Inside: I Ring for Peace-The Bells at Stanford Stanford and Australia
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2013-14 Arts Report (Pdf)
2013-14 Arts Explosion Rocks Stanford 1 A Private Art Collection Becomes a Stanford Collection 2-3 Curricular Innovation 4-5 Interdisciplinary Dexterity 6-7 Anatomy of an Exhibition 8 Visual Thinkers 9 Renaissance Man 10-11 Festival Jérôme Bel 12 The Next Bing Thing 13 Sound Pioneer 14 Politicians, Producers & Directors 15 Theater Innovators 16 Museums & Performance Organizations 17 Looking Ahead 17 Academic Arts Departments & Programs 18-19 “Arts Explosion Rocks Stanford.” Arts Centers, Institutes & Resources 20-21 Student Arts Groups 22-23 That was the headline of a May 2014 article in the San Francisco Chronicle – and it’s a great descrip- Fashion at Stanford 24 tion of the experience of the arts at Stanford in 2013-14. Honors in the Arts: The Inaugural Year 25 Support for Stanford Arts 26 It was a year of firsts: the first full season in Bing Concert Hall, the first year of two innovative curric- 2013-14 Arts Advisory Council 27 ular programs – ITALIC and Honors in the Arts - and the first year of the new “Creative Expression” Faculty & Staff 27 breadth requirement (see p. 4). Stanford Arts District 28 BING CONCERT HALL’S It was also – perhaps most prominently – a year of planning and breathless anticipation of the opening GUNN ATRIUM of the Anderson Collection at Stanford University, which took place to great fanfare in September 2014. In the midst of it all there were exciting multidisciplinary exhibitions at the Cantor Arts Center, amaz- ing student projects and performances throughout campus, and a host of visits by artists including Carrie Mae Weems, Tony Kushner, and Annie Leibovitz. -
The Stanford Daily an Independent Newspaper
The Stanford Daily An Independent Newspaper VOLUME 199, NUMBER 36 99th YEAR MONDAY, APRIL 15, 1991 Electronic mail message may be bylaws violation By Howard Libit Staff writer Greek issues Over the weekend, campaign violations seemed to be the theme of the Council of Presidents and addressed in ASSU Senate races. Hearings offi- cer Jason Moore COP debate said the elec- By MirandaDoyle tions commis- Staff writer sion will look into vio- possible Three Council of Presi- lations by Peo- dents slates debated at the pie's Platform Sigma house last candidatesand their supporters of Kappa night, answering questions several election bylaws that ranging from policies revolve around campaigning toward Greek organizations through electronic mail. to the scope ofASSU Senate Students First also complained debate. about the defacing and removing Beth of their fliers. The elec- Morgan, a Students of some First COP said will be held Wednesday and candidate, tion her slate plans to "fight for Thursday. new houses to be built" for Senate candidate Nawwar Kas- senate fraternities and work on giv- rawi, currently a associate, ing the Interfraternity sent messages yesterday morning Council and the Intersoror- to more than 2,000 students via ity Council more input in electronic urging support for mail, decisions concerning frater- the People's Platform COP Rajiv Chandrasekaran — Daily "Stand and Deliver" senate nities and sororities. First lady Barbara Bush was one of many celebrities attending this weekend's opening ceremonies for the Lucile Salter Packard Chil- slate, member ofthe candidates and several special fee MaeLee, a dren's Hospital. She took time out from a tour of the hospital to meet two patients, Joshua Evans, 9, and Shannon Brace, 4. -
Stanford Tape Collection ARS.0112
