President Douglas M. Knight Resigns from Lawrenci1 Ex-Yale Professor Accepts Duke University Presidency 7 Lawrentfanpresident Douglas Maitland Knight of Lawrence Voi

Total Page:16

File Type:pdf, Size:1020Kb

President Douglas M. Knight Resigns from Lawrenci1 Ex-Yale Professor Accepts Duke University Presidency 7 Lawrentfanpresident Douglas Maitland Knight of Lawrence Voi President Douglas M. Knight Resigns from Lawrenci1 Ex-Yale Professor Accepts Duke University Presidency 7 LawrentfanPRESIDENT Douglas Maitland Knight of Lawrence Voi. 82— No. 7 Lawrence College, Appleton, Wis. Fri., Nov. 2, 1962 college was named fifth president of Duke university this morning at a meeting of the Duke board of trust­ Anthony Wedgwood Benn ees in Durham, N. C. Dr. Knight was in Durham for the meeting. The election of the 41-year old Yale- trained President Knight cli- rnaxed a nation-wide search Knight also has edited and British Politician to Speak on the part of a trustee Pres­ written several chapters of a idential Selection Committee, book. “The Federal Govern­ of which Wright Tisdale, ment and Higher Educa­ At Convocation Thursday Dearborn. Mich., was chair­ tion, brought out by the ANTHONY WEDGWOOD BENN, the brilliant and man. The Duke trustees have American Assembly in 1960. newsmaking young British politician, will speak in been discussing the matter At Lawrence. Knight’s nine convocation on Thursday, Nov. 8. The topic of his with President Knight since years have brought about a summer. speech will be “Report from London.” 100 |H*r cent increase in the ACCORDING to the an­ book value of the college phy­ Elected to the House of Commons at the age of 25 nouncement by B u n y a n sical plant and a 150 per cent in 1950, Benn was returned to Snipes Womble, chairman of increase in the hook value Parliament three times in the Viscount Stansgate, has add­ the Duke trustees, Dr. Knight of its endowment. He has following 10 years. During this ed force to his arguments. is expected to assume his du­ brought six major buildings to time he played a significant The outcome of this still- ties on Jan. 1, 1964, or soon­ the campus, and has recently role in the Labor Party, in­ unsettled constitutional issue er if his commitment at Law­ formulated a 10 year, $12' cluding membership in both will indicate whether or not ANTHONY WEDGWOOD rence permits. He will suc­ million development pro­ the Shadow cabinet and the the British will continue to BENN ceed Dr. Deryl Hart, veteran gram. National Committee of the uphold the hoary tradition of Duke surgeon who has been THE TWO largest gifts in Labour party in 1959. compulsory inheritance of president since July 1, 1960. the 115-year history of the noble titles and the concom- FOLLOWING the death of Dr Hart is nearing the uni­ college have come to Law­ mitant exclusion of nobility his father in I960, Benn has Committee on Ad versity’s retirement age. rence in the past mx months from Commons. Dr. Knight indicated to the of Knight's administration — made headlines in his battle BENN is also chairman of to renounce his automatic Lawrence board of trustees the $2 million conditional the International Bureau of hereditary title of Viscount Passes 2 Rulings that he feels responsible to Ford grant which was the the Fabian Society, the unique remain at Lawrence until the Stansgate, which disqualifies The Committee on Adminis­ largest corporate gift, and a socialist organization which major portion of a recently him from continued member­ tration decided last Wednes­ $1 million bequest from Cas­ gave impetus to the forma­ undertaken S4 million fund ship in Commons. day to adopt two new’ resolu­ per E. Youngchild of Apple­ tion of the Labour party in objective is met. The $4 m il­ ton, for a new science hall, Although this is not the first the early part of this century. tions concerning the honor system. lion is a matching stipulation the largest individual gift. time in which a newly elevat­ An informal discussion ses­ attached to a Ford condition­ Dr. Knight has also doub­ ed peer has refused to enter sion will be held in the union First, since the honor sys­ al grant of $2 million made to led faculty salaries, created a the House of Lords, Benn’s lounge on Thursday afternoon tem is now a part of college the college in June. The substantial program of sup­ campaign, so vigorously pur­ at 2 p.m. policy, all future students will amount must be raised by port for faculty research, and sued, has forced a constitu­ Students interested in at­ be expected to sign the honor June, 1965; President Knight increased both the numbers tional issue of magnitude. tending luncheons for faculty pledge upon enrolling in the hopes to assure the success and the scholarly preparation The wholehearted support of and guest speakers are en­ college. of the venture before he of the