DOCSLIB.ORG

GUITAR 1 827 This Is a Course Designed to Give the Student with an Interest in Learning to Play the Guitar an Opportunity to Do So in a Class- Room Setting

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
GUITAR 1 827 This Is a Course Designed to Give the Student with an Interest in Learning to Play the Guitar an Opportunity to Do So in a Class- Room Setting MUSIC GUITAR 1 827 This is a course designed to give the student with an interest in learning to play the guitar an opportunity to do so in a class- room setting. Note reading, rhythmic principles, elementary music theory, and TAB will be introduced. This class is designed for the student who has no, or little, previous guitar instruction. Pre: None Credit: 1 E/SCP Gr: 9,10,11,12 GUITAR 2 829 This course expands on the playing techniques and music concepts introduced in Guitar 1. Chord progressions, melodies, improvisation, strumming patterns and finger picking will be developed. Pre: Guitar 1 or Teacher approval. Credit: 1 E/SCP Gr: 9, 10, 11, 12 INTRO TO INSTRUMENTS 851 This class is designed for students who have never played an instrument before, or who have some instrumental experience but would like to strengthen their skills. Students may take the course first semester, with the intent of joining concert band second semester. Pre: None Credit: 1 E/SCP Gr: 9,10,11,12 MUSIC FUNDAMENTALS 1 332 This course provides an essential understanding of the basic elements of music and musical composition. Students will compose original music using the elements of music and music theory and will strengthen their ability to aurally and visually analyze basic elements of music and music theory in current music. The content of this class includes, but is not limited to, the following: note reading on the treble and bass staves; time signatures in simple and compound meters; keys signatures for major, minor, and enharmonic keys; basics of rhythmic values including syncopation, triplets, duplets, and dotted rhythms; major and minor scales; accidentals; parallel and relative keys; diatonictriads and their inversions; 7th chords and their inversions; part writing; borrowed chords; modulations; secondary dominants; chord progressions; accompaniment styles; original musical compositions; aural identification, melodic and rhythmic dictation, and introduction to solfege. Credit: 1 E/HON Gr: 9, 10, 11, 12 MUSIC TECHNOLOGY & PRODUCTION 1 870 Aspiring music producers will be introduced to 21st century technologies used to create and manipulate audio. There is no pre-requisite for this course, and students are not required to be proficient singers or instrumental musicians. While there will be many opportunities for those with musical skills to sing or play their instruments, the focus of this course is a technological one; students will learn about the engineering side of the music and audio production industry through the use of iMac com- puters, USB MIDI Keyboard Controllers, Microphones and Garage-Band and ProTools software in our state-of-the-art studio andmusic lab. Pre: None Credit: 1 E/SCP Gr: 9, 10, 11, 12 MUSIC TECHNOLOGY & PRODUCTION 2 580 Following Music Tech 1, this next level will further explore detailed audio recording techniques using the recording studio with advanced editing and mixing techniques. Student projects will range from Remixes and Mash-ups to sessions that use audio recorded exclusively in the recording studio. Recording instruments such as drums, bass guitar, guitar and voice will lead toward using advanced techniques for Compression and EQ. Pre: Music Technology & Production 1 Credit: 1 E/SCP Gr: 9, 10, 11, 12 PIANO 1 887 This class is designed to give the student with an interest in learning to play the piano an opportunity to do so in a classroom setting. Note reading, rhythmic principles, and elementary music theory will be introduced. This class is designed for students of all piano ability levels. Pre: None Credit: 1 E Gr: 9, 10, 11, 12 PIANO 2 884 This course is a continuation of the Piano 1 course. Piano 2 is an every other day class for one semester. Through this course, students will continue their study of classical piano repertoire and basic music theory along with the addition of modern repertoire. Students must receive a B or higher in Piano 1 or test into Piano 2 through a written and performance assessment administered by the teacher. Pre: Piano 1 and teacher recommendation Credit: .50 E Gr: 10, 11, 12 MIXED CHORUS 876 This course is open to all students regardless of previous experience or talent. Serving as the foundation for the Academy choral program, it is an introductory musicianship course covering the basis of reading music, music vocabulary, vocal production, choral diction, part singing, and to a lesser degree, discriminating listening to choral music. The student’s atten- dance and participation at the Music Department concerts during the school year is required. Pre: None Credit: 1 E Gr: 9, 10, 11, 12 GLEE CLUB 825 The Glee Club is a chorus open to women in the 10th, 11th, or12th grade. The concepts