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Your Guide to Arts and Culture in Colorado's Pikes Peak Region
2014 - 2015 Your Guide to Arts and Culture in Colorado’s Pikes Peak Region PB Find arts listings updated daily at www.peakradar.com 1 2 3 About Us Every day, COPPeR connects residents and visitors to arts and culture to enrich the Pikes Peak region. We work strategically to ensure that cultural services reach all people and that the arts are used to positively address issues of economic development, education, tourism, regional branding and civic life. As a nonprofit with a special role in our community, we work to achieve more than any one gallery, artist or performance group can do alone. Our vision: A community united by creativity. Want to support arts and culture in far-reaching, exciting ways? Give or get involved at www.coppercolo.org COPPeR’s Staff: Andy Vick, Executive Director Angela Seals, Director of Community Partnerships Brittney McDonald-Lantzer, Peak Radar Manager Lila Pickus, Colorado College Public Interest Fellow 2013-2014 Fiona Horner, Colorado College Public Interest Fellow, Summer 2014 Katherine Smith, Bee Vradenburg Fellow, Summer 2014 2014 Board of Directors: Gary Bain Andrea Barker Lara Garritano Andrew Hershberger Sally Hybl Kevin Johnson Martha Marzolf Deborah Muehleisen (Treasurer) Nathan Newbrough Cyndi Parr Mike Selix David Siegel Brenda Speer (Secretary) Jenny Stafford (Chair) Herman Tiemens (Vice Chair) Visit COPPeR’s Office and Arts Info Space Amy Triandiflou at 121 S. Tejon St., Colo Spgs, CO 80903 Joshua Waymire or call 719.634.2204. Cover photo and all photos in this issue beginning on page 10 are by stellarpropellerstudio.com. Learn more on pg. 69. 2 Find arts listings updated daily at www.peakradar.com 3 Welcome Welcome from El Paso County The Board of El Paso County Commissioners welcomes you to Colorado’s most populous county. -
Thank You for Filling an Empty Stocking!
❘ ❘ Thank you for fillingan Empty Stocking! 100% of your donation goes directly to our local nonprofit partners. Make a bigger impact with your donation. ■ Bruni Foundation Match: $12,000 for every $100,000 ■ El Pomar Foundation Match: $1 for every $3 Every dollar you give grows up to forty-nine percent. BUSINESS AND Sanders Family Open House for J.W. Foister, Jr. Audrey J. Suter Connie Rickard Joanne Cech Charity Stephanie and Vance Fossinger Lt.Gen. (ret.) and Mrs. Billy Thomas Mary and Edward Rochette Raymond M. Cellucci ORGANIZATION Summit Technical Solutions, LLC Dana and Ned Glynn Susan and Mark Turk In memory of Lynn and John Rowsey Charlene and Don Cervene CONTRIBUTIONS Wallace Family Advised Fund at Greenwood Family Clunette Staugler and Rene Ward Helen M. Rydell Bea and Robert Champagne In $25,000+ Aspen Community Foundation Patty and David Haney Michele and Gregory Wawrytko Mrs. Virginia A. Schmidt memory of Gloria Jean Chandler KOAA News First 5 $250-$499 Deb and Sonny Hood Judy Keating and Av West BJ and Randy Scott Mary and Anthony Cichello Wells Fargo Bank California Pizza Kitchen, Inc. Loren George and Steve Hyde Julie and Joe Wysocki Carol and Wil Scott Carman K. Claywell Carol Kryder, MA LPC Cathryn John $250-$499 John H. Sellers Sue and Ed Cliatt $10,000+ Elaine Kelly Ann and Bill Seybold Terry Coffelt Citadel Broadcasting Counseling Helps PC Paula and Bruce Aiken Sherry and Doug Kelly Michael W. Shields, D.D.S. Marty Cogswell Trans-Siberian Orchestra Jackson Hewitt Tax Service Jim Andrus Ann and Don Kidd Vicki and Lanny Smith Susie and Bill Cogswell Rock Bottom Foundation Key Foundation Matching Gift Molly and Mike Ans!eld Mary and Philip Kiemel Mimi and Joe Spruiell Jess, Davis, and Paul Cohen Program Debbie and Ed Arangio Kelly and Doug Kitch Joan and Karl Stang Ginger and Harrison Cole $5,000-$9,999 Peter A. -
Free Jazz in the Classroom: an Ecological Approach to Music Educationi
David Borgo Free Jazz in the Classroom: An Ecological Approach to Music Educationi Abandon Knowledge About Knowledge All Ye Who Enter Here. Bruno Latourii Conventional Western educational practice hinges on the notion that knowledge— or at least knowledge worth having—is primarily conceptual and hence can be abstracted from the situations in which it is learned and used. I recently came across a helpful illustration of this general tendency while watching Monty Python reruns. The sketch involved a caricature of a British talk show called “How to Do It.” John Cleese served as the show’s host: Well, last week we showed you how to become a gynecologist. And this week on “How to Do It” we're going to show you how to play the flute, how to split an atom, how to construct a box girder bridge, how to irrigate the Sahara Desert and make vast new areas of land cultivatable, but first, here’s Jackie to tell you all how to rid the world of all known diseases. After Eric Idle solves the global health crisis in a sentence or two, John Cleese explains “how to play the flute”: “Well here we are. (Picking up a flute.) You blow there and you move your fingers up and down here.” Turning again to the camera, he concludes the show with a teaser for the next installment: Well, next week we’ll be showing you how black and white people can live together in peace and harmony, and Alan will be over in Moscow showing us how to reconcile the Russians and the Chinese. -