teaching staff. Major Benn’s Bristol constituency, couraged to contact either leaves. changes have taken place in which overwhelmingly re­ Eugene Gaer at Plantz (3- Secondly, students who, to date, have not signed the Knight, who was eleventh the curriculum, chiefly in elected him to Parliament 9917) or Judy Wilmes at Stce- head of Lawrence, becomes non-European studies and in­ even after he became the new fel house (3-9705). honor pledge will be required to take their final examina­ president of Duke less than terdepartmental teaching tions in special proctermg a decade after entering col­ The entire structure of the areas. Both these decisions lege administration. He was college has been ehunged to will go into effect immediate­ chosen from a Yale univer­ a three-term, three - course Goldovsky Opera a Success ly. sity classroom in 1954 to suc­ plan. ceed Dr. Nathan March Pu- Knight's heavy responsibi­ A clarification of the honor sey, who was called from lities on more than a dozen Despite Inadequate Chapel system is now being drawn Lawrence to head Harvard national committees for edu­ up by the committee for the By J1LDA NAPOLI University. Knight was 32 cation and religion have caus­ benefit of the college. years old and the youngest ed him to be away from the LAWRENT1ANS, last Monday evening, were treat­ college president in the na­ campus 75 or 80 days each ed to a little bit of Paris: The Goldovsky Opera Co., tion at that time. year. long a champion of “opera in English,” came to pre­ BORN in Cambridge, Mass., HE HAS had two foreign sent La Traviata. This work by Giuseppe Verdi, has Bergman Film Knight received all three de­ assignments in recent years —a trip to interview Kurop- enchanted generations of opera-goers, and there were grees from Yale, specializing in 18th century literature. He ean educational leaders in moments when the production Coining Sunday had been on the Yale faculty 1960 to gather material for truly cast its spell. Unfortu- pretation was perhaps a bit The Seventh Seal, Ingmar for eight years before assum­ “The Federal Government truly cast its spell. Unfortun­ too stylized, and her voice and Higher Education,” and tired quickly — due, certain­ Bergman’s masterpiece, will ing the Law'rence presidency. ately. these moments were His first book, “ Alexander a mission to Karachi, Paki­ WITH THE fluid and fa­ ly, to the rigorous schedule be shown Sunday. 1:30 and Pope and the Heroic Tradi­ stan in 1961, as one of three maintained by this vital, 7:30 at Stansbury Theater. miliar strains of the over­ tion,” was published by the I S delegates to a 8EATO ture, accompanied by imag­ young company — Miss Ro­ The film is an allegorical conference of Asian univer­ be rt on's performance was ca­ Yale University Press in 1951. inative staging, many had the ta.e of m an’s search for God He is also the author of sity presidents. pable at times of moving her impression that this compe­ in a world of suffering and more than a score of schol­ President Knight will leave audience. tent originality would be evi­ ignorance. The setting is 14th arly articles and currently is the Lawrence campus of 1100 One high point of dramatic dent throughout. By the end century Sweden when the completing work on one sec­ students, 100 faculty mem­ tension occurred in the last of Act I, however, one noted Black Death scourged Eu­ tion of a definitive edition of bers, more than 30 buildings part of Act II, when Violette some disturbing inadequaci­ rope. Pope’s “Illiad,” and “Od.v- on 48 acres, and a curriculum and the elder Germont soared es. essy,” to he published soon. Mr. Machlis’ translation of through a charming duetto A knight, played by Max (.ontiniied on 2 the Italian libretto, while passage, in which she implor­ Von Sydow, rides home from wisely avoiding the custom­ ed the father of her lover to the crusades, seeing traces of ary adherence to rhyme and accept her as a daughter. the plague. He is bitterly dis­ florid declaration, did seem The full impact of this scene appointed. He went to the to ignore a valuable opportu­ might have been realized, Holy Land full of implicit nity: it might have updated however, had the baritone, faith, but he returns torment­ the Victorian tone of the Benjamin Havson, articulat­ ed by doubt and uncertainty. piece w ith more flexible ed intelligently. Regrettably, Was there no God? The adaptation, but instead left his diction was just as poor thought is intolerable. most characters little chance in his famous aria, “ Come Yet he is not finished with to achieve a plausible char­ home, my son,” but the path­ life. When Death suddenly acterization. os of this scene reached his stands before him, he begs They reminded one, at audience, for the beauty of for a respite and proposes a times, of high school students Verdi’s melody transcends game of chess.
