A Defence of Classical Education.Indd
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A Classical View of the Business Cycle
NBER WORKING PAPER SERIES A CLASSICAL VIEW OF THE BUSINESS CYCLE Michael T. Belongia Peter N. Ireland Working Paper 26056 http://www.nber.org/papers/w26056 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 July 2019 We are especially grateful to David Laidler for his encouragement during the development of this paper and to John Taylor, Kenneth West, two referees, and seminar participants at the Federal Reserve Bank of Atlanta for helpful comments on previous drafts. All errors that remain are our own. Neither of us received any external support for, or has any financial interest that relates to, the research described in this paper. The views expressed herein are those of the authors and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer-reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2019 by Michael T. Belongia and Peter N. Ireland. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. A Classical View of the Business Cycle Michael T. Belongia and Peter N. Ireland NBER Working Paper No. 26056 July 2019 JEL No. B12,E31,E32,E41,E43,E52 ABSTRACT In the 1920s, Irving Fisher extended his previous work on the Quantity Theory to describe, through an early version of the Phillips Curve, how changes in the money stock could be associated with cyclical movements in output, employment, and inflation. -
What Classical Music Is (Not the Final Text, but a Riff on What
Rebirth: The Future of Classical Music Greg Sandow Chapter 4 – What Classical Music Is (not the final text, but a riff on what this chapter will say) In this chapter, I’ll try to define classical music. But why? Don’t we know what it is? Yes and no. We’re not going to confuse classical music with other kinds of music, with rock, let’s say, or jazz. But can we say how we make these distinctions? You’d think we could. And yet when we look at definitions of classical music—either formal ones, in dictionaries, or informal ones, that we’d deduce by looking around at the classical music world—we run into trouble. As we’ll see, these definitions imply that classical music is mostly old music (and, beyond that, old music only of a certain kind). And they’re full of unstated assumptions about classical music’s value. These assumptions, working in the background of our thoughts, make it hard to understand what classical music really is. We have to fight off ideas about how much better it might be than other kinds of music, ideas which—to people not involved with classical music, the very people we need to recruit for our future audience—can make classical music seem intimidating, pompous, unconvincing. And so here’s a paradox. When we expose these assumptions, when we develop a factual, value-free definition of classical music, only then can we find classical music’s real value, and convincingly set out reasons why it should survive. [2] Let’s start with common-sense definition of classical music, the one we all use, without much thought, when we say we know what classical music is when we hear it. -
Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras Commissioned by 15 American Orchestras and the John S
Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras Commissioned by 15 American Orchestras and the John S. and James L. Knight Foundation INSIDE THE CULTURAL Consumer’s Mind Classical Music Consumer Segmentation Study Final Report FINAL REPORT Classical Music Consumer Segmentation Study How Americans Relate to Classical Music and Their Local Orchestras October 2002 Commissioned by the John S. and James L. Knight Foundation and 15 American Orchestras: Brooklyn Philharmonic Orchestra Charlotte Symphony Orchestra Colorado Symphony Association Detroit Symphony Orchestra Hall Fort Wayne Philharmonic Orchestra Kansas City Symphony Long Beach Symphony Association Louisiana Philharmonic Orchestra New World Symphony Oregon Symphony Association The Philadelphia Orchestra Association Saint Louis Symphony Orchestra Saint Paul Chamber Orchestra Symphony Society of San Antonio Wichita Symphony Society © 2002 Audience Insight LLC Page 1 Classical Music Consumer Segmentation Study Final Report ABOUT The Study Abstract Orchestras are adrift in a sea of classical music consumers who rarely, if ever, attend live orchestra concerts. With more than 25,000 interviews with potential classical consumers and orchestra ticket buyers in 15 cities, the Classical Music Consumer Segmentation Study offers a sweeping view of an art form in transition and an orchestra field increasingly detached from its potential customers. The study paints a detailed picture of how consumers fit classical music into their lives — listening to classical radio and recordings in their automobiles and homes, and attending live concerts in churches, schools and traditional concert venues. Roughly 10 percent to 15 percent of Americans have what might be termed a close or moderately close relationship with classical music, and again as many have weaker ties. -
