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COURSE CATALOG 2016-2017 Academic Calendar
COURSE CATALOG 2016-2017 Academic Calendar . 4 Academic Programs . 46 About LACM . .. 6 Performance LACM Educational Programs . 8 Bass . 46 CONTENTS Administration . 10 Brass & Woodwind . .. 52 Admissions . 11 Drums . .. 58 Tuition & Fees . 13 Guitar . 64 Financial Aid . 18 Vocal. 70 Registrar . 22 Music Composition International Student Services . 26 Songwriting . 76 Academic Policies & Procedures . 27 Music Production Student Life . 30 Composing for Visual Media . 82 Career Services . .. 32 Music Producing & Recording . 88 Campus Facilities – Security. 33 Music Industry Rules of Conduct & Expectations . 35 Music Business . 94 Health Policies . 36 Course Descriptions . 100 Grievance Policy & Procedures . .. 39 Department Chairs & Faculty Biographies . 132 Change of Student Status Policies & Procedures . 41 Collegiate Articulation & Transfer Agreements . 44 FALL 2016 (OCTOBER 3 – DECEMBER 16) ACADEMIC DATES SPRING 2017 (APRIL 10 – JUNE 23) ACADEMIC DATES July 25 - 29: Registration Period for October 3 - October 7: Add/Drop January 30 - February 3: Registration Period for April 10 - April 14: Add/Drop Upcoming Quarter Upcoming Quarter October 10 - November 11: Drop with a “W” April 17 - May 19: Drop with a “W” August 22: Tuition Deadline for Continuing Students February 27: Tuition Deadline for November 14 - December 9: Receive a letter grade May 22 - June 16: Receive a letter grade October 3: Quarter Begins Continuing Students November 11: Veterans Day, Campus Closed April 10: Quarter Begins November 24: Thanksgiving, Campus Closed May 29: Memorial Day, Campus Closed November 25: Campus Open, No classes. June 19 - 23: Exams Week December 12-16: Exams Week June 23: Quarter Ends December 16: Quarter Ends December 24 - 25: Christmas, Campus Closed December 26: Campus Open, No classes. -
Canadian Studies Center Canadian Studies Center
WINTER QUARTER REPORT 2009 CANADIANCANADIAN STUDIESSTUDIES CENTERCENTER HENRY M. JACKSON SCHOOL OF INTERNATIONAL STUDIES, UNIVERSITY OF WASHINGTON RESEARCH | TEACHING | OUTREACH ARCTIC SOVEREIGNTY: A TEN-WEEK CRASH COURSE BY PATRICK LENNON Patrick Lennon is a newly-minted alumnus of the Henry M. Jackson School of International Studies at the University of Washington. He was one of thirteen International Studies students enrolled in SIS 495C Task Force on Arctic Sovereignty, taught by Canadian Studies Center Associate Director, Nadine Fabbi, and Center Affiliate, Vincent Gallucci, Aquatic and Fishery Sciences. After graduation, Patrick plans to work and consider his options for graduate school. During this past fall quarter, I was along with Emily Epsten, to write faced with the question that awaits the chapter on North America and every student in International Studies the Arctic. Canada and the United – which Task Force did I want to States both have significant interests take? Task Force is a senior capstone in the Arctic, so Emily and I dove project where students work in into the wealth of information from groups to write a policy paper about governments, academics, and a current issue. When I looked at the non-governmental organizations list of choices, one jumped out at (NGOs). We chose to focus on the me immediately – Arctic sovereignty. Northwest Passage, which runs It was an issue that I didn’t even through Canada’s Arctic archipelago know existed, but it encompassed and is slowly opening to increased several of my interests, including shipping as ice cover melts. The US international law and human rights, and Canada dispute the legal status particularly the rights of indigenous of the Passage, so we thought it peoples. -