and skills begun in the mixed chorus are continued and developed. The class will give the student an opportunity to learn choral music of a wide range of styles and time periods. The student’s attendance and participation at the music concerts during the school year is required. Singers are expected to be enrolled in Glee Club for the entire year. Pre: Mixed Chorus & Audition Credit: 1 E Gr: 10, 11, 12 CHORALE 856 The Chorale is a select mixed chorus for the upperclassmen who have displayed a talent for and an interest in choral music. A large variety of choral music will be introduced. A student selected for membership in the Chorale will be expected to have a working knowledge of the music concepts introduced in Mixed Chorus and/or Glee Club. Singers are expected to be enrolled in Chorale for the entire year. The student’s attendance and participation at the music concerts during the school year is required. Students are expected to enroll for the entire year. Pre: Mixed Chorus & Audition Credit: 1 E Gr: 10, 11, 12 CONCERT BAND 864 This course is open to all students with previous instrumental experience. In serving as the foundation for the Academy band program, it is designed to build upon basic musicianship skills. The group performs a wide repertoire and the student’s at- tendance and participation at the music concerts during the year is required. Pre: None Credit: 1 E Gr: 9, 10, 11, 12 CONCERT BAND: PERCUSSION PREP 896 CB: Percussion Prep is a course intended for all freshmen percussion as well as those who have taken piano or music theory and wish to learn to play percussion instruments. One semester of CBPP is required for all percussionists before entering Concert Band in the second semester. Through this course, musicians will become familiar with all of the sections of percussion instruments and gain basic to advanced proficiency on snare, mallets, timpani, and auxiliary percussion with exposure to drum set and drum line playing. This course requires a full-year ensemble commitment with enrollment in Con- cert Band as the continuation. CBPP may be repeated each year as recommended by the ensemble director. Credit: .50 E Gr: 9, 10, 11, 12 SYMPHONIC BAND 865 The Symphonic Band is a select ensemble open to any instrumental students who have displayed a talent for, and an interestin instrumental music. The concepts and skills begun in Concert Band are continued and developed. The class will give the student an opportunity to learn instrumental music of a wide range of styles and time periods. The student’s atten- dance and participation at the music concerts is required. Students are expected to enroll for the entire year. Pre: Concert Band and audition. Credit: 1 E Gr: 10, 11, 12 HISTORY OF ROCK AND OTHER AMERICAN MUSIC 852 The History of Rock and Other American Music will be a comprehensive overview of the music produced over the last 100 years. It will begin with the origins of American music (Ragtime, Jazz, Broadway, etc.) and cover every major musical genre in America as a result of those musical forms. The main objective of this course is to provide students with understanding of American music in its relationship to our unique history and culture. This course will have students listening, analyzing, and describing music every day, well beyond basic levels. Students will consistently be evaluating music and the execution of performance. This course will provide students with constant examples of how all aspects of culture influence each other, which will explain the relationship between music and other disciplines. Pre: None Credit: 1 E/SCP Gr: 9, 10, 11, 12 UNIFIED MUSIC 875 The purpose of Unified Music is to provide an experiential music course specific to students with cognitive impairments. Regular education students will also enroll in the class to act as peer mentors, to gain knowledge of the needs of special education students, and to foster important and meaningful relationships through music. The class will focus on movement to music, singing, basic in-class performance (drum circles, call and response, etc.) and overall experimentation with different genres and equipment. Pre: None Credit: .50 E Gr: 9, 10, 11, 12 INTRO TO MUSICAL THEATRE 921 This is a course that exposes students to many elements of the dramatic arts and the proper techniques of singing. In this class, students will learn about: • the history of theater with a main focus on Broadway and one of the musical art forms unique to America, the musical, • biographical information on influential Broadway composers, • plots and music from many different Broadway shows, • the singing voice and healthy vocal production, • staging and performance practices, and elements of putting together a musical theatre production-show: selections, contracts, auditions, set design/construction, rehearsal schedules, directing, musical directing, choreography, staging, costumes, props, stage crew, amplification, lighting, publicity, exercises in acting technique, audition process. Students will be required to sing and act as part of this class.