Using Pop Soundtrack As Narrative Counterpoint Or Complement Margaret Dudasik Honors College, Pace University
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 5-1-2013 Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement Margaret Dudasik Honors College, Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons Recommended Citation Dudasik, Margaret, "Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement" (2013). Honors College Theses. Paper 127. http://digitalcommons.pace.edu/honorscollege_theses/127 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Genre as Bait: Using Pop Soundtrack as Narrative Counterpoint or Complement By: Margaret Dudasik May 15, 2013 BA Film & Screen Studies/ BFA Musical Theatre Dr. Ruth Johnston Film & Screen Studies, Dyson College of Arts and Sciences 1 Abstract There is much argument against using pre-existing music in film, Ian Garwood noting three potential problems with the pop song: obtrusiveness, cultural relevance, and distance from the narrative (103-106). It is believed that lyrics and cultural connotations can distract from the action, but it is my belief that these elements only aid narrative. By examining the cinematic functions of the soundtracks of O Brother Where Are Thou? (2000) and Marie Antoinette (2006), I will argue that using pre-existing music in film is actually more effective than a score composed specifically for a film. Film theorist Claudia Gorbman notes that film scores have “temporal, spatial, dramatic, structural, denotative, [and] connotative” abilities” (22), and it is my belief that pop music is just as economical in forming character, conveying setting, and furthering plot. -
I © 2016 ANNE MALTEMPI ALL RIGHTS RESERVED
© 2016 ANNE MALTEMPI ALL RIGHTS RESERVED i SICILIANITÀ IN THE RENAISSANCE: SICILIAN NATIONAL IDENTITY IN THE WRITINGS OF SICILIAN HUMANISTS TOMMASO SCHIFALDO AND LUCIO MARINEO SICULO A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Anne Maltempi July, 2016 i SICILIANITÀ IN THE RENAISSANCE: SICILIAN NATIONAL IDENTITY IN THE WRITINGS OF SICILIAN HUMANISTS TOMMASO SCHIFALDO AND LUCIO MARINEO SICULO Anne Maltempi Thesis Approved: Accepted: Advisor Dean of the College of Arts and Sciences Dr. Michael Levin Dr. John C. Green Faculty Reader Dean of the Graduate School Dr. Martha Santos Dr. Chand Midha Department Chair Date Dr. Martin Wainwright ii ACKNOWLEDGEMENTS There are many people to whom I owe a great deal of thanks, and all of my gratitude for helping me through the process of completing my Master’s degree in History. First I would like to thank all of the professors in the History Department at the University of Akron, I have learned so much from all of them. I would like to extend a special thanks to my advisor Dr. Michael Levin, and my second reader Dr. Martha Santos whose classes and encouragement have helped me grow as a scholar, and whose advice in revising and editing this manuscript were essential to the completion of this project. I would also like to thank my peers and colleagues who inspire me and help learn new things every day including Dr. Tom Weyant, Kathryn Mcdonald-Miranda, Nathaniel Bassett, Suraj Lakshminarasimhan, Brittany Amiet, Kenneth Kosovich, Devaun Tyler, and so many others. -
Introduction
Introduction Ancient Western history is largely defined by three civilizations: Egypt, Greece, and Rome. The Egyptians endured for thousands of years, while the Romans established a reputation for ruthless conquest and impeccable organization, but the Greeks, bookended by the Egyptians before them and the Romans who followed, did not make their name through long legacies nor, with the brief exception of Alexander the Great, worldwide conquest. The true reputation of the Greeks was one of fierce independence and a great thirst for knowledge. Though the Greek civiliza- tion began and ended with kings, its golden years were forged in the time of the city-state, when common men from cities like Athens, Sparta, Corinth, and Thebes set their minds to learn everything they could about the world around them, to colonize and spread their culture all across the ancient world, and to create governments that would be models to the world for centuries to come. While they lacked the unity of other great kingdoms, in many ways that was the very thing that allowed this tiny country filled with individualistic people to be listed among the greatest civilizations the world has ever seen. Each lesson in this Project Passport includes fact-filled, engaging text, created to be all you need for a compact assignment. Should you or your child wish to expound on a subject, a variety of books, videos, and further avenues of research are available in the “Additional Resources” section. This study can also act as an excellent accompaniment to any world history program. You will want to print out the “Travel Tips” teacher helps beforehand and brief yourself on the lessons and supplies needed. -