Recommended publications
  • The Courting Dress A
    the Courting Dress A the Courting Dress the Courting Dress by Emjay Luby Emjay Luby The Courting Dress Published by: A Book’s Mind PO Box 272847 Fort Collins, CO 80527 www.abooksmind.com ISBN 978-1-939828-80-4 Copyright © 2013 Emjay Luby Printed in the United States of America No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means – electronic, mechanical, digital photocopy, recording, or any other without the prior permission of the author. D the Courting Dress Prologue Mandy Stevens stepped out of her steam-filled bathroom wrapped in a towel and surveyed the piles of clothing and trinkets she had pulled out of Grandma Flo’s “membry” chest over the last three hours. Be careful, Man- dy. The warning played over and over again in her mind. Be careful. Careful. “Why? What’s in there?” She let out an exasperated sigh and nudged a pile aside with her bare toe. If only Grandma Flo could answer the question. For a second, Mandy was tempted to dump everything back into the chest and worry about it tomorrow, but as she reached for a stack of clothing, she was drawn to a blue dress peeking out from the bottom of the stack on the bed. She tugged it out and held it up to the light. It was pretty but not beau- tiful; feminine but not frilly. A smile flitted across her face as she imagined her grandmother putting it on for a special occasion. It obviously held some precious memories or Grams wouldn’t have saved it for decades.
    [Show full text]
  • Tailor-Made: Does This Song Look Good on Me? the Voices That Inspired Vocal Music History
    ABSTRACT Title of Dissertation: TAILOR-MADE: DOES THIS SONG LOOK GOOD ON ME? THE VOICES THAT INSPIRED VOCAL MUSIC HISTORY Theresa Rose Bickham, Doctor of Musical Arts in Vocal Performance, 2019 Dissertation directed by: Professor Carmen Balthrop, School of Music The history of tailor-made repertoire is celebrated, and, in many cases, the composer and the works live on in perpetuity while the performing artist is remembered only in historical documents. Timbres, agilities, ranges, and personalities of singers have long been a source of inspiration for composers. Even Mozart famously remarked that he wrote arias to fit singers like a well-tailored suit. This dissertation studies the vocal and dramatic profiles of ten sopranos and discovers how their respective talents compelled famed composers to create music that accommodated each singer’s unique abilities. The resulting repertoire advanced the standard of vocal music and encouraged new developments in the genres and styles of compositions for the voice. This is a performance dissertation and each singer is depicted through the presentation of repertoire originally created for and by them. The recital series consisted of one lecture recital and two full recitals performed at the University of Maryland, College Park. I was joined in the performance of these recitals by pianist Andrew Jonathan Welch, clarinetist Melissa Morales, and composer/pianist Dr. Elaine Ross. The series was presented chronologically, and the first recital included works of the Baroque and Classical music eras written for Marie Le Rochois, Faustina Bordoni, Catarina Cavalieri, and Adriana Ferrarese del Bene. The second recital advanced into the nineteenth-century with repertoire composed for Anna Milder-Hauptmann, Giulia Grisi, and Mary Garden.