Les Mâitres Des Vielles, Booklet Text by Jean Christophe Maillard Die Geschichte Der Vielle À Roue (Drehleier Oder Radleier) I
Les mâitres des vielles, booklet text by Jean Christophe Maillard Die Geschichte der vielle à roue (Drehleier oder Radleier) im Frankreich des 18. Jahrhundert ist recht seltsam. Am Anfang ist sie ein verachtetes Intrument, gerade gut genug für musizierende Bettler. Blinde pflegten darauf auf den Straßen der großen Städte zu spielen, um das Mitleid der Passanten zu wecken. Sie war ein düsteres, monotones Instrument, das von armen und bedauernswerten Musikern gespielt wurde, und so entstand ein trauriges Bild, nachdem die Drehleier im 15. und 16. Jahrhundert noch von den Engeln gespielt wurde, die Kirchenfenster und -portale zierten. Im 17. Jahrhundert kam die vielle rasch in die Hände jener Bettler, die das Modell für Jacques Callot oder Georges de La Tour abgaben. 1636 bedauert Pater Mersenne in seiner Harmonie Universelle ganz offensichtlich, daß das Instrument so verkommen war; andere hingegen machten daraus einen Gegenstand der Verachtung, wobei sie eher die Musiker, die sich der vielle bedienten, als das Instrument selbst im Auge hatten. Lully hat den anstößigen, dafür aber desto pittoreskeren Gegenstand ein oder zweimal in seinen frühen Balletten eingesetzt, das allerdings vor allem, um den anekdotischen Effekt verschiedener seltsamer Szenen durch den unerwarteten Bühnenauftritt des Instruments noch zu verstärken. In den ersten Jahren des 18. Jahrhunderts kam es nach und nach zu einigen Veränderungen. Gewiß, die Drehleier blieb ein volkstümliches Instrument, doch daneben sah man sie sich in die Fêtes galantes eines Watteau oder Lancret hineinstehlen, wo sie von irgendwelchen Landleuten bedient wird, die offensichtlich von den Tänzern eingeladen wurden. Zur selben Zeit lieferten die beiden guten Musiker Jeannot und La Roze die ersten Unterhaltungen für die gehobene Klasse, indem sie neben den üblichen kleinen Tänzen auch komplexere Stücke auf der Drehleier spielten .. -
Tolono Library CD List
Tolono Library CD List CD# Title of CD Artist Category 1 MUCH AFRAID JARS OF CLAY CG CHRISTIAN/GOSPEL 2 FRESH HORSES GARTH BROOOKS CO COUNTRY 3 MI REFLEJO CHRISTINA AGUILERA PO POP 4 CONGRATULATIONS I'M SORRY GIN BLOSSOMS RO ROCK 5 PRIMARY COLORS SOUNDTRACK SO SOUNDTRACK 6 CHILDREN'S FAVORITES 3 DISNEY RECORDS CH CHILDREN 7 AUTOMATIC FOR THE PEOPLE R.E.M. AL ALTERNATIVE 8 LIVE AT THE ACROPOLIS YANNI IN INSTRUMENTAL 9 ROOTS AND WINGS JAMES BONAMY CO 10 NOTORIOUS CONFEDERATE RAILROAD CO 11 IV DIAMOND RIO CO 12 ALONE IN HIS PRESENCE CECE WINANS CG 13 BROWN SUGAR D'ANGELO RA RAP 14 WILD ANGELS MARTINA MCBRIDE CO 15 CMT PRESENTS MOST WANTED VOLUME 1 VARIOUS CO 16 LOUIS ARMSTRONG LOUIS ARMSTRONG JB JAZZ/BIG BAND 17 LOUIS ARMSTRONG & HIS HOT 5 & HOT 7 LOUIS ARMSTRONG JB 18 MARTINA MARTINA MCBRIDE CO 19 FREE AT LAST DC TALK CG 20 PLACIDO DOMINGO PLACIDO DOMINGO CL CLASSICAL 21 1979 SMASHING PUMPKINS RO ROCK 22 STEADY ON POINT OF GRACE CG 23 NEON BALLROOM SILVERCHAIR RO 24 LOVE LESSONS TRACY BYRD CO 26 YOU GOTTA LOVE THAT NEAL MCCOY CO 27 SHELTER GARY CHAPMAN CG 28 HAVE YOU FORGOTTEN WORLEY, DARRYL CO 29 A THOUSAND MEMORIES RHETT AKINS CO 30 HUNTER JENNIFER WARNES PO 31 UPFRONT DAVID SANBORN IN 32 TWO ROOMS ELTON JOHN & BERNIE TAUPIN RO 33 SEAL SEAL PO 34 FULL MOON FEVER TOM PETTY RO 35 JARS OF CLAY JARS OF CLAY CG 36 FAIRWEATHER JOHNSON HOOTIE AND THE BLOWFISH RO 37 A DAY IN THE LIFE ERIC BENET PO 38 IN THE MOOD FOR X-MAS MULTIPLE MUSICIANS HO HOLIDAY 39 GRUMPIER OLD MEN SOUNDTRACK SO 40 TO THE FAITHFUL DEPARTED CRANBERRIES PO 41 OLIVER AND COMPANY SOUNDTRACK SO 42 DOWN ON THE UPSIDE SOUND GARDEN RO 43 SONGS FOR THE ARISTOCATS DISNEY RECORDS CH 44 WHATCHA LOOKIN 4 KIRK FRANKLIN & THE FAMILY CG 45 PURE ATTRACTION KATHY TROCCOLI CG 46 Tolono Library CD List 47 BOBBY BOBBY BROWN RO 48 UNFORGETTABLE NATALIE COLE PO 49 HOMEBASE D.J. -
