DOCSLIB.ORG

Music: Research Project (SCQF Level 8)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music: Research Project (SCQF Level 8) Higher National Unit Specification General information Unit title: Music: Research Project (SCQF level 8) Unit code: J0N0 35 Superclass: AA Publication date: August 2018 Source: Scottish Qualifications Authority Version: 02 Unit purpose This unit is designed for learners to explore forms, styles or genres of music in which they have a personal interest within the context of an academic project. Suitable topics may include forms of world music, historical genres or simply styles of special interest. This unit is aimed at learners who wish to develop their understanding of music and/or wish to undertake further study at higher education level. Outcomes On successful completion of the unit the learner will be able to: 1 Select and research musical, social and cultural features of a chosen genre or style. 2 Present and reference a music research project. 3 Demonstrate musical concepts from research. Credit points and level 1 Higher National Unit credit at SCQF level 8 (8 SCQF credit points at SCQF level 8) Recommended entry to the unit While entry is at the discretion of the centre, it would be beneficial if learners have completed, or are working towards the Music Theory (SCQF level 7), Music History: Genres, Record Labels and Artists (SCQF level 7) and Music First Study: Instrument (SCQF level 7) units. J0N0 35, Music: Research Project (SCQF level 8) 1 Higher National Unit Specification: General information (cont) Unit title: Music: Research Project (SCQF level 8) Core Skills Achievement of this Unit gives automatic certification of the following Core Skills component: Complete Core Skill None Core Skill component Planning and Organising at SCQF level 6 There are also opportunities to develop aspects of Core Skills which are highlighted in the Support Notes of this Unit specification. Context for delivery This is an optional unit in the framework for HN Music. It is recommended that it should be taught and assessed within the subject area of the group award to which it contributes. The Assessment Support Pack (ASP) for this unit provides assessment and marking guidelines that exemplify the national standard for achievement. It is a valid, reliable and practicable assessment. Centres wishing to develop their own assessments should refer to the ASP to ensure a comparable standard. A list of existing ASPs is available to download from SQA’s website (http://www.sqa.org.uk/sqa/46233.2769.html). For learners undertaking the HN Music Group Award the assessments for this unit may be integrated with: J01K 34 Music First Study: Instrument (SCQF level 7) J01L 34 Music Theory (SCQF level 7) J01R 35 Music First Study: Instrument (SCQF level 8) J0MX 35 Music Theory (SCQF level 8) Equality and inclusion This unit specification has been designed to ensure that there are no unnecessary barriers to learning or assessment. The individual needs of learners should be taken into account when planning learning experiences, selecting assessment methods or considering alternative evidence. Further advice can be found on our website www.sqa.org.uk/assessmentarrangements. J0N0 35, Music: Research Project (SCQF level 8) 2 Higher National Unit Specification: Statement of standards Unit title: Music Research Project (SCQF level 8) Acceptable performance in this unit will be the satisfactory achievement of the standards set out in this part of the unit specification. All sections of the statement of standards are mandatory and cannot be altered without reference to SQA. Outcome 1 Select and research musical, social and cultural features of a chosen genre or style. Knowledge and/or skills Locating and selecting relevant complex information Musical, social and cultural features of the chosen genre or style Significant developments Contribution of significant exponents Referencing for research Outcome 2 Present and reference a music research project. Knowledge and/or skills Organising and structuring presentation Effective musical material and visual aids Presentation of musical, social and cultural elements Explanation of musical features Using evidence to support presentation Outcome 3 Demonstrate musical concepts from research. Knowledge and/or skills Technique appropriate to instrument Sensitivity to chosen music Stylistic features of chosen music Composers’ intentions J0N0 35, Music: Research Project (SCQF level 8) 3 Higher National Unit Specification: Statement of standards (cont) Unit title: Music Research Project (SCQF level 8) Evidence requirements for this unit Outcome 1 Learners will need to provide evidence to demonstrate their knowledge and/or skills by showing that they can: select a style or genre of music. research and discuss musical, social and cultural features of a chosen genre or style. research and discuss number of significant developments within the chosen style or genre. research the contribution of significant exponents of the chosen style or genre. reference research. Written and/or oral evidence gathered under open-book conditions should be retained. Outcome 