    [Show full text]
  • The Turn of the Screw
    THE TURN OF THE SCREW BY HENRY JAMES 7^WYS`f7Taa]e COPYRIGHT INFORMATION Book: The Turn of the Screw Author: Henry James, 1843–1916 First published: 1898 The original book is in the public domain in the United States and in most, if not all, other countries as well. Readers outside the United States should check their own countries’ copyright laws to be certain they can legally download this ebook. The Online Books Page has an FAQ which gives a summary of copyright durations for many other countries, as well as links to more official sources. This PDF ebook was created by José Menéndez. The Turn of the Screw THE story had held us, round the fire, sufficiently breathless, but except the obvious remark that it was gruesome, as, on Christmas Eve in an old house, a strange tale should essentially be, I remember no comment uttered till somebody happened to say that it was the only case he had met in which such a visitation had fallen on a child. The case, I may mention, was that of an apparition in just such an old house as had gathered us for the occasion—an appearance, of a dreadful kind, to a little boy sleeping in the room with his mother and waking her up in the terror of it; waking her not to dissipate his dread and soothe him to sleep again, but to encounter also, herself, before she had succeeded in doing so, the same sight that had shaken him. It was this observation that drew from Douglas—not immediately, but later in the evening—a reply that had the interesting consequence to which I call attention.
    [Show full text]
  • Trumpet & Brass Recordings
    Recording Recommendations I believe each of these recordings will interest any musician, young or old, and especially trumpet players. While I am a trumpet player, I tend not to listen to all that much exclusively trumpet music, so the music shown below is fairly wide-ranging in its scope. Many of them are recordings at which one might not otherwise not look twice (I never even heard of most of these performers until I was long out of high school). And many of these may not feature the kind of music you might think you would enjoy. Given a chance, though, I think they might grow on you. I think it is a lot of fun discovering a new artist or a new sort of music. Trumpet & Brass Recordings Wynton Marsalis Carnaval This is the quintessential recording of the standard cornet/trumpet solo repertoire, including Carnival of Venice, Napoli, The Debutante, etc. This is an absolute must-have recording for any trumpet player. Wynton Marsalis Baroque Music for Trumpets Again, this is a MUST-HAVE. The soloist’s playing is sublime. It includes the Vivaldi Concerto (for Two Trumpets), the Michael Haydn Concerto and a beautiful arrangement of the Pachelbel Kanon. All the trumpet parts are performed by Wynton Marsalis – the miracle of modern recording technology on full display. Malcolm McNab Exquisite The playing on this recording truly is exquisite. Beyond that, it is super-human. McNab, the premiere studio player in Los Angeles, plays a transcription of Tchaikovsky’s Violin Concerto that is simply not to be believed. His technical mastery of the instrument – especially in the extreme ranges – is just phenomenal.
    [Show full text]
  • Sing! 1975 – 2014 Song Index
    Sing! 1975 – 2014 song index Song Title Composer/s Publication Year/s First line of song 24 Robbers Peter Butler 1993 Not last night but the night before ... 59th St. Bridge Song [Feelin' Groovy], The Paul Simon 1977, 1985 Slow down, you move too fast, you got to make the morning last … A Beautiful Morning Felix Cavaliere & Eddie Brigati 2010 It's a beautiful morning… A Canine Christmas Concerto Traditional/May Kay Beall 2009 On the first day of Christmas my true love gave to me… A Long Straight Line G Porter & T Curtan 2006 Jack put down his lister shears to join the welders and engineers A New Day is Dawning James Masden 2012 The first rays of sun touch the ocean, the golden rays of sun touch the sea. A Wallaby in My Garden Matthew Hindson 2007 There's a wallaby in my garden… A Whole New World (Aladdin's Theme) Words by Tim Rice & music by Alan Menken 2006 I can show you the world. A Wombat on a Surfboard Louise Perdana 2014 I was sitting on the beach one day when I saw a funny figure heading my way. A.E.I.O.U. Brian Fitzgerald, additional words by Lorraine Milne 1990 I can't make my mind up- I don't know what to do. Aba Daba Honeymoon Arthur Fields & Walter Donaldson 2000 "Aba daba ... -" said the chimpie to the monk. ABC Freddie Perren, Alphonso Mizell, Berry Gordy & Deke Richards 2003 You went to school to learn girl, things you never, never knew before. Abiyoyo Traditional Bantu 1994 Abiyoyo ..
