i|40 xnaat tom om m nt 8 pjn. In The Rent. Clifford O. Simpson, To ploy f or since 1960. ’Hie band’s strength is Home environment,,1s extremely and Roger Cottle were hosts at the LOW Prie^st tita Mnderg^arten r o o m of the Disabled .^merican Veterans pastor of Center Congregational 47 men. -
Ezekiel's Two Sticks and Eschatological Violence in the Pentecostal Tradition
EZEKIEL’S TWO STICKS AND ESCHATOLOGICAL VIOLENCE IN THE PENTECOSTAL TRADITION: AN INTERTEXTUAL LITERARY ANALYSIS BY ALICIA R. JACKSON A THESIS SUBMITTED TO THE UNIVERSITY OF BIRMINGHAM FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF THEOLOGY AND RELIGION COLLEGE OF ARTS AND LAW UNIVERSITY OF BIRMINGHAM JANUARY 16, 2018 i University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Copyright © Alicia R. Jackson 2018 All Rights Reserved ii ABSTRACT This thesis explores the topic of eschatological violence in the Pentecostal tradition through an intertextual literary analysis of Ezekiel 36:16—39:29 and Revelation 19:11—21 and 20:7—10 by investigating primarily how the intentional literary placement of the ‘Two Sticks’ oracle (Ezek 37:15—28) between the ‘Dry Bones’ vision (Ezek 37:1—14) and the ‘Gog of Magog’ war (Ezek 38:1—39:29) informs the reader’s theological understanding of the message of Ezekiel 36:16—39:29 as a whole. Secondarily, this thesis considers how the allusion to Ezek 38—39 in Rev 19:11—21 and 20:7—10 enhances the reader’s theological understanding of Ezek 36:16—39:29, yielding an intertextual reading that challenges the way these texts have long been understood in popular Pentecostal contexts. -
9–30 August 2017 Nziff.Co.Nz
NELSON 9–30 AUGUST 2017 NZIFF.CO.NZ NZIFF0517_Nelson-1_1.indd 1 11/07/17 2:29 PM TICKET PRICES GENERAL INFORMATION ✪ OPENING FILM – My Year with Helen WEBSITE – www.nziff.co.nz Doors open at 7.30 pm. Film starts at 8.00 pm. Register on our website to customise your view of NZIFF, select your favourite films, send films to your friends, and create your own schedule. The site also features an at-a-glance » All tickets $25.00 planner that shows you exactly when each movie is scheduled to start and finish. A CODED SESSIONS Sessions starting after 5.00 pm weekdays and all weekend sessions. www.facebook.com/nzfilmfestival » Adults $16.50 www.twitter.com/nzff » Film Society/Students* $13.50 » Children (15 and under)/Senior Citizens (65+) $11.50 www.youtube.com/nzintfilmfestival B CODED SESSIONS Sessions starting before 5.00 pm weekdays. www.instagram.com/nziff » Adults/Film Society/Students $13.50 GENERAL ENQUIRIES » Senior Citizens (65+) $11.50 For daily screening times, phone State Cinemas Nelson Festival Information Line » Children (15 and under) $11.50 (03) 548 0808 *CONCESSION DISCOUNTS (Students/Film Society) CENSORSHIP CLASSIFICATION Students and Film Society members are entitled to purchase one ticket per session at the discount rate. Student/ Membership ID is required – please ensure you bring it with you to the venue to present to staff on request; failure to G – Suitable for general audiences do so will result in the full price being charged for attendance. The concession price is not available to those holding PG – Parental guidance recommended for younger viewers Film Society three-film sampler cards.