1 will assess the preparation for Outcome 2 and could take the form of a portfolio or comprehensive notes for a presentation. Outcome 2 Learners will need to provide evidence to demonstrate their knowledge and/or skills by showing that they can: present research on chosen genre/style of music. structure a presentation effectively. present information effectively on musical, social and cultural elements of the genre/style of music. explain the key musical features found in the genre/style of music. effectively use visual and musical material to support elements and features. Written and/or oral evidence gathered under open-book conditions should be retained along with an assessor’s observation checklist. Video evidence of the presentation should be retained along with a copy of the presentation which may contain links to audio excerpts. Outcome 3 Learners will need to provide evidence to demonstrate their knowledge and/or skills showing that they can: demonstrate the stylistic features of the chosen style/genre of music. demonstrate concepts appropriate to the composer’s intentions. perform the stylistic features of the chosen style/genre of music. use appropriate technique for the chosen style/genre of music. J0N0 35, Music: Research Project (SCQF level 8) 4 Higher National Unit Specification: Statement of standards (cont) Unit title: Music Research Project (SCQF level 8) Performance evidence will be gathered under open-book conditions and should be retained along with an assessor’s observation checklist and high-quality video and audio recordings. Outcome 3 will demonstrate the musical and stylistic features through performance by the learner. This outcome can be assessed individually however it will need to follow the information and detail presented in Outcome 2. The performances can take place individually or as part of an ensemble. A successful performance will include a minimum of four concepts and the total duration will be approximately 8–10 minutes. J0N0 35, Music: Research Project (SCQF level 8) 5 Higher National Unit Support Notes Unit title: Music Research Project (SCQF level 8) Unit support notes are offered as guidance and are not mandatory. While the exact time allocated to this unit is at the discretion of the centre, the notional design length is 40 hours. Guidance on the content and context for this unit It is intended by undertaking this unit that learners will gain experience of research techniques, presenting evidence and performance skills. Although the unit can be stand alone, it is expected that the unit can build on learner’s knowledge and skills from undertaking the Music History: Genres, Record Labels and Artists (SCQF level 7) or Music History (SCQF level 8) units. Learners will be expected to demonstrate the ability to research and synthesize information then present the structured information and perform musical features. There are three outcomes for this unit. Outcome 1 examines the learner’s ability to research, identify and detail relevant information regarding a specific musical genre or style. The learner will prepare written notes or a portfolio with appropriate references for the information to prepare for a presentation on the topic. As such the learner could have a plethora of information which can be refined to the chosen detail to present for Outcome 2. Outcome 2 examines the relevant information through the form of a presentation which will include relevant audio and visual material to support the information being presented. Outcome 3 examines the learner’s ability to perform specific features of the chosen style/genre that the learner has identified. The unit is aligned to elements of the Creative and Cultural Skillset, National Occupational Standards (NOS): CCSMPR24 Perform music CCSMPR34 Develop your musicality CCSMPR42 Sight read music CCSMPR39 Apply music theory knowledge CCSMPR28 Perform in a musical ensemble CCSCA19 Use presentation software J0N0 35, Music: Research Project (SCQF level 8) 6 Higher National Unit Support Notes (cont) Unit title: Music Research Project (SCQF level 8) Guidance on approaches to delivery of this unit Learners will choose a style or genre of music. It would be useful for learners to be exposed to a variety of styles and genres with which they are unfamiliar and which contain sufficient scope for research. It may be useful for the tutor to provide a pool of genres or styles from which the learner selects one; this could ensure that any genres or styles that the learner chooses is comparable in scope. It would be expected that the environment for presentation and performance is the same or of a comparable standard for all learners and that any presentation and performance evidence be filmed on a high-quality format. The unit itself is a mixture of written and practical tasks. Leaners should be encouraged to research effectively and reference thoroughly prior to moving on to the presentation and performance. The unit may work well utilising team teaching methods, with one tutor engaging learners on the written and research aspects and another working on the performance elements on the instrument of choice.