    [Show full text]
  • The-Glass-Castle-A-Memoir.Pdf
    "On the eighth day, when God was handing out whining privileges, he came upon Jeannette Walls and said, 'For you, an unlimited lifetime supply.'Apparently, Walls declined His kind offer." —Chicago Tribune "Charles Dickens's scenes of poverty and hardship are no more audacious and no more provocative than those in the pages of this stunning memoir." —The Atlanta Journal-Constitution "Some people are born storytellers. Some lives are worth telling. The best memoirs happen when these two conditions converge. In The Glass Castle, they have." —New York Newsday "The Glass Castle is the kind of story that keeps you awake long after the rest of the house has fallen asleep." —Vogue Praise for The Glass Castle The autobiographer is faced with the daunting challenge of... attempt­ ing to understand, forgive and even love the witch Readers will mar­ vel at the intelligence and resilience of the Walls kids." —Francine Prose, The New York Times Book Review "A pull-yourself-up-by-the-bootstraps, thoroughly American story." —Kirkus Reviews "Charles Dickens has nothing on Jeannette Walls, author of The Glass Castle, the unflinching story about her grueling, nomadic childhood. Dickens' scenes of poverty and hardship are no more audacious and no more provocative than those in the pages of this stunning memoir." —The Atlanta Journal-Constitution "An excellent book Walls has a fantastic storytelling knack." —Publishers Weekly "The Glass Castle will at times exhaust you, occasionally fill you with fury, and finally leave you in slack-jawed wonderment." —National
    [Show full text]
  • Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996
    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 A Dissertation Presented by Jason James Hanley to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philsophy in Music (Music History) Stony Brook University August 2011 Copyright by Jason James Hanley 2011 Stony Brook University The Graduate School Jason James Hanley We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Judith Lochhead – Dissertation Advisor Professor, Department of Music Peter Winkler - Chairperson of Defense Professor, Department of Music Joseph Auner Professor, Department of Music David Brackett Professor, Department of Music McGill University This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 by Jason James Hanley Doctor of Philosophy in Music (Music History) Stony Brook University 2011 The British band Throbbing Gristle first used the term Industrial in the mid-1970s to describe the intense noise of their music while simultaneously tapping into a related set of aesthetics and ideas connected to early twentieth century modernist movements including a strong sense of history and an intense self-consciousness. This model was expanded upon by musicians in England and Germany during the late-1970s who developed the popular music style called Industrial as a fusion of experimental popular music sounds, performance art theatricality, and avant-garde composition.
    [Show full text]
  • Volume 67, Number 04 (April 1949) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1949 Volume 67, Number 04 (April 1949) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 67, Number 04 (April 1949)." , (1949). https://digitalcommons.gardner-webb.edu/etude/163 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. aetnnr f ? 'l l >*v L m r conductor of the Main Line Symphony ALEXANDER SCHREINER, famous Orchestra and the Germantown Sym- American organist, gave a recital on phony Orchestra, which regularly give a March 9 in the Wanamaker Store, Phila- series of concerts during the season. learning feature attraction of the suggests how to relax while delphia, as a Mr. G-Clef pre-Easter music in that establishment. THE ST. LOUIS SYMPHONY OR- of MUSIC Mr. Schreiner, known to millions through CHESTRA, conducted by Vladimir WHY the WHO-WHAT-WHERE-WHEN-HOW-and his Sunday broadcasts from the Mormon Golschmann, presented in February THE Tabernacle in Salt Lake City, included world premiere of a genuinely rare mu- S. Bach, Camil van Hulse, Concerto for Marimba, works of J. sical work, a Henri Mulet, Debussy, and Cesar Franck Vibraphone, and Orchestra.