FY 2016 and FY 2018
Corporation for Public Broadcasting Appropriation Request and Justification FY2016 and FY2018 Submitted to the Labor, Health and Human Services, Education, and Related Agencies Subcommittee of the House Appropriations Committee and the Labor, Health and Human Services, Education, and Related Agencies Subcommittee of the Senate Appropriations Committee February 2, 2015 This document with links to relevant public broadcasting sites is available on our Web site at: www.cpb.org Table of Contents Financial Summary …………………………..........................................................1 Narrative Summary…………………………………………………………………2 Section I – CPB Fiscal Year 2018 Request .....……………………...……………. 4 Section II – Interconnection Fiscal Year 2016 Request.………...…...…..…..… . 24 Section III – CPB Fiscal Year 2016 Request for Ready To Learn ……...…...…..39 FY 2016 Proposed Appropriations Language……………………….. 42 Appendix A – Inspector General Budget………………………..……..…………43 Appendix B – CPB Appropriations History …………………...………………....44 Appendix C – Formula for Allocating CPB’s Federal Appropriation………….....46 Appendix D – CPB Support for Rural Stations …………………………………. 47 Appendix E – Legislative History of CPB’s Advance Appropriation ………..…. 49 Appendix F – Public Broadcasting’s Interconnection Funding History ….…..…. 51 Appendix G – Ready to Learn Research and Evaluation Studies ……………….. 53 Appendix H – Excerpt from the Report on Alternative Sources of Funding for Public Broadcasting Stations ……………………………………………….…… 58 Appendix I – State Profiles…...………………………………………….….…… 87 Appendix J – The President’s FY 2016 Budget Request...…...…………………131 0 FINANCIAL SUMMARY OF THE CORPORATION FOR PUBLIC BROADCASTING’S (CPB) BUDGET REQUESTS FOR FISCAL YEAR 2016/2018 FY 2018 CPB Funding The Corporation for Public Broadcasting requests a $445 million advance appropriation for Fiscal Year (FY) 2018. This is level funding compared to the amount provided by Congress for both FY 2016 and FY 2017, and is the amount requested by the Administration for FY 2018. -
NEA-Annual-Report-1980.Pdf
National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1980. Respectfully, Livingston L. Biddle, Jr. Chairman The President The White House Washington, D.C. February 1981 Contents Chairman’s Statement 2 The Agency and Its Functions 4 National Council on the Arts 5 Programs 6 Deputy Chairman’s Statement 8 Dance 10 Design Arts 32 Expansion Arts 52 Folk Arts 88 Inter-Arts 104 Literature 118 Media Arts: Film/Radio/Television 140 Museum 168 Music 200 Opera-Musical Theater 238 Program Coordination 252 Theater 256 Visual Arts 276 Policy and Planning 316 Deputy Chairman’s Statement 318 Challenge Grants 320 Endowment Fellows 331 Research 334 Special Constituencies 338 Office for Partnership 344 Artists in Education 346 Partnership Coordination 352 State Programs 358 Financial Summary 365 History of Authorizations and Appropriations 366 Chairman’s Statement The Dream... The Reality "The arts have a central, fundamental impor In the 15 years since 1965, the arts have begun tance to our daily lives." When those phrases to flourish all across our country, as the were presented to the Congress in 1963--the illustrations on the accompanying pages make year I came to Washington to work for Senator clear. In all of this the National Endowment Claiborne Pell and began preparing legislation serves as a vital catalyst, with states and to establish a federal arts program--they were communities, with great numbers of philanthro far more rhetorical than expressive of a national pic sources. -
Scanned Using Book Scancenter 5022
mu.die of the University of Hartford presents a FACULTY RECITAL by DANIEL POLLACK Pianist •••• PROGRAM I {!,ffJ ORGAN PRELUDE ING MINOR Bach..Siloti SONATINE Ravel Modere Mouvement de Menuet Anime II FANTAISIE IN C MAJOR OPUS 17 Schumann Durchaus fantastisch und leidenschaf tligh vorzutragen Maessig. Durchaus energisch Langsam g~ragen. Durchweg leise zu halten INTE.RMISSION / -: III ¿ ff t BALLADE IN F MAJOR Chopin TIIREE ETIJDES Chopin OPUS 10, NO. 11 IN E FLAT MAJOR OPUS 25, NO. a IN D FLAT MAJOR OPUS 25, NO. 11 IN A MINOR NOCTIJRNE IN C SHARP MINOR OPUS POSTHUMOUS Chopin IV MEPHISTO WAL1Z BALDWIN PIANO Wednesday, January 4, 1967 Millard Auditorium, 8: 30 p.m. NOTE: If you wish to receive notice of our concerts and are not on our mailing list, please leave your name and address at the lobby desk during intermission. - -··· -· ---------------------- . - . - ... .. -· - ·-~ A CONCERT OF MUSIC BY ARNOLD FRANCHETTI Thu.rsday, Jan:u.ary 12 at 8:30 P.M. PROGRAM -WAR BAI ..I,ADES PreI1.iiere Per:f or.11.