Load more

Recommended publications
  • Thinking Plague a History Of
    What the press has said about: THINKING PLAGUE A HISTORY OF MADNESS CUNEIFORM 2003 lineup: Mike Johnson (guitars & such), Deborah Perry (singing), Dave Willey (bass guitar & accordions), David Shamrock (drums & percussion), Mark Harris (saxes, clarinet, flute), Matt Mitchell (piano, harmonium, synths) - Guests: Kent McLagan (acoustic bass), Jean Harrison (fiddle), Ron Miles (trumpet), David Kerman (drums and percussion), Leslie Jordan (voice), Mark McCoin (samples and various exotica) “It has been 20 years since Rock In Opposition ceased to exist as a movement in any official sense… Nevertheless, at its best this music can be stimulating and vital. It’s only RIO, but I like it. Carrying the torch for these avant Progressive refuseniks are Thinking Plague, part of a stateside Cow-inspired contingent including 5uu’s and Motor Totemist Guild. These groups have…produced some extraordinary work… Their music eschews the salon woodwinds and cellos of the European groups for a more traditional electric palette, and its driving, whirlwind climaxes show a marked influence of King Crimson and Yes, names to make their RIO granddaddies run screaming from the room. …this new album finds the group’s main writer Mike Johnson in [an] apocalyptic mood, layering the pale vocals of Deborah Perry into a huge choir of doom, her exquisitely twisted harmonies spinning tales of war, despair and redemption as the music becomes audaciously, perhaps absurdly, complex. … Thinking Plague are exciting and ridiculous in equal measure, as good Prog rock should be.” - Keith Moliné, Wire, Issue 239, January 2004 “Thinking Plague formed in 1983…after guitarist and main composer Mike Johnson answered a notice posted by Bob Drake for a guitarist into “Henry Cow, Yes, etc.” …these initial influences are still prominent in the group’s sound - along with King Crimson, Stravinsky, Ligeti, Art Bears, and Univers Zero.
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • +Recjan-Mar 2017
    PARKS Jan-Mar 2017 +RECGUIDE SAMMAMISH PARKS +REC GUIDE Jan-Mar 2017 www.sammamish.us 425-295-0585 Tell Us What You Think We want to hear your thoughts and opinions on this recreation guide. Is this helpful information? What would you like to see in the next publication? Email us at [email protected] and share your thoughts and ideas. This Recreation Guide contains information about City of Sammamish programs, as well as programs offered by other organizations.The City accepts no liability or responsibility for errors contained in the information provided or for the programs of any other organization. City Council Members Don Gerend, Mayor What’s Inside Ramiro Valderrama-Aramayo, Deputy Mayor Tom Hornish Event Opportunities 3 Kathy Huckabay Bob Keller Community Events 4-5 Christie Malchow Tom Odell Human Services Providers 6 Parks Commission Members Volunteer 7 Hank Klein, Chair Cheryl Wagner, Vice Chair Sammamish YMCA 8 Doug Eglington Sid Gupta Boys & Girls Club 9 Stephanie Hibner Recreation Classes 10 Loreen Leo Katherine Low Recreation Providers 11 Sheila Sappington Nancy Way Facility Rentals 12-13 Staff Parks Amenities 14 Lyman Howard, City Manager Jessi Bon, Deputy City Manager Parks Map 15 Angie Feser, Parks Director Kyle Endelman, Deputy Director Parks Projects 16 Sevda Baran, Project Manager Susan Cezar, Special Projects Manager Allison Gubata, Community Services Coordinator On the cover Lynne Handlos, Recreation Coordinator Sammamish Arts Commission celebrates the Kellye Hilde, Parks Project Manager installation of a human-size bird nest at the Janie Jackson, Administrative Assistant Big Rock Park Grand Opening. The nest was Elby Jones, Volunteer Coordinator built by volunteers as part of the Rookery Mike Keller, Parks Maintenance Supervisor Nest Making Project led by Karen White.