http://oac.cdlib.org/findaid/ark:/13030/kt8x0nf8dx No online items Guide to the Stanford Tape Collection ARS.0112 Finding aid prepared by Franz Kunst Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] © 2011 The Board of Trustees of Stanford University. All rights reserved. Guide to the Stanford Tape ARS.0112 1 Collection ARS.0112 Descriptive Summary Title: Stanford Tape Collection Dates: 1940-2007 Date (bulk): Bulk, 1960-1980 Collection number: ARS.0112 Repository: Archive of Recorded Sound Collection size: 14 boxes: 317 open reel tapes (37 5" reels ; 200 7" reels ; 80 10.5" reels) ; 5 videocassettes ; 7 video reels ; 1 film (8mm) ; 2 compact discs ; one binder Abstract: Historic music and speech recordings on open reel tape, made on the campus of Stanford University. Language of Material: English Access Open for research; material must be requested at least two business days in advance of intended use. Contact the Archive for assistance. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation Stanford Tape Collection, ARS-0112. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif. Sponsor This finding aid was produced with generous financial support from the National Historical Publications and Records Commission. Scope and Contents The Stanford Tape Collection consists of historic music and speech recordings made on the campus of Stanford University. -
Virtual Musical Field Trip with Maestro Andrew Crust
YOUR PASSPORT TO A VIRTUAL MUSICAL FIELD TRIP WITH MAESTRO ANDREW CRUST Premier Education Partner Za The Conductor Today, you met Andrew Crust, the Vancouver Symphony Orchestra’s Assistant Conductor. He joined the VSO this season in September of 2019. He grew up in Kansas City, and his main instrument is the trumpet. He studied music education and conducting, and has worked with orchestras in Canada, the United States, Italy, Germany, the Czech Republic, Chile, and many other exotic places. The conductor keeps the orchestra in time and together. The conductor serves as a messenger for the composer. It is their responsibility to understand the music and convey it through movements so clearly that the musicians in the orchestra understand it perfectly. Those musicians can then send a unified vision of the music out to the audience. Conductors usually beat time with their right hand. This leaves their left hand free to show the various instruments when they have entries (when they start playing) or to show them to play louder or softer. Most conductors have a stick called a “baton”. It makes it easier for people at the back of large orchestras or choirs to see the beat. Other conductors prefer not to use a baton. A conductor stands on a small platform called a “rostrum”. To be a good conductor is not easy. It is not just a question of giving a steady beat. A good conductor has to know the music extremely well so that they can hear any wrong notes. They need to be able to imagine exactly the sound they want the orchestra to make. -
Mini-Reunion Locations on Or Near Campus
PLEASE READ THESE IMPORTANT DISCLAIMERS Though we did our best to capture as many available locations near Class Headquarter Tents as possible, there is no guarantee that all spaces within the directory will be open, haven’t moved, or otherwise been made unavailable at the time of Reunion Homecoming. Sometimes, venues changes hours of service, facilities move or remove benches, or simply the location is reserved or later forbidden by the university for use by alumni gatherings. Most locations will remain valid and useful for purposes of Mini-Reunion gatherings. Nearly all campus locations are available on a first come first served basis unless otherwise indicated. NOTE: Any location near student residences or a student program is subject to the NO ALCOHOL being served university policy. There are many locations we haven’t captured yet on the West and South sides Need to find a place to meet your classmates? of campus because their proximity is not as close to the Tents. Any location too- near a student residence will likely not be listed and would require the permission by the dorm’s Resident Fellow or Resident Advisor (example: Toyon Courtyard). We thank you in advance for your understanding CONTACT US For any questions, suggestions, or to report any new or updated information please email us here at: mini- reunions@ alumni.stanford.edu Arrillaga Family Dining Commons Proximity to Headquarter/Tailgate Tent: ~ 0.5 mi (10 min walk) On/Off Campus: On campus For ideal # of attendees: Up to 40 Reservation possible: No; if more than 15 people -