Load more

Recommended publications
  • Modelling of Particulate Matter and Ammonia Emissions from German Agriculture
    Institute of Farm Management University of Hohenheim Department of Farm Management Prof. Dr. Drs. h.c. Jürgen Zeddies MODELLING OF PARTICULATE MATTER AND AMMONIA EMISSIONS FROM GERMAN AGRICULTURE Dissertation Submitted in fulfilment of the requirements for the degree “Doktor der Agrarwissenschaften” (Dr.sc.agr. / Ph.D. in Agricultural Sciences) to the Faculty of Agricultural Sciences presented by Olga Beletskaya Stavropol, Russian Federation 2016 This thesis was accepted as a doctoral dissertation in fulfilment of the requirements for the degree “Doktor der Agrarwissenschaften” (Dr. sc. agr. / Ph.D. Agricultural Sciences) by the faculty Agricultural Sciences of the university of Hohenheim on 10.11.2014. Date of oral examination: 14.01.2015 Examination Committee Supervisor and Reviewer Prof. Dr.Dr.h.c. Jürgen Zeddies Co-Reviewer PD Dr. Eva Gallmann Additional Examiner Prof. Dr. Reiner Doluschitz Head of the Committee Prof. Dr. Stefan Böttinger Dedicated to the dearest and beloved friend Juan Guillermo Cobo ACKNOWLEDGEMENT With all my heart and mind I am grateful to all those, who directly or indirectly has contri- buted to this study. At first place I would like to thank my colleague and direct advisor Dr. Elisabeth Angenendt and my doctoral thesis supervisor Prof. Dr. Jürgen Zeddies for support, and sharp but reasonable critic and useful advice. Many thanks go to my colleague and co- worker in the project framework, Dipl. Ing. Susanne Wagner (IER, University of Stuttgart) for the best teamwork, informational support and encouragement. From the representatives of the same institute, I would like to express my gratefulness to Jochen Teloke for helpful infor- mative support and for the organization of efficient project meetings; and to Balendra Thiru- chittampalam for a good collaboration.
    [Show full text]
  • M-Ad Shines in Toronto
    Volume 44, Issue 3 SUMMER 2013 A BULLETIN FOR EVERY BARBERSHOPPER IN THE MID-ATLANTIC DISTRICT M-AD SHINES IN TORONTO ALEXANDRIA MEDALS! DA CAPO maKES THE TOP 10 GImmE FOUR & THE GOOD OLD DAYS EARN TOP 10 COLLEGIATE BROTHERS IN HARMONY, VOICES OF GOTHam amONG TOP 10 IN THE WORLD WESTCHESTER WOWS CROWD WITH MIC-TEST ROUTINE ‘ROUND MIDNIGHT, FRANK THE DOG HIT TOP 20 UP ALL NIGHT KEEPS CROWD IN STITCHES CHORUS OF THE CHESAPEAKE, BLACK TIE AFFAIR GIVE STRONG PERFORmaNCES INSIDE: 2-6 OUR INTERNATIONAL COMPETITORS 7 YOU BE THE JUDGE 8-9 HARMONY COLLEGE EAST 10 YOUTH CamP ROCKS! 11 MONEY MATTERS 12-15 LOOKING BACK 16-19 DIVISION NEWS 20 CONTEST & JUDGING YOUTH IN HARMONY 21 TRUE NORTH GUIDING PRINCIPLES 23 CHORUS DIRECTOR DEVELOPMENT 24-26 YOUTH IN HARMONY 27-29 AROUND THE DISTRICT . AND MUCH, MUCH MORE! PHOTO CREDIT: Lorin May ANYTHING GOES! 3RD PLACE BRONZE MEDALIST ALEXANDRIA HARMONIZERS PULL OUT ALL THE STOPS ON STAGE IN TORONTO. INTERNATIONAL CONVENTION 2013: QUARTET CONTEST ‘ROUND MIDNIGHT, T.J. Carollo, Jeff Glemboski, Larry Bomback and Wayne Grimmer placed 12th. All photos courtesy of Dan Wright. To view more photos, go to www. flickr.com/photosbydanwright UP ALL NIGHT, John Ward, Cecil Brown, Dan Rowland and Joe Hunter placed 28th. DA CAPO, Ryan Griffith, Anthony Colosimo, Wayne FRANK THE Adams and Joe DOG, Tim Sawyer placed Knapp, Steve 10th. Kirsch, Tom Halley and Ross Trube placed 20th. MID’L ANTICS SUMMER 2013 pa g e 2 INTERNATIONAL CONVENTION 2013: COLLEGIATE QUARTETS THE GOOD OLD DAYS, Fernando Collado, Doug Carnes, Anthony Arpino, Edd Duran placed 10th.