The History of Portland's Only 24-Hour Classical Radio Station (PDF)
1983-2013 adio stat sical r ion clas hr 4- 2 ly n o ’s d n la t r o P f o y r o t s i h 1983-2013 e h T All Classical Portland The First 30 Years OvertureIn the fall of 1983, a young woman in Southeast Portland turned on the radio and experienced the power of Beethoven’s Fifth Symphony for the first time. A life- altering experience, made possible because on August 1 of that year, KBPS began broadcasting classical music on 89.9 FM. This was just the latest evolution of an educational service with roots dating back 60 years. KBPS AM 1450 has a rich, nine-decade history. Since March 1923, countless experienced Benson Polytechnic High School instructors have educated and prepared young Portlanders for broadcasting careers. This classical FM station grew from the firm foundation established by those who dedicated themselves to KBPS. KBPS 89.9 FM eventually became All Classical Portland with new call letters: KQAC, with QAC standing for quality all classical. The station is “ After silence, that which still broadcasting at 89.9 FM in the Portland-Vancouver area and serving comes nearest to expressing listeners across the globe on the Internet. Thirty years ago, however, the the inexpressible is music.” station broadcast from a make-shift space on the second floor of Benson Aldous Huxley High. Over the years, the station that began as an offshoot of KBPS AM has become a self-sufficient, listener-supported, world-class radio service. All Classical Portland owes its existence to those who believed in the importance of an FM classical music service. -
Post-Classical Literature”: a Review Article
THOMAS BAUER WISSENSCHAFTSKOLLEG ZU BERLIN In Search of “Post-Classical Literature”: A Review Article Readers interested in Arabic history have waited a long time for a history of Arabic literature during the Mamluk and Ottoman periods that would provide an outline, both comprehensive and concise, of this much-neglected field. Finally, a volume of the Cambridge History of Arabic Literature has appeared that promises to fill the gap. All too soon, however, the reader interested in Mamluk and Ottoman literature will realize that the wait is not over. Whereas some of the articles are of high quality (others are of much lower quality), the volume as a whole does not give an overall impression of the period in question, because its concept is marred by a highly Eurocentric approach. First of all, it treats Mamluk and Ottoman literature under the heading “post-classical.” Second, it is divided into the categories poetry-prose-drama; and third, poetry and prose are each subdivided according to a characterization as elite or popular. In the following, I will address these three major points as they relate to the book in general without treating each article individually. In a last section I will deal especially with Salma Jayyusi’s opening article on Mamluk poetry. As is often the case with reviews, aspects that discomfited and even angered the reviewer are dealt with in more detail than those that satisfied him. Therefore I found it more useful to focus on the problematic points of the book than to praise individual authors for their new insights, of which there are many. -
Hainan Airlines Inflight Entertainment Magazine Aug. 2019
Hainan Airlines Inflight Entertainment Magazine Aug. 2019 200+ 600+ 1250+ Movies TV Shows CDs 主 题 THEME us. Difficulties never just go away. All we can do is conquer “输,不丢人;怕,才丢人。” them, defeat our enemy and do everything we can to win “There's no shame in losing. every unwinnable battle. Only then do we deserve to enjoy There’s only shame in being this beautiful life. afraid.” 《复仇者联盟 3: 无限战争》的结尾,超级英雄 人的一生会面临各种挑战,平凡人会面临高考、 们第一次输掉了正义与邪恶的战斗,全宇宙只剩下 职场、养育子女等等人生考验;超级英雄则是要面 了一半人口,甚至部分复仇者联盟的成员都化为了 对一次比一次强大的敌人,稍有不慎,敌人一个响 灰烬。然而故事仍未结束,《复仇者联盟 4: 终局之 指就能让超级英雄灰飞烟灭。即便如此,人生面对 战》中,仅存的复联成员将再次迎战强大无比的灭 艰难的挑战仍然需要迎难而上,困难不会消失,我 霸,这场战斗几乎没有获胜希望,他们如何挽救宇 们只能去克服,打败敌人,尽全力去打赢每一场不 宙的命运?看过这部电影就会知道。不放弃希望, 可能获胜的战斗,才能有资格享受这美丽的人生。 就一定能够找到获胜的办法。奥斯卡最佳影片《绿 We all face challenges of one kind or another over the course 皮书》中展现则是人生的另一重考验,在1930 年代, of our lives. The average person is tested by college entrance 美国黑人在南方几乎是寸步难行,一个黑人钢琴家 exams, workplace challenges, parenting and so forth. But 为了到美国南方演出,雇佣了一个白人司机开车到 superheroes have to face an unending succession of enemies, 南方各个城市演出。一路上,黑人和白人的文化冲 each more powerful than the last. One slip, and the enemy 突引发了一连串的故事。黑人钢琴家努力用自己的 could annihilate our superheroes with a snap of his fingers. 行为让黑人变得更加有尊严,他虽然势单力薄,但 Still, we have to rise up to the challenges that life throws at 却勇于向不平等进行挑战。 打 W 赢 i n n 一 i n g 场 t h e 不 U n 可 w i 能 n n a 获 b l e 胜 B a 的 t t l e 战 斗 1 THEME 主 题 At the end of Avengers: Infinity War, our superheroes lose two men's adventures start? Don Quixote’s adventurous a battle between good and evil for the first time. -