-ian.ce ·1 Ballade by Kathleen Lombardo 2 and 3 Ballades by Elizabeth Randall-Mills Richard Provost, guitar Mary Collier*, soprano BRASS QUINTET Ronald Kutik, Roger Murtha, trumpet; Robert Meyers, James Roberts, trombone; Ronald Apperson, tuba Edward Mi I ler, conductor CONCERTINO Canzona Cuckoo Notturno Rondel lo Daniel Kobialka, '66, violin soloist Nancy Turetzky, alto flute, flute, piccolo; Bertram Turetzky, double bass; Tele Lesbines, percussion; Myron Press*, piano Henry Larsen, conductor INTERMISSION *Guest Artist I L -------------------------------------- . CONCERTO IN DO Preniiere Per:for1I1.an.ce IN TWO MOVEMENTS Commissioned by the Library of Congress, 1962, in memory of Natalie and Serge Koussevitzky. -
Too Many Notes: Complexity and Culture in Voyager Lewis, George E
Too Many Notes: Complexity and Culture in Voyager Lewis, George E. Leonardo Music Journal, Volume 10, 2000, pp. 33-39 (Article) Published by The MIT Press For additional information about this article http://muse.jhu.edu/journals/lmj/summary/v010/10.1lewis.html Access Provided by University of California @ Santa Cruz at 09/27/11 9:42PM GMT W A Y S WAYS & MEANS & M E A Too Many Notes: Computers, N S Complexity and Culture in Voyager ABSTRACT The author discusses his computer music composition, Voyager, which employs a com- George E. Lewis puter-driven, interactive “virtual improvising orchestra” that ana- lyzes an improvisor’s performance in real time, generating both com- plex responses to the musician’s playing and independent behavior arising from the program’s own in- oyager [1,2] is a nonhierarchical, interactive mu- pears to stand practically alone in ternal processes. The author con- V the trenchancy and thoroughness tends that notions about the na- sical environment that privileges improvisation. In Voyager, improvisors engage in dialogue with a computer-driven, inter- of its analysis of these issues with ture and function of music are active “virtual improvising orchestra.” A computer program respect to computer music. This embedded in the structure of soft- ware-based music systems and analyzes aspects of a human improvisor’s performance in real viewpoint contrasts markedly that interactions with these sys- time, using that analysis to guide an automatic composition with Catherine M. Cameron’s [7] tems tend to reveal characteris- (or, if you will, improvisation) program that generates both rather celebratory ethnography- tics of the community of thought complex responses to the musician’s playing and indepen- at-a-distance of what she terms and culture that produced them. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Emergency Preparedness Workbook
Personal Emergency Preparedness Workbook Distributed by: Fremont County Oce of Emergency Management 1901 East Main Street Cañon City, CO 81212 (719) 276-7422 Content in this workbook is derived from “The Independence Center’s Personal Emergency Preparedness Workbook” and is used with permission from The Independence Center of Colorado Springs, CO. ii Table of Contents Introduction ........................................................................................................................... 1 Emergency and Disaster Preparation............................................................................ 2 Personal Support Network ................................................................................................ 3 Medical Information & Supply List ................................................................................. 5 Emergency Kits........................................................................................................................6 Home Emergency Kit ..................................................................................................... 6 Car Emergency Kit .......................................................................................................... 7 Service Animal Emergency Kit ................................................................................... 7 Disability Specic Tips................................................................................................... 9 Chemical and Food Sensitivities ............................................................................... -
Developing a Personal Vocabulary for Solo Double Bass Through Assimilation of Extended Techniques and Preparations