Mediterr-Dlf-De Neu.Pages
ensemble ONI WYTARS Improvisationswelten zwischen Orient und Okzident „Zehntausend Flüsse münden ins Meer, doch das Meer läuf nie über ...“ – Die Fluten von Nil und Tiber, die Quellwasser aus Kaukasus, Balkan und Pyrenäen, aus Alpen und Atlasgebirge mischen sich im Mitelmeer, „mare nostrum“ nannten es die Römer der Antike, „unser Meer“ – und doch gehört es allen. Mit hochkarätigen Gästen und exotischem Instrumen- tarium begibt sich Oni Wytars auf eine musikalische Reise durch Zeiten, Länder, Religionen und Traditio- nen, die zeigt, dass die Musik des Mitelmeerraumes, bei aller Vielfalt, auf einer gemeinsamen Basis beruht. Tarantella-Rhythmen aus Sizilien, Dudelsack-Melodien aus Osteuropa oder Spanien, griechische Lyra-Klänge oder türkisch-arabische Improvisationen lassen den Hörer eintauchen in einen mediterranen Klangkosmos. Oni Wytars beschreitet hier bewusst einen eigenen Weg - Frei von Zeit und Raum. Die Musik der byzantinischen Epoche trif auf Balkanmelodien der Gegenwart, spanische Cantigas des 14. Jahrhunderts werden kontrastiert mit Balladen sefardischer Juden, arabo-andalusische Klänge münden in ori- entalische Melodien von heute. Die virtuosen Improvisationen des Ensembles auf dieser Reise durch den mediterranen Raum sind weit mehr als ein Eintauchen in eine Zeit, in der die Musik aus ihren starren Strukturen ausbrach, vielmehr bringen sie uns in eine "zwischen den Noten stehenden" musikalischen Freiheit der Alten Musik näher. Die Verwandlung in den Klangräumen zwischen Gestern und Heute, zwischen Nah und Fern, wird unsere Gefühle -
Loreena Mckennitt in San Francisco by Jay Freeman
Loreena McKennitt in San Francisco by Jay Freeman Concert reviews are like sex scenes: It's no fun just to keep being told how good it was, or how kinky. We want all the details, and we want them slowly. Therefore, since Loreena McKennitt fans are already well familiar with her music, a review of other aspects of the process and esthetics of attending one of her concerts might be welcome to those who have not yet seen her perform. I am a newcomer to her work. In 1992, I tuned to a radio station playing "The Lady of Shalott", recognized that Tennyson had acquired an extraordinary interpreter, and was dismayed when the disc jockey did not name the artist after the song. It took most of a year to find someone who could identify the singer, but then only a few weeks more till I had all four Loreena McKennitt albums then extant. Thanks to the "old-ways" electronic mailing list, I knew the schedule of her spring 1994 tour well in advance -- proof positive that the "information highway" does from time to time contain information -- and was hounding the box-office agencies long before ticket release. For my zeal, I obtained front-row orchestra seats for myself and three friends. After weeks of eager anticipation, May 19 finally arrived, and we car-pooled into San Francisco. Getting to the Palace of Fine Arts is risky business: It's the last exit off US 101 before the Golden Gate Bridge. We avoided an unintended visit to Marin County, but San Francisco's web of one-way streets and no-left-turn signs defeated us temporarily. -
