Personality Testing Four Temperaments
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University of Oklahoma
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE PIANO CONCERTOS OF PAUL HINDEMITH A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirement for the degree of Doctor of Musical Arts By YANG-MING SUN Norman, Oklahoma 2007 UMI Number: 3263429 UMI Microform 3263429 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 THE PIANO CONCERTOS OF PAUL HINDEMITH A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Edward Gates, chair Dr. Jane Magrath Dr. Eugene Enrico Dr. Sarah Reichardt Dr. Fred Lee © Copyright by YANG-MING SUN 2007 All Rights Reserved. ACKNOWLEDGMENTS This paper is dedicated to my beloved parents and my brother for their endless love and support throughout the years it took me to complete this degree. Without their financial sacrifice and constant encouragement, my desire for further musical education would have been impossible to be fulfilled. I wish also to express gratitude and sincere appreciation to my advisor, Dr. Edward Gates, for his constructive guidance and constant support during the writing of this project. Appreciation is extended to my committee members, Professors Jane Magrath, Eugene Enrico, Sarah Reichardt and Fred Lee, for their time and contributions to this document. Without the participation of the writing consultant, this study would not have been possible. I am grateful to Ms. Anna Holloway for her expertise and gracious assistance. Finally I would like to thank several individuals for their wonderful friendships and hospitalities. -
College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
Dance Theatre of Harlem
François Rousseau François DANCE THEATRE OF HARLEM Founders Arthur Mitchell and Karel Shook Artistic Director Virginia Johnson Executive Director Anna Glass Ballet Master Kellye A. Saunders Interim General Manager Melinda Bloom Dance Artists Lindsey Croop, Yinet Fernandez, Alicia Mae Holloway, Alexandra Hutchinson, Daphne Lee, Crystal Serrano, Ingrid Silva, Amanda Smith, Stephanie Rae Williams, Derek Brockington, Da’Von Doane, Dustin James, Choong Hoon Lee, Christopher Charles McDaniel, Anthony Santos, Dylan Santos, Anthony V. Spaulding II Artistic Director Emeritus Arthur Mitchell PROGRAM There will be two intermissions. Friday, March 1 @ 8 PM Saturday, March 2 @ 2 PM Saturday, March 2 @ 8 PM Zellerbach Theatre The 18/19 dance series is presented by Annenberg Center Live and NextMove Dance. Support for Dance Theatre of Harlem’s 2018/2019 professional Company and National Tour activities made possible in part by: Anonymous; The Arnhold Foundation; Bloomberg Philanthropies; The Dauray Fund; Doris Duke Charitable Foundation; Elephant Rock Foundation; Ford Foundation; Ann & Gordon Getty Foundation; Harkness Foundation for Dance; Howard Gilman Foundation; The Dubose & Dorothy Heyward Memorial Fund; The Klein Family Foundation; John L. McHugh Foundation; Margaret T. Morris Foundation; National Endowment for the Arts; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; New England Foundation for the Arts, National Dance Project; Tatiana Piankova Foundation; May and Samuel Rudin -
75Thary 1935 - 2010
ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State. -
Atheneum Nantucket Dance Festival
NANTUCKET ATHENEUM DANCE FESTIVAL 2011 Featuring stars of New York City Ballet & Paris Opera Ballet Benjamin Millepied Artistic Director Dorothée Gilbert Teresa Reichlen Amar Ramasar Sterling Hyltin Tyler Angle Daniel Ulbricht Maria Kowroski Alessio Carbone Ana Sofia Scheller Sean Suozzi Chase Finlay Georgina Pazcoguin Ashley Laracey Justin Peck Troy Schumacher Musicians Cenovia Cummins Katy Luo Gillian Gallagher Naho Tsutsui Parrini Maria Bella Jeffers Brooke Quiggins Saulnier Cover: Photo of Benjamin Millepied by Paul Kolnik 1 Welcometo the Nantucket Atheneum Dance Festival! For 177 years the Nantucket Atheneum has enriched our island community through top quality library services and programs. This year the library served more than 200,000 adults, teens and children year round with free access to over 1.4 million books, CDs, and DVDs, reference and information services and a wide range of cultural and educational programs. In keeping with its long-standing tradition of educational and cultural programming, the Nantucket Atheneum is very excited to present a multifaceted dance experience on Nantucket for the fourth straight summer. This year’s performances feature the world’s best dancers from New York City Ballet and Paris Opera Ballet under the brilliant artistic direction of Benjamin Millepied. In addition to live music for two of the pieces in the program, this year’s program includes an exciting world premier by Justin Peck of the New York City Ballet. The festival this week has offered a sparkling array of free community events including two dance-related book author/illustrator talks, Frederick Wiseman’s film La Danse, Children’s Workshop, Lecture Demonstration and two youth master dance classes. -