On Ancient Greece
ANCIENT I ' . A Historical Overview of Greece Greece is located on a peninsula jutting out into the Mediterranean Sea. The Aegean Sea is to the east and the Ionian Sea is to the west. A thin strip of land connects Greece's northern mainland to the Peloponnesus, which is another name for southern Greece. Here the climate and land are poor for farming, but this location is perfect for seafaring-the Greeks have al ways been excellent fishermen and sailors. Around 2000 B.C., a tribe called Mycenaeans settled in the Peloponnesus. In 1194 B.C., they attacked the city of Troy on the eastern coast of the Aegean Sea. This began the Trojan War. A blind poet named Homer re- ...______________ .. corded the deeds of the heroes of the Trojan War in the llliad. Homer's other famous epic poem, the Odyssey, told the adventures of a Trojan War hero as he traveled home to Greece after the war. Ancient Greeks believed many gods and goddesses controlled the world and lived in the sky on Mt. Olympus. The mountains and valleys on the mainland of Greece isolated people from each other and caused them to form their own city-states. Everyone thought that their city-state was the best. The Greeks' pride in their own city-state kept them from uniting into a strong country. II. T.S. Denison & Co., Inc. 5 Ancient Civilizatwns-{;reece One of these important city-states was Athens. The people of Athens were divided into three social classes: the upper class, free male land holding citizens born in Athens; the middle class, foreign-born merchants; and the lower class, which were slaves. -
New Perspectives on Classical Music Through the Work of Mark Oâ
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2005 Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck Louanne Marie Iannaccone University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Commons Recommended Citation Iannaccone, Louanne Marie, "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck. " Master's Thesis, University of Tennessee, 2005. https://trace.tennessee.edu/utk_gradthes/2014 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Louanne Marie Iannaccone entitled "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Dr. Leslie C. Gay, Jr., Major Professor We have read this thesis and recommend its acceptance: Dr. Wesley Baldwin, Dr. Rachel Golden Carlson Accepted for the Council: Carolyn R. -
Ancient Greece Geography- Sea
ANCIENT GREECE GEOGRAPHY- SEA No one place in Greece was further than 50 miles from the sea. No navigable rivers, so use sea Greece itself was poor in resources Vital for trade with other nations, and transportation between islands. Jobs- provided source of income for Grecians. Ex. Fishers, Traders, and Pirates! GEOGRAPHY- THE LAND 3/4ths of Greece is covered in mountains. Peninsula and many islands Influenced Food: The land lacked the ability to support cattle or flocks of sheep, so they had a limited amount of meat. Main diet- fish, olives, wheat, barley, vegetables, bread, beans GEOGRAPHY- THE CLIMATE Moderate temperatures and rain only in winter Outdoor life for men Marketplace, gymnasium, theater, civil/religious celebrations CITY- STATES Because Greece is made up of many islands, and has many tall mountains, the Greeks began to build city-states instead of one country. A city-state (Polis) is a city with its own laws, rulers, and money. City-states were cities that acted like countries Examples: Athens, Sparta GOVERNMENT- CITIZENSHIP Citizenship: To be a citizen you must be: Free (not a slave) Adult Male Born in the city-state CITIZENSHIP CONT’D Slavery Virtually all job titles were slaves No money or clocks to pay and measure time worked Cheaper to force labor than to pay- when money was invented The less free people, the less input in democracy- leaving decisions up to rich men GOVERNMENT- DEMOCRACY DEMOCRACY A form of government in which all citizens took part Important matters of the Polis were debated between all citizens Vote taken to decide outcome or law GOVERNMENT- DEMOCRACY Benefits: Direct democracy = Polis was ruled by assembly of all citizens Citizens had right and duty to govern Citizens had equal rights under law Citizens were responsible for justice Any citizen could bring charges against another person/citizen If a citizen saw a crime committed against a slave, the citizen could bring a charge even though slave could not.