Mckennitt V Ash CA 14 Dec 2006
Neutral Citation Number: [2006] EWCA Civ 1714 Case No: A2/2006/0118 IN THE SUPREME COURT OF JUDICATURE COURT OF APPEAL (CIVIL DIVISION) ON APPEAL FROM THE HIGH COURT OF JUSTICE QUEEN’S BENCH DIVISION MR JUSTICE EADY [2005] EWHC 3003 (QB) Royal Courts of Justice Strand, London, WC2A 2LL Date: 14/12/2006 Before : LORD JUSTICE BUXTON LORD JUSTICE LATHAM and LORD JUSTICE LONGMORE - - - - - - - - - - - - - - - - - - - - - Between : Niema Ash and another Appellants - and - Loreena McKennitt and others Respondent - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Mr David Price (solicitor advocate) and Mr Korieh Duodu (instructed by Messrs David Price) for the Appellants Mr Desmond Browne QC and Mr David Sherborne (instructed by Messrs Carter-Ruck) for the Respondents Hearing dates : 21-23 November 2006 - - - - - - - - - - - - - - - - - - - - - Approved Judgment Judgment Approved by the court for handing down. McKennitt v Ash Lord Justice Buxton : Background 1. I set out no more than is necessary to understand the issues in the appeal. Much of what follows is taken largely verbatim from the judgment of Eady J, which was described by the constitution of this court that granted permission to appeal as detailed and careful. The case before Eady J was heard in private. The claim seeks to prevent the further publication of certain material, so this was a case where a public hearing would have defeated the object of that hearing, one of the cases for privacy that is provided by CPR 39.2(3)(a). The judge enjoined further publication of a significant part of the work complained of. He dealt with the problem of publicity in the course of litigation by (if I may respectfully say so, very skilfully), delivering an open judgment that described the objectionable material in general terms, but appended a confidential appendix in which the actual enjoined material was fully described. -
Orchestral Works He Had Played in His 35-Year Tenure in the Orchestra
KALEVI AHO ORCHESTRAL WORKS KALEVI AHO – a composer of contrasts and surprises alevi Aho (born in Finland in 1949) possesses one of today’s most exciting creative voices. A composer with one foot in the past and one in the pres- K ent, he combines influences from the most disparate sources and transforms them through his creative and emotional filter into something quite unique. He does not believe in complexity simply for the sake of it. His music always communicates directly with the listener, being simultaneously ‘easy’ yet ‘difficult’, but never banal, over-intellectual, introvert or aloof. In his own words, “A composer should write all sorts of works, so that something will always evoke an echo in people in different life situations. Music should come to the help of people in distress or give them an ex- perience of beauty.” Kalevi Aho is equally natural and unaffected in his symphonies and operas as he is in his intimate musical miniatures. Monumental landscapes painted in broad brush- strokes go hand in hand with delicate watercolours, serious artistic confessions and humour. The spectrum of human emotions is always wide, and he never lets his lis- teners off lightly. He poses questions and sows the seeds of thoughts and impulses that continue to germinate long after the last note has died away. “His slightly unassuming yet always kind appearance is vaguely reminiscent of Shosta- kovich, while his musical voice, with its pluralistic conception of the world and its intricate balance between the deliberately banal and the subtle, is undoubtedly closer to late Mahler.” It is easy to agree with this anonymous opinion of Kalevi Aho. -