Gestalt Therapy Allen Richard Barlow University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1983 The derivation of a psychological theory: Gestalt therapy Allen Richard Barlow University of Wollongong Recommended Citation Barlow, Allen Richard, The derivation of a psychological theory: Gestalt therapy, Doctor of Philosophy thesis, Department of Psychology, University of Wollongong, 1983. http://ro.uow.edu.au/theses/1685 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] THE DERIVATION OF A PSYCHOLOGICAL THEORY : GESTALT THERAPY A thesis submitted in fulfilment of the requirements for the award of the degree of » DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by ALLEN RICHARD BARLOW, B.A. (Hons.l) DEPARTMENT OF PSYCHOLOGY (1983) -i- TABLE OF CONTENTS Page List of Tables xiv Acknowledgements xv xvi Abstract xvii CHAPTER 1: Introduction 1.1 The aim of this dissertation 1 1.2 Principles of Gestalt therapy 7 CHAPTER 2: Sigmund Freud and psychoanalysis 2.1 Biography 12 2.2 Difficulties in comparing Freud's and Perls' works 13 2. 3 Freud ' s influence on Perls 16 2.4 Structure of the personality 20 2.4.1 Relationship between the three subsystems 22 2.5 Conscious/unconscious 24 2.6 Instincts 28 2. 7 Defence mechanism; 30 2.7.1 Regression 31 2.7.2 Repression 32 2.7.3 Reaction-formation 33 2.7.4 Introj ection 34 2.7.5 Proj ection , 35 2.7.6 Turning against the self (retroflection) 36 2.7.7 Rationalization 37 2.7.8 Denial 37 2.7.9 Identification 38 2. -
Contents Price Code an Introduction to Chandos
CONTENTS AN INTRODUCTION TO CHANDOS RECORDS An Introduction to Chandos Records ... ...2 Harpsichord ... ......................................................... .269 A-Z CD listing by composer ... .5 Guitar ... ..........................................................................271 Chandos Records was founded in 1979 and quickly established itself as one of the world’s leading independent classical labels. The company records all over Collections: Woodwind ... ............................................................ .273 the world and markets its recordings from offices and studios in Colchester, Military ... ...208 Violin ... ...........................................................................277 England. It is distributed worldwide to over forty countries as well as online from Brass ... ..212 Christmas... ........................................................ ..279 its own website and other online suppliers. Concert Band... ..229 Light Music... ..................................................... ...281 Opera in English ... ...231 Various Popular Light... ......................................... ..283 The company has championed rare and neglected repertoire, filling in many Orchestral ... .239 Compilations ... ...................................................... ...287 gaps in the record catalogues. Initially focussing on British composers (Alwyn, Bax, Bliss, Dyson, Moeran, Rubbra et al.), it subsequently embraced a much Chamber ... ...245 Conductor Index ... ............................................... .296 -
Balanchine's Don Quixote
Ballet Notes Balanchine’s Don Quixote June 2007 2 Balanchine’s Don Quixote Choreography: George Balanchine Staged by: Suzanne Farrell © Music: Nicolas Nabokov Used by arrangement with European American Music Distributors LLC, U.S. and Canadian agent for M.P. Belaieff Musikverlag, publisher and copyright owner. Set Design: Zack Brown Costume Design: Holly Hynes Lighting Design: Brad Fields Produced in association with: The Suzanne Farrell Ballet Company Balanchine’s Don Quixote is a gift from Roger and Kevin Garland. Cover: Heather Ogden and Hazaros Surmeyan. Left: Suzanne Farrell in rehearsal. 3 4 Synopsis …everything a man does he does for his ideal woman. quickly thwarted, however, by violent clashes with real- You live only one life and you believe in something and ity. He is held up to ridicule at the court of the Duke I believe in a little thing like that. and Duchess, tossed about like a rag doll, assaulted George Balanchine, Life Magazine, August 1965 with swords, and “grief-stricken to find himself so injured by those for whom he had done so much good.” Secluded in his study, a gentleman late in his life, by the name of Alonso Quixano the Good, surrounds him- In spite of his frequent, humiliating setbacks, Don self with gigantic books of chivalry. Fairly devouring the Quixote exhibits a vigour and a richness of invention; tales of adventure, peril and romance, he has come to we wonder at his endless courage in the face of pre- inhabit the life of a knight-errant of yore and “every- posterous circumstance, his inextinguishable will to thing our adventurer thought, saw, or imagined seemed survive — flourish — on his crusade. -
4Freud's Moses