    [Show full text]
  • Expedition Evan M
    Washington University in St. Louis Washington University Open Scholarship Graduate School of Art Theses Graduate School of Art Spring 5-16-2014 Expedition Evan M. Crankshaw Washington University in St Louis, [email protected] Follow this and additional works at: https://openscholarship.wustl.edu/samfox_art_etds Part of the Art and Design Commons Recommended Citation Crankshaw, Evan M., "Expedition" (2014). Graduate School of Art Theses. ETD 19. https://doi.org/10.7936/K7MS3QN3. This Thesis is brought to you for free and open access by the Graduate School of Art at Washington University Open Scholarship. It has been accepted for inclusion in Graduate School of Art Theses by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. Expedition by EVan Crankshaw 1 Contents Abstract.........................................................................................................3 Part One: Exotic.......................................................................................4 1. “Exotic”......................................................................................................5 2. The Exot.....................................................................................................6 3. Time and the Primitive..................................................................................9 4. A New Exot...............................................................................................13 Part Two: Exotica...................................................................................15
    [Show full text]
  • The History of Rock Music - the Nineties
    The History of Rock Music - The Nineties The History of Rock Music: 1995-2001 Drum'n'bass, trip-hop, glitch music History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Post-post-rock (These are excerpts from my book "A History of Rock and Dance Music") The Louisville alumni 1995-97 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The Squirrel Bait and Rodan genealogies continued to dominate Kentucky's and Chicago's post-rock scene during the 1990s. Half of Rodan, i.e. Tara Jane O'Neil (now on vocals and guitar) and Kevin Coultas, formed Sonora Pine with keyboardist and guitarist Sean Meadows, violinist Samara Lubelski and pianist Rachel Grimes. Their debut album, Sonora Pine (1996), basically applied Rodan's aesthetics to the format of the folk lullaby. Another member of Rodan, guitarist Jeff Mueller, formed June Of 44 (11), a sort of supergroup comprising Sonora Pine's guitarist Sean Meadows, Codeine's drummer and keyboardist Doug Scharin, and bassist and trumpet player Fred Erskine. Engine Takes To The Water (1995) signaled the evolution of "slo-core" towards a coldly neurotic form, which achieved a hypnotic and catatonic tone, besides a classic austerity, on the mini-album Tropics And Meridians (1996). Sustained by abrasive and inconclusive guitar doodling, mutant rhythm and off-key counterpoint of violin and trumpet, Four Great Points (1998) metabolized dub, raga, jazz, pop in a theater of calculated gestures.
    [Show full text]
  • University of Alberta 'Indo-Jazz Fusion'
    University of Alberta ‘Indo-Jazz Fusion’: Jazz and Karnatak Music in Contact by Tanya Kalmanovitch A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music Edmonton, Alberta Spring 2008 Abstract An inherently intercultural music, jazz presents a unique entry in the catalog of interactions between Indian music and the west. This dissertation is situated in a line of recent accounts that reappraise the period of Western colonial hegemony in India by tracing a complex continuum of historical and musical events over three centuries. It charts the historical routes by which jazz and Karnatak music have come into contact in the twentieth and twenty-first centuries, both in India and abroad. It presents a detailed account of the history of jazz in India, and Indian music in jazz, and examines jazz’s contact with Karnatak music in three contexts—jazz pedagogy, intercultural collaboration, and the Indian diaspora in the United States—illustrating the musical, social and performative spaces in which these musics come into contact, and describing the specific musical and social practices, and political and social institutions that support this activity. Case studies in this dissertation include an educational exchange between the Jazz and Contemporary Music Program of the New School University (New York, NY) and the Brhaddhvani Research and Training Centre for Musics of the World (Chennai, India), directed by the author in December 2003 – January 2004; a 2001 collaboration between Irish jazz/traditional band Khanda and the Karnataka College of Percussion; and analyses of recent recordings by pianist Vijay Iyer, saxophonist Rudresh Mahanthappa and drummer Ravish Momin.
    [Show full text]
  • "Ersatz As the Day Is Long": Japanese Popular
    “ERSATZ AS THE DAY IS LONG”: JAPANESE POPULAR MUSIC, THE STRUGGLE FOR AUTHNETICITY, AND COLD WAR ORIENTALISM Robyn P. Perry A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2021 Committee: Walter Grunden, Advisor Jeremy Wallach © 2021 Robyn P. Perry All Rights Reserve iii ABSTRACT Walter Grunden, Advisor During the Allied Occupation of Japan, Supreme Commander for the Allied Powers (SCAP) Douglas MacArthur set forth on a mission to Americanize Japan. One way SCAP decided this could be done was by utilizing forms of media that were already popular in Japan, particularly the radio. The Far East Network (FEN), a network of American military radio and television stations in Japan, Okinawa, Guam, and the Philippines, began to broadcast American country & western music. By the early 1950s, Japanese country & western ensembles would begin to form, which initiated the evolution toward modern J-pop. During the first two decades of the Cold War, performers of various postwar subgenres of early Japanese rock (or J-rock), including country & western, rockabilly, kayōkyoku, eleki, and Group Sounds, would attempt to break into markets in the West. While some of these performers floundered, others were able to walk side-by-side with several Western greats or even become stars in their own right, such as when Kyu Sakamoto produced a number one hit in the United States with his “Sukiyaki” in 1963. The way that these Japanese popular music performers were perceived in the West, primarily in the United States, was rooted in centuries of Orientalist preconceptions about Japanese people, Japanese culture, and Japan that had recently been recalibrated to reflect the ethos of the Cold War.