Travels with Loreena Mckennitt Niema Ash CCDP Exam Notes , Patrick Ciccarelli, Robert Padjen, Todd Lammle, 2000, Computers, 281 Pages
Travels with Loreena Mckennitt, 2005, Niema Ash, 0955030102, 9780955030109, Purple Incorporated Press, 2005 DOWNLOAD http://bit.ly/158iTZ2 http://www.abebooks.com/servlet/SearchResults?sts=t&tn=Travels+with+Loreena+Mckennitt&x=51&y=16 DOWNLOAD http://is.gd/rZCVST http://thepiratebay.sx/torrent/73618217717812 http://bit.ly/1svHvzJ Touching Tibet , Niema Ash, 1999, Biography & Autobiography, 288 pages. An affectionate travelogue that conveys not only impressions of everyday life and descriptions of unique Tibetan customs and traditions but brings us Tibetan history, politics. Margaret Thatcher A Tribute in Words and Pictures, Iain Dale, 2005, Biography & Autobiography, 287 pages. Presents a collection of personal remembrances and anecdotes about Great Britain's first woman Prime Minister.. Righteousness , Patricia Tye, Feb 11, 2009, Fiction, . Talking Politics Political Conversations with Iain Dale, Iain Dale, 2010, Great Britain, 386 pages. Over the last two and a half years Iain Dale has interviewed more than 20 leading political figures for Total Politics magazine. Using the In conversationA format, his unique. How to Change the World Marx and Marxism, 1840-2011, Eric J. Hobsbawm, Jan 1, 2011, Communism, 470 pages. * Brilliant and incisive, HOW TO CHANGE THE WORLD leaves us in no doubt that Karl Marx is as much a thinker for our century as he was for the preceding two. The Last Supper , Leonardo da Vinci, Federico Castelli Gattinara, 2006, Art, 21 pages. This famous fresco by Leonardo da Vinci was painted on the wall of the Santa Maria delle Grazie in Milan, Italy. A beautiful reproduction of the memorable Italian Renaissance. Operette , NoГ«l Coward, 1938, English drama, 133 pages. -
COURSE CATALOG 2016-2017 Academic Calendar
COURSE CATALOG 2016-2017 Academic Calendar . 4 Academic Programs . 46 About LACM . .. 6 Performance LACM Educational Programs . 8 Bass . 46 CONTENTS Administration . 10 Brass & Woodwind . .. 52 Admissions . 11 Drums . .. 58 Tuition & Fees . 13 Guitar . 64 Financial Aid . 18 Vocal. 70 Registrar . 22 Music Composition International Student Services . 26 Songwriting . 76 Academic Policies & Procedures . 27 Music Production Student Life . 30 Composing for Visual Media . 82 Career Services . .. 32 Music Producing & Recording . 88 Campus Facilities – Security. 33 Music Industry Rules of Conduct & Expectations . 35 Music Business . 94 Health Policies . 36 Course Descriptions . 100 Grievance Policy & Procedures . .. 39 Department Chairs & Faculty Biographies . 132 Change of Student Status Policies & Procedures . 41 Collegiate Articulation & Transfer Agreements . 44 FALL 2016 (OCTOBER 3 – DECEMBER 16) ACADEMIC DATES SPRING 2017 (APRIL 10 – JUNE 23) ACADEMIC DATES July 25 - 29: Registration Period for October 3 - October 7: Add/Drop January 30 - February 3: Registration Period for April 10 - April 14: Add/Drop Upcoming Quarter Upcoming Quarter October 10 - November 11: Drop with a “W” April 17 - May 19: Drop with a “W” August 22: Tuition Deadline for Continuing Students February 27: Tuition Deadline for November 14 - December 9: Receive a letter grade May 22 - June 16: Receive a letter grade October 3: Quarter Begins Continuing Students November 11: Veterans Day, Campus Closed April 10: Quarter Begins November 24: Thanksgiving, Campus Closed May 29: Memorial Day, Campus Closed November 25: Campus Open, No classes. June 19 - 23: Exams Week December 12-16: Exams Week June 23: Quarter Ends December 16: Quarter Ends December 24 - 25: Christmas, Campus Closed December 26: Campus Open, No classes. -