    [Show full text]
  • Glam Rock and Funk Alter-Egos, Fantasy, and the Performativity of Identities
    REVISTA DE LENGUAS MODERNAS, N.° 26, 2017 / 387-401 / ISSN: 1659-1933 Glam Rock and Funk Alter-Egos, Fantasy, and the Performativity of Identities MONICA BRADLEY Escuela de Lenguas Modernas Universidad de Costa Rica The emergence of desire, and hence our biological response, is thus bound up in our ability to fantasize, to inhabit an imagined scenario that, in turn, ‘produces what we understand as sexuality’ (Whitely 251). Is this the real life? Is this just fantasy? Caught in a landslide, no escape from reality” (Queen, “Bohemian Rhapsody”). Abstract The following article explores different conceptions of fantasy and science fiction that characterized many popular music performances in the 1970’s predominantly in the genres of glam rock and funk. By focusing on a few artists that were at the peak of their music careers at this time, such as David Bowie, P-Funk, Queen, Labelle and others, it attempts to un-earth some historical conditions for women, queers, and people of color and reveal how these artists have attempted to escape and transform certain realities by transgressing the boundaries of real/fiction, masculinity/ femininity, race, sexuality, and the “alien”. Key words: Glam rock, Funk, music, science fiction, queer, gender, race Resumen El siguiente artículo explora las diferentes concepciones de fantasía y ciencia ficción que caracterizan muchas formas de actuación en la música popular de los años setentas, predominantemente en los géneros de glam rock y funk. Pondré especial atención en algunos artistas que estuvieron en el ápice de su carrera musical en este tiempo como David Bowie, Recepción: 29-03-16 Aceptación: 12-12-16 388 REVISTA DE LENGUAS MODERNAS, N.° 26, 2017 / 387-401 / ISSN: 1659-1933 P-Funk, Queen, Labelle, y otros quienes intentaron traer a la realidad temas sobre condiciones históricas en mujeres, queers y personas de color .
    [Show full text]
  • Marygold Manor DJ List
    Page 1 of 143 Marygold Manor 4974 songs, 12.9 days, 31.82 GB Name Artist Time Genre Take On Me A-ah 3:52 Pop (fast) Take On Me a-Ha 3:51 Rock Twenty Years Later Aaron Lines 4:46 Country Dancing Queen Abba 3:52 Disco Dancing Queen Abba 3:51 Disco Fernando ABBA 4:15 Rock/Pop Mamma Mia ABBA 3:29 Rock/Pop You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:31 Rock AC/DC Mix AC/DC 5:35 Dirty Deeds Done Dirt Cheap ACDC 3:51 Rock/Pop Thunderstruck ACDC 4:52 Rock Jailbreak ACDC 4:42 Rock/Pop New York Groove Ace Frehley 3:04 Rock/Pop All That She Wants (start @ :08) Ace Of Base 3:27 Dance (fast) Beautiful Life Ace Of Base 3:41 Dance (fast) The Sign Ace Of Base 3:09 Pop (fast) Wonderful Adam Ant 4:23 