    [Show full text]
  • The Glass Castle: a Memoir
    The Glass Castle A Memoir Jeannette Walls SCRIBNER New York London Toronto Sydney Acknowledgments I©d like to thank my brother, Brian, for standing by me when we were growing up and while I wrote this. I©m also grateful to my mother for believing in art and truth and for supporting the idea of the book; to my brilliant and talented older sister, Lori, for coming around to it; and to my younger sister, Maureen, whom I will always love. And to my father, Rex S. Walls, for dreaming all those big dreams. Very special thanks also to my agent, Jennifer Rudolph Walsh, for her compassion, wit, tenacity, and enthusiastic support; to my editor, Nan Graham, for her keen sense of how much is enough and for caring so deeply; and to Alexis Gargagliano for her thoughtful and sensitive readings. My gratitude for their early and constant support goes to Jay and Betsy Taylor, Laurie Peck, Cynthia and David Young, Amy and Jim Scully, Ashley Pearson, Dan Mathews, Susan Watson, and Jessica Taylor and Alex Guerrios. I can never adequately thank my husband, John Taylor, who persuaded me it was time to tell my story and then pulled it out of me. Dark is a way and light is a place, Heaven that never was Nor will be ever is always true ÐDylan Thomas, "Poem on His Birthday" I A WOMAN ON THE STREET I WAS SITTING IN a taxi, wondering if I had overdressed for the evening, when I looked out the window and saw Mom rooting through a Dumpster.
    [Show full text]
  • The Elements of Eloquence
    Praise for Mark Forsyth’s previous books: The Etymologicon ‘This year’s must-have stocking filler – the angel on the top of the tree, the satsuma in the sock, the threepenny bit in the plum pudding, the essential addition to the library in the smallest room is Mark Forsyth’s The Etymologicon’ Ian Sansom, Guardian ‘I’m hooked on Forsyth’s book … Crikey, but this is addictive’ Matthew Parris, The Times ‘Kudos should go to Mark Forsyth, author of The Etymologicon … Clearly a man who knows his onions, Mr Forsyth must have worked 19 to the dozen, spotting red herrings and unravelling inkhorn terms, to bestow this boon … a work of the first water, to coin a phrase.’ Daily Telegraph ‘The Etymologicon contains fascinating facts’ Daily Mail ‘I really love books about words, and this is a particularly good one … Forsyth takes words and draws us into their, and our, murky history.’ William Leith, Evening Standard ‘One of the books of the year. It is too enjoyable for words.’ Henry Coningsby, Waterstones Watford ‘This witty book liberates etymology from the dusty pages of the dictionary and brings it alive’ Good Book Guide The Horologicon ‘A magical new book … Forsyth unveils a selection of obsolete, but oh-so-wonderful words’ Daily Mail ‘The Horologicon lists many of the fabulous, obsolete gems of our language’ Carol Midgley, The Times ‘If you love obscure words, then Mark Forsyth’s The Horologicon will be for you’ Daily Express ‘This is surely the quirkiest, funniest English word book’ Good Book Guide ‘Whether you are out on the pickaroon or ogo-pogoing
    [Show full text]
  • Localism and Independence at Infinity Radio Stations: The
    LOCALISM AND INDEPENDENCE AT INFINITY RADIO STATIONS: THE MANY WAYS WE SERVE OUR COMMUNITIES INFORMATION AS OF JANUARY 2, 2004 TABLE OF CONTENTS TAB LOCAL AND INDEPENDENT MUSIC: Infinity Airs Local, Unsigned and Independent Label Artists A LOCAL INVOLVEMENT: Infinity Stations Are Involved with Their Communities and Charitable Causes B INDEPENDENT AND LOCAL PROGRAMMING: Infinity Stations Make Independent Programming Decisions to Address the Needs of Their Communities C LOCAL NEWS AND INFORMATION: Infinity Stations Assure Coverage of Local and National Emergency News and Information D 2 LOCAL AND INDEPENDENT MUSIC: Infinity Airs Local, Unsigned and Independent Label Artists Atlanta WAOK Although WAOK is a talk station, it has interviewed local artists and CEOs of small local labels. WVEE WVEE airs several local artists in its music rotations. Examples of local artists on the station’s playlist include: Outkast, Jagged Edge, The Youngbloods, Monica, Ludacris and Usher. WVEE also helped launch new hip-hop artist Bone Crusher’s career when it aired his single “Never Scared” as the “Atlanta Pick of the Week.” Local artists Desire also got their big break when they were featured on a radio spot for the station. From that exposure they began recording an album. WZGC Each week on Sunday night WZGC airs a legendary program called “The Dunhams.” The Dunhams is an hour-long show, beginning at 9:00 pm, which features live local performances from local and independent artists such as Stealth Trucks Band, moe., Disco Biscuits, Vicki Salz, and Sloppy Joe, among very many others. Most of the artists played on The Dunhams get little to no radio airplay otherwise and many are local bands.