Developing a Personal Vocabulary for Solo Double Bass Through Assimilation of Extended Techniques and Preparations Thomas Botting This thesis is submitted in partial requirement for the degree of Doctor of Philosophy. Sydney Conservatorium of Music The University of Sydney 2019 i Statement of Originality This is to certify that, to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Thomas Botting November 8th, 2018 ii Abstract This research focuses on the development of a personal musical idiolect for solo double bass through the assimilation of extended techniques and preparations. The research documents the process from inception to creative output. Through an emergent, practice-led initial research phase, I fashion a developmental framework for assimilating new techniques and preparations into my musical vocabulary.The developmental framework has the potential to be linear, reflexive or flexible depending on context, and as such the tangible outcomes can be either finished creative works, development of new techniques, or knowledge about organisational aspects of placing the techniques in musical settings. Analysis of creative works is an integral part of the developmental framework and forms the bulk of this dissertation. The analytical essays within contain new knowledge about extended techniques, their potential and limitations, and realities inherent in their use in both compositional and improvisational contexts. Video, audio, notation and photos are embedded throughout the dissertation and form an integral part of the research project. -
2016 Annual Report to the Community
2016 Annual Report to the Community The Cultural Office is the designated local arts agency for El Paso and Teller counties. Our Mission: Connecting residents and visitors with arts & culture to enrich the Pikes Peak region Our Vision: A thriving community united by creativity Our Goals: 1. Cultivate robust participation in arts & cultural experiences throughout the region 2. Advocate for investment in the region’s cultural vitality 3. Leverage arts & cultural assets to help brand our community as an innovative and vibrant destination 4. Foster collaboration and cross-sector partnerships In August 2016, we celebrated our 10th Anniversary! 2016 Annual Report Growing Audiences: Arts Month Our third annual campaign continues to gain traction across sectors of the community, with increased participation from diverse groups, a well-attended kickoff event, and new outreach strategies. • Over 1,000 attendees at the Artini kickoff event, showcasing 10 local acts. • Last Minute Deals Text Club filled 71 seats*NEW • Community Theater Challenge promoted 22 plays *NEW • Arts Month landing page redesigned *NEW • Annual Peak Radar Pages directory released during Arts Month *NEW • Increased participation from community groups, including coordination of over $10,000 in cooperative advertising in the Colorado Springs Independent Survey: Did you have one new arts & cultural experience during October? YES: 75% Growing Audiences: PeakRadar.com The cultural calendar of the Pikes Peak region had its biggest year of growth, thanks to a major redesign and numerous upgrades, expanding community partnerships, and deepening quality and voice. • Unique Visitors: 304,253 45% • Peak Radar Picks Subscribers: 14,335 7% • Page Views: 726,155 24% (Open Rate 19%, Click Through Rate: 18%) • Events Listed: 3,445 8% Site Visitors & Views 79,500 69,500 59,500 49,500 39,500 29,500 19,500 9,500 Jan. -
Arts & Culture Directory 2019
ARTS & CULTURE DIRECTORY 2019 A program of Produced in partnership with PB Find arts listings updated daily at www.peakradar.com. 1 Your passions are our passions Kristi A. Crisman, AAMS Krista M. Picco, MBA, CIMA® David Villafuerte, MBA Deron L. Hickman Herman Tiemens II, MBA, CFP® Jonathan D. Grant, CFP® Financial Advisors Wells Fargo Advisors 90 S. Cascade Avenue, Suite 300 Colorado Springs, CO 80903 719-577-5365 • [email protected] Investment and Insurance Products: u NOT FDIC Insured u NO Bank Guarantee u MAY Lose Value Wells Fargo Advisors is a trade name used by Wells Fargo Clearing Services, LLC, Member SIPC, a registered broker-dealer and non-bank affiliate of Wells Fargo & Company. ©2017 Wells Fargo Clearing Services, LLC. All rights reserved. CAR-0618-04970 2 peak radar pages 2019 peak radar pages 2019 3 creativity starts HERE. welcome to HERE. You, Light as a Cloud - Byong Doo Moon Art on the streets, Downtown COS VisitCOS.com/art Mike Pach 4 peak radar pages 2019 peak radar pages 2019 5 PB PB Welcome to the Peak Radar Pages! This guide to over 400 cultural groups and organizations is your invitation to connect with the lively creative community of El Paso & Teller counties. The Peak Radar Pages is an annual print directory based on listings you can access online, year-round, at PeakRadar.com. As the region’s cultural calendar, PeakRadar.com features thousands of local events, plus profiles of organizations and public art. PeakRadar.com is just one program of the Cultural Office of the Pikes Peak Region (COPPeR).