    [Show full text]
  • Mr. Ho's Orchestrotica (Quintet)
    Mr. Ho’s Orchestrotica Why Present the Quintet Formation? Are you wondering "why this, now"? Do you need teaching artists who offer a unique array of unique educational Are you looking for innovative music, programs and the talent to deliver them but also need to make the show in an engaging way? accessible to your audience? Do you appreciate artists who are Have you sat through too many "heady" responsive, communicate clearly from chamber or jazz concerts where the booking to backstage, and can provide artists don’t connect with your you with the marketing support the community or even speak to them? concert needs to be successful? If so, here are (4) reasons the Quintet might be great! A Story-Driven Method for Audience Connection Storytelling is one of the oldest traditions, and the brain literally lights up and responds differently to stories. As such, the Orchestrotica elegantly weaves narratives into the concert, enabling deeper connections between the artist, audience, and music. Storytelling removes unnecessary barriers and is probably the number one thing audiences repeatedly say they love about the Quintet’s performances. New Sounds, but Accessible If you're looking for "traditional," this is not the group for your series. This is for presenters looking to present "what's new." In fact, the music is so unique in its blending that it has been presented in chamber, contemporary/new music, jazz, and world music series, and the instrumentation is completely unique Seasoned Musicians and Reliable Professionals The performers are all professionally trained musicians who have performed with ensembles ranging from the LA Philharmonic and Boston Symphony Orchestra to Donna Summer, and national Broadway tours.
    [Show full text]
  • 16-0216 Program
    NEC Contemporary Improvisation Department presents This organization is supported in part by the Massachusetts Cultural Council, a state agency, Exotica and by a grant from the Boston Cultural Council, curated by Anthony Coleman a local agency funded by the Massachusetts Cultural Council and administrated by the Mayor’s Office of Arts, Tourism, and Special Events.. Unauthorized use of cameras and tape recorders is not allowed in Jordan Hall. Please switch off cellular phones, pagers, and watch alarms. Assistive Listening Devices are available for Jordan Hall concerts at the coatroom, or by contacting the Head Usher or House Manager on duty. necmusic.edu/cloud Connect with NEC and our music on Facebook, Twitter, and beyond, and sign up for e-mail news bulletins. Tuesday, February 16, 2016 7:30 p.m. NEC’s Jordan Hall necmusic.edu/concerts Why Exotica? CI Chamber Music Ensemble Oh those Greeks! They knew how to how to live. What is required is to stop Zachary Mayer, baritone saxophone courageously at the surface, the fold, the skin, to adore appearance, to believe in Lily Honigberg, Rafael Natan, Eden MacAdam-Somer, Pilar Zorro-Leyva, forms, tones, words, in the whole Olympus of appearance. Those Greeks were violin superficial-- out of profundity . – Preface to The Gay Science - Nietzsche Dylan McKinstry, Daniel Bitrán, guitar Nicholas Castañeda, tiple We have an amazing and very interesting situation here in the Contem- Carlos Pino, double bass porary Improvisation Department: our students come from so many Ana López, Seyun Park, maracas backgrounds, and our curriculum isn’t genre-based, so we have the DoYeon Kim, Jinhe Jung, guacharaca delightful yet perplexing problem where a word like Improvisation (for Rubin Holhbein, bass drum example) can have many definitions and meanings.
    [Show full text]
  • Defining the Role of Drumset Performance in Contemporary Music
    Defining the Role of Drumset Performance in Contemporary Music Benjamin N. Reimer Schulich School of Music McGill University Montreal, Quebec December, 2013 A doctoral paper submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Music in Performance Studies © Benjamin N. Reimer 2013 Abstract Traditionally considered an instrument used primarily for improvisation in popular music, the drumset has emerged in contemporary music as a solo instrument with prescribed notation. While there is a growing interest in this repertoire today, composers have drawn inspiration from the drumset since the early developmental stages of the instrument itself in the early twentieth century. In the context of popular music, generations of drummers have explored new musical and technical possibilities of drumset performance. It is this history that remains linked to the drumset even when crossing over into the context of contemporary composition. Drummers in popular music have influenced the musical content, the approach to performance, and even our preconceived ideas of the musical and technical potential of this instrument when it is used in contemporary art music. This thesis presents four unique approaches to composition identified and defined as the Tourist, the Snapshot, the Non-idiomatic and the Confluent. Although many works are discussed, the chapters focus on Darius Milhaud’s La Création du Monde, Christopher Rouse’s Bonham, James Dillon’s Ti.Re.Ti.Ke.Dha and Nicole Lizée’s The Man with the Golden Arms. The purpose is to highlight new performance techniques and musical possibilities for drumset performance used in contemporary art music, while identifying the composed repertoire’s links to traditional and fundamental drumset practices.