UC Berkeley Berkeley Forum in the Humanities Title Freud and Monotheism: Moses and the Violent Origins of Relligion Permalink https://escholarship.org/uc/item/3xk7594z ISBN 9780823280025 Authors Sharvit, Gilad Feldman, Karen S Publication Date 2018 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Freud and Monotheism Berkeley Forum in the Humanities Freud and Monotheism Moses and the Violent Origins of Religion Gilad Sharvit and Karen S. Feldman, editors Townsend Center for the Humanities University of California, Berkeley Fordham University Press New York Copyright © 2018 The Regents of the University of California All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means— electronic, mechanical, photocopy, recording, or any other— except for brief quotations in printed reviews, without the prior permission of the publisher. The publishers have no responsibility for the persistence or accuracy of URLs for external or third- party Internet websites referred to in this publication and do not guarantee that any content on such websites is, or will remain, accurate or appropriate. The publishers also produce their books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Library of Congress Cataloging- in- Publication Data available online at http://catalog.loc.gov. Printed in the United States of America 20 19 18 5 4 3 2 1 First edition Contents Introduction Gilad Sharvit and Karen S. Feldman 1 1. “Why [the Jews] Have Attracted This Undying Hatred” Richard J. -
Emotion, Reason and Action in Kant.Indb
EMOTION, REASON, AND ACTION IN KANT ALSO AVAILABLE FROM BLOOMSBURY Kant’s Transition Project and Late Philosophy , Oliver Th orndike Kant on Spontaneity , Marco Sgarbi Th e Visibility of the Image , Lambert Wiesing Aesthetics, Arts, and Politics in a Global World , Daniel Herwitz EMOTION, REASON, AND ACTION IN KANT MARIA BORGES BLOOMSBURY ACADEMIC Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2019 Copyright © Maria Borges, 2019 Maria Borges has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Author of this work. For legal purposes the Acknowledgments on p. viii constitute an extension of this copyright page. Cover design by Maria Rajka Cover image: Immanuel Kant, German philosopher, historical illustration, 1859 © Alamy Stock Photo Cover illustration (background) © Getty Images This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher. Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. A catalogue record for this book is available from the British Library. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Giving Voice to an Embodied Self: A heuristic inquiry into experiences of healing through vocal creativity Sarah Quinley Doctor of Psychotherapy and Counselling UNIVERSITY OF EDINBURGH 2019 Thesis Declaration I confirm that this thesis, presented to the University of Edinburgh for the degree of Doctor of Psychotherapy and Counselling, has i) been composed entirely by myself ii) been solely the result of my own work iii) not been submitted for any other degree or professional qualification This Declaration is signed the 3rd of May upon final submission. X Sarah Quinley ii Abstract How is the voice healing? Over the past few decades, research has begun to uncover the therapeutic benefits of vocal practices. Research results have evidenced that different forms of vocal expression positively influence the quality of life of an adult emotionally, mentally, physically, psychologically, and spiritually. -
G. Paul Moore Lecture: Unifying the Disciplines of Our Voice Smorgasbord
G. Paul Moore Lecture: Unifying the Disciplines of Our Voice Smorgasbord Daniel R. Boone Tucson, Arizona Summary: A look at the many disciplines working with voice over the past 50 years is provided from the perspective of a speech-language pathologist (SLP). Some of the earliest collaborations between medicine and speech-language pathology were seen in the management of cleft palate and velopharyngeal inadequacy problems and observed, also, in laryngectomee rehabilitation. The earlier concern of the SLP for the emotional and psychological aspects of patients with voice disorders appeared replaced with the rise of symptomatic therapy. Dramatic improvement in instrumentation assisted by computer analyses increased our awareness and understanding of both normal and disordered phonation. Although instrumentation today allows for many forms of visual feedback in voice training and therapy, this may be often at the expense of providing needed kinesthetic-proprioceptive and auditory feedback. Particular voice therapy approaches (cognitive, gestalt-holistic, imagery, resonant therapy, muscle training, and symptomatic therapy) used today are described. Suggestions are given for improving educational requirements and clinical experience in voice for SLPs. Key Words: Voice Disciplines—Collaboration—Instrumentation—Feedback— Therapy—Training. INTRODUCTION Hotel in Chicago. This friendly, accessible human In 1961, I met the President of the American being invited me to sit with him for breakfast. That Speech and Hearing Association (ASHA) by a man was Paul Moore. That was 40 years ago, and chance seating in the coffee shop of the Sherman he and I have had the good fortune of developing an ever-growing mutual friendship along with our families and spouses over those years.