    [Show full text]
  • A Study of the Development of Musicality in the Junior High School and the Contribution of Musical Composition to This Development
    R E P O R T RESUMES ED 01532 24 EA 000 938 A STUDY OF THE DEVELOPMENT OF MUSICALITY th THE JUNIOR HIGH )5 SCHOOL AND THE CONTRIBUTION OF MUSICAL COMPOSITION TO THIS DEVELOPMENT. FINAL REPORT. BY- KYME, GEORGE CALIFORNIA UNIV., BERKELEY REPORT NUMBER CO-H-254 PUB DATE JUL 67 REPORT NUMBER BR-5-0247 CONTRACT OEC-6-10-164 ECRS PRICE MF-$1.25 HC-$11.88 295P. DESCRIPTORS- *MUSIC EDUCATION, *JUNIOR HIGH SCHOOLS. *MUSIC READING, INSTRUCTIONAL MATERIALS, *CURRICULUM DEVELOPMENT, CREATIVE ACTIVITIES, EVALUATION, TESTS,*LISTENING SKILLS, FILMS, TAPE RECORDINGS, PERFORMANCE, TEACHING PROCEDURES, TEST CONSTRUCTION, TEST RELIABILITY, HUMANITIES, BIBLIOGRAPHIES, MUSIC ACTIVITIES, BERKELEY, DEFINING MUSICALITY AS THE ABILITY TO GRASP A MUSICAL IDEA IN ITS TOTALITY, THIS RESEARCH INVESTIGATED THE RELATIVE EFFECTIVENESS OF MUSICAL PERFORMANCE (BOTH ORCHESTRAL AND CHORAL), GUIDED LISTENING, MUSIC READING, AND MUSICAL COMPOSITION AS MEANS OF DEVELOPING SUCH MUSICALITY. THE INSTRUMENT OF EVALUATION WAS A TEST OF AESTHETIC JUDGMENTS IN MUSIC DERIVED FROM THE WING, HEVNER, GORDON, AND KYME TESTS OF MUSICALITY WHICH ARE EMPIRICALLY VALIDATED WITH TEACHER RATINGS OF PUPILS. NINE JUNIOR HIGH SCHOOLS COMPRISED THE SAMPLE. THE 3,083 STUDENTS PARTICIPATING INCLUDED A ZERO CONTROL SAMPLE OF 671 STUDENTS WHO TOOK NO MUSIC CLASSES DURING THE TIME OF EXPERIMENT, AN EXPERIMENTAL SAMPLE OF 555 WHO WERE TAUGHT COMPOSITION, 645 ORCHESTRA STUDENTS, 737 CHORAL STUDENTS, 405 WHO PARTICIPATED IN GUIDED LISTENING, AND 70 STUDENTS CLASSED AS A MUSIC READING CONTROL. THE STATISTICAL TREATMENT OF THE DATA (PRE- AND POST-INSTRUCTION TEST SCORES) UTILIZED AN ANALYSIS OF COVARIANCE. THE EXPERIMENTAL SAMPLE SHOWED SIGNIFICANT GAINS COMPARED TO THE ZERO CONTROL (F VALUE=54.47), THE CHORAL SAMPLE (F=29.42), .
    [Show full text]