Quinlan Road Sheet Music Order Form - Canada, USA and International
Apr 18-11 Quinlan Road Sheet Music Order Form - Canada, USA and International . Quinlan Road Ltd. Phone: 1-519-273-3876 Fax: 1-519-273-4553 P.O. Box 933, Stratford ON Canada N5A 7M3 Phone: 1-800-361-7959 Fax: 1-800-882-0833 Note: Each QR Sheet Music piece listed below may be purchased for $3.95CDN. Please note that the price is subject to change without notice. We are sorry but there is no volume discount. Parallel Dreams A Midwinter Night’s Dream The Visit Ancient Pines Breton Carol All Souls Night Annachie Gordon Coventry Carol Between The Shadows Breaking the Silence Emmanuel* Bonny Portmore Dickens’ Dublin (The Palace) Gloucestershire Wassail* Courtyard Lullaby Huron ‘Beltane’ Fire Dance God Rest Ye Merry, Gentlemen Cymbeline Moon Cradle Good King Wenceslas Greensleeves Samain Night In the Bleak Midwinter Lady of Shalott Standing Stones Noel Nouvelet Old Ways Seeds of Love Tango to Evora Elemental Snow Blacksmith The Holly and the Ivy To Drive The Cold Winter Away Carrighfergus The Seven Rejoices of Mary Balulalow* Banks of Claudy Un Flambeau, Jeannette, Isabelle Banquet Hall Come by the Hills Let Us the Infant Greet Kellswater An Ancient Muse In Praise of Christmas The Lark in the Clear Air Beneath a Phrygian Sky The King* Lullaby Caravanserai Let All That are to Mirth Inclined She Moved Through the Fair English Ladye and the Knight The Seasons Stolen Child Gates of Istanbul Snow Kecharitomene The Stockford Carol Never-Ending Road The Wexford Carol Penelope’s Song Sacred Shabbat The Book of Secrets Dante’s Prayer All songs now include harp notations Highwayman with the exception of those La Serenissima marked with an asterisk (*). -
Humanism As Symphonic Fuel
MATS LILJEROOS constitutes a stylistically independent project. The writer is a musicologist, freelance writer on music and music critic of the daily newspaper Hufvudstadsbladet. The Sixth Symphony had explored one avenue to the end and it was time to fi nd a new angle on the symphonic problem. AN ABSOLUTE SYMPHONIC Humanism as symphonic fuel AESTHETIC Kalevi Aho’s music reaches out into new territories If the ”abstract intrigue” so prominent in Aho’s mainly non-programmatic music is absent in the programmatic, post-modernist Seventh Sym- phony (virtually unique among the Aho sympho- nies), then Aho is back on home ground in the extremely demanding Piano Concerto and the Imagine a steep mountainside in seances via evocative tone paintings of the mid- OPERATIC SATIRE WITH massive Eighth Symphony (1993) for organ and the heart of myth-drenched Finnish winter darkness and the midnight sun to a raging A CRITICAL BARB orchestra. In the Piano Concerto he continues storm in the mountains, in four movements of to tackle the individual-collective relationship Lapland. In the background a majestic very varied character. The Neoclassical and at times tonal traits of the and pursues his thesis (with the soloist to guide fell, in the foreground a deep valley fi rst period were replaced by a more modernis- him on his journey) of the abstract intrigue to STRIKING IDIOM tic approach in the structurally and emotionally unprecedented heights. The same tendency is against a backdrop of dusky forests intricate Fifth Symphony (1975–76), which is al- apparent in the broadly-conceived Eighth Sym- and bare mountains.