    [Show full text]
  • Salute to Logan Martin Lakeside Exotica
    Logan Martin Homes Edition Lakeside LivingMarch 2015 Lakeside Exotica Realtor brings the world to her home Salute to Logan Martin Lake’s virtues lauded at regional expo March Contents 12 28 Logan Martin Homes Edition FEATURES Logan Martin Lake’s Lakeside Hometown Radio Station Has 8 A New Home on the FM Dial 26 Living WFHK The River changed frequencies last month to 94.1..... By Buddy Roberts Logan Martin was Saluted at the Covering life along Wild Game on the Menu 2015 Birmingham Boat Show Logan Martin Lake since 1994 26 See photos from the event by Jerry Martin at AWF Cook-Off 12 Swordfish, quail, venison dishes win An Eye for Potential awards..... By Elsie Hodnett Cosmopolitan Realtor Sylvia Bentley shows off Publisher Editor ‘exoctic’ lakeside home..... By Buddy Roberts Robert Jackson Anthony Cook Davis Bait, Industries Support 28 Youth Fishing Lakeside Editor Distribution 22 Shaky lure creator considers it an Hook, Line & Sinker Buddy Roberts Gerald Reed important investment..... By Buddy Roberts 6 Meet Me by the Lake Advertising Director Art Direction Logan Martin Homes Edition 37 Pam Adamson Jennifer Mashburn From The Reader’s Eye 38 Lakeside Photography Graphic Design LivingMarch 2015 Community Calendar 39 Bob Crisp Fay Denton-Belcher Lakeside Jennifer Mashburn Exotica Writers Geraldine Osburn Realtor brings the Logan Martin Homes world to her home 45 Elsie Hodnett Buddy Roberts Lakeside Agent Spotlight 47 Like us on Facebook and follow us Salute to Logan Martin on Twitter and Instagram. A product of Lake’s virtues lauded at regional expo Facebook: Lakeside Living Magazine Twitter: @Lakeside_Living The Daily Home On the cover: Late winter fishing on Logan Instagram: Lakeside_Living Talladega | P.O.
    [Show full text]
  • Kevin Holm-Hudson, Ed., Progressive Rock Reconsidered (New York and London: Routledge, 2002), ISBN 0 8153 3714 0 (Hb), 0 8153 3715 9 (Pb)
    twentieth century music http://journals.cambridge.org/TCM Additional services for twentieth century music: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Mark Carroll, Music and Ideology in Cold War Europe (Cambridge: Cambridge University Press, 2003), ISBN 0 521 82072 3 (hb) Stephen Walsh twentieth century music / Volume 1 / Issue 02 / September 2004, pp 308 - 314 DOI: 10.1017/S147857220525017X, Published online: 22 April 2005 Link to this article: http://journals.cambridge.org/abstract_S147857220525017X How to cite this article: Stephen Walsh (2004). twentieth century music, 1, pp 308-314 doi:10.1017/S147857220525017X Request Permissions : Click here Downloaded from http://journals.cambridge.org/TCM, IP address: 131.251.254.13 on 25 Feb 2014 REVIEWS twentieth-century music 1/2, 285–314 © 2004 Cambridge University Press doi:10.1017/S1478572205210174 Printed in the United Kingdom Kevin Holm-Hudson, ed., Progressive Rock Reconsidered (New York and London: Routledge, 2002), ISBN 0 8153 3714 0 (hb), 0 8153 3715 9 (pb) Three decades on from its creative zenith, so-called ‘progressive’ rock remains probably the most critically maligned and misunderstood genre in the history of rock music. During progressive rock’s heyday in 1969–77 British groups like Yes, Genesis, Emerson, Lake & Palmer (ELP), King Crimson, and Gentle Giant, along with their later North American cousins, like Kansas and Rush, sought to blur the distinction between art and popular music, crafting large-scale pieces – often in multiple ‘movements’ – in which the harmonic, metric, and formal complexities seemed to share more of a stylistic affinity with, say, a symphonic work by Liszt or Holst than with a typical three- or four-minute pop song.1 Critics at the time differed widely in their opinions of progressive rock, but most agreed that it was not ‘authentic’ rock music.
    [Show full text]