Download Download
— OLIVER PEEBLES JENKINS Bantam, Ohio. Palo Alto, California. November 3, 1850. January 9, 1935. Perhaps few of us recall Dr. Jenkins—what a splendid teacher he was! An active mind—original, enthusiastic, and inspirational and a fund of humor were out- standing characteristics. Who could not profit from his instruction? To those of us who were much with J him he was a delightful companion and a lovable friend, in addition to his being a great naturalist. He was born at Bantam, Ohio, November 3, 1850, and died at Stanford University January 9, 1935 in his eighty-fifth year. He was buried at Palo Alto, California. He married Elizabeth R. Hester, formerly of Brookville, Indiana, where the writer and his wife, Mary Reynolds, attended Brookville College with her. His widow and two sons survive. He graduated from Moores OLIVER PEEBLES JENKINS Hill (now Evansville) College in 1869 and, after serving as teacher, high school principal, and superintendent in the public schools of Indiana, Wisconsin, and California, he returned, in 1876, to Moores Hill College as professor, where he remained for twelve years. That institution con- ferred upon him advanced and honorary degrees; he was also honored with a degree from Indiana University. He became a member of the faculty of the Indiana State Normal School, at Terre Haute in 1883, and left there to become Professor of Biology at DePauw University in 1886. He remained at DePauw until 1891, when he became a member of the faculty of Leland Stanford Jr. University at the time of its founding. He remained in this position until he retired as Professor Emeritus of Physiology in 1916. -
Proquest Dissertations
Daoxuan's vision of Jetavana: Imagining a utopian monastery in early Tang Item Type text; Dissertation-Reproduction (electronic) Authors Tan, Ai-Choo Zhi-Hui Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 09:09:41 Link to Item http://hdl.handle.net/10150/280212 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are In typewriter face, while others may be from any type of connputer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 DAOXUAN'S VISION OF JETAVANA: IMAGINING A UTOPIAN MONASTERY IN EARLY TANG by Zhihui Tan Copyright © Zhihui Tan 2002 A Dissertation Submitted to the Faculty of the DEPARTMENT OF EAST ASIAN STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2002 UMI Number: 3073263 Copyright 2002 by Tan, Zhihui Ai-Choo All rights reserved. -
TD-30 Data List
Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. -
SAVED by the BELL ! the RESURRECTION of the WHITECHAPEL BELL FOUNDRY a Proposal by Factum Foundation & the United Kingdom Historic Building Preservation Trust
SAVED BY THE BELL ! THE RESURRECTION OF THE WHITECHAPEL BELL FOUNDRY a proposal by Factum Foundation & The United Kingdom Historic Building Preservation Trust Prepared by Skene Catling de la Peña June 2018 Robeson House, 10a Newton Road, London W2 5LS Plaques on the wall above the old blacksmith’s shop, honouring the lives of foundry workers over the centuries. Their bells still ring out through London. A final board now reads, “Whitechapel Bell Foundry, 1570-2017”. Memorial plaques in the Bell Foundry workshop honouring former workers. Cover: Whitechapel Bell Foundry Courtyard, 2016. Photograph by John Claridge. Back Cover: Chains in the Whitechapel Bell Foundry, 2016. Photograph by John Claridge. CONTENTS Overview – Executive Summary 5 Introduction 7 1 A Brief History of the Bell Foundry in Whitechapel 9 2 The Whitechapel Bell Foundry – Summary of the Situation 11 3 The Partners: UKHBPT and Factum Foundation 12 3 . 1 The United Kingdom Historic Building Preservation Trust (UKHBPT) 12 3 . 2 Factum Foundation 13 4 A 21st Century Bell Foundry 15 4 .1 Scanning and Input Methods 19 4 . 2 Output Methods 19 4 . 3 Statements by Participating Foundrymen 21 4 . 3 . 1 Nigel Taylor of WBF – The Future of the Whitechapel Bell Foundry 21 4 . 3 . 2 . Andrew Lacey – Centre for the Study of Historical Casting Techniques 23 4 . 4 Digital Restoration 25 4 . 5 Archive for Campanology 25 4 . 6 Projects for the Whitechapel Bell Foundry 27 5 Architectural Approach 28 5 .1 Architectural Approach to the Resurrection of the Bell Foundry in Whitechapel – Introduction 28 5 . 2 Architects – Practice Profiles: 29 Skene Catling de la Peña 29 Purcell Architects 30 5 . -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
S E a S O N F Ive Bin G C on Cer T Hall Subs Cribe St Anford
Stanford University NONPROFIT Bing Concert Hall Ticket Office ORGANIZATION U.S. POSTAGE PLAN YOUR VISIT 327 Lasuen Street, MC 2550 IVE Stanford, CA 94305 PAID PALO ALTO, CA PERMIT NO. 28 Want the best seats in the house? DININGVENUES Bing Concert Hall Priority is given to Bing Members and Bing Concert Hall Enjoy pre-concert and intermission snacks Stanford Live Donors. Seating is by pricing TERRACE CENTER 3 TERRACE and drinks at Interlude 2 1 SEASON F zone. Seating map SUBSCRIBE Café in Bing Concert • Bing Members (donors of $7,500 and shown at left. STANFORD LIVE CENTER 2 Hall’s expansive lobby. above) are guaranteed premium seats SEASON FIVE Pre-performance dining to all subscription performances and priority Bing Concert Hall 2016–17 TERRACE TERRACE is also available at the CENTER 1 Studio seating access throughout the season. 3 8 café at the Arrillaga STANFORD LIVE STANFORD Seating in the Bing Alumni Center, just • Stanford Live Donors of $500 and STAGE Studio is by general a five-minute walk to above enjoy early access to subscription admission. Bing Concert Hall. TERRACE TERRACE seating, according to level of gift. 4 7 Memorial Auditorium Visit live.stanford. Orders begin April 28. Seating is by pricing edu/dining for your zone. Seating map complete dining • Renewing Subscribers and Donors of CHORAL Complete Schedule, TERRACE TERRACE TERRACE shown at left. options. $150–$499 enjoy access to subscription 5 6 Subscription & Donation seating before the general public. Orders Memorial Church Information Inside PARKING & begin June 5 in person and June 6 by Memorial Auditorium Seating at Memorial DIRECTIONS phone and online. -
I N S E T 2 I N S E
S AN M AT EO DR M R BRYANT ST D A Y L RAMONA ST TASSO ST W E URBAN LN HERMOSA WY O R O U MELVILLE AV D A L L N Y NeuroscienceQUARRY RD A L-19 1 2 3 B 4 5 6 7 8 Health Center 9 10 11 12 13 14 15 16 COWPER WAVERLEY ST Hoover Sheraton PALO RD N Neuroscience Hoover KELLOGG AV SANTA RITA AV L Pavilion Hotel VIA PUEBLOWilliam R. Serra Pavilion Shriram Center BRYANT ST D Health Center Hewlett EL CAMINO REAL EVERETT HIGH ST Downtown Grove SERRA MALL R Bioengineering & U (see INSET 1 Garage Teaching L-83 W A O Sequoia LYTTON AVE Palo Alto Westin Chemical Engineering SpilkerHIGH ST E H Center B RAMONA ST at upper left) L EMERSON ST S A C Hotel Hall Stanford A Engineering Math T Vi R SEQ EMBARCADERO RD E EMERSON ST Stanford P R Shopping O Margaret Palo Alto at Palo Alto Arboretum WELLS AVE & Applied Varian CornerJordan A S Courtyard A ALMA ST T Center I Train Station & Children's Sciences Physics (380) (420) Jacks C AVE The Clement V McClatchy O Center (460) W PEAR LN Transit Center Stanford Hotel (120) Wallenberg P HAMILTON AVE Physics & E HERMOSA WY MacArthur Shopping Bank of PARKING ANDR CIRCULATION MAP Marguerite ALMA ST America Palo Astrophysics Memorial (160) S Park Center L-22 Jen-Hsun History T Shuttle Stop Bike route to Alto Y2E2 EAST-WEST AXIS 100 2017-18 Menlo Park Medical Huang 370 110 Court 170 Corner L-87 FOREST AVE Bike Bridge CLARK WY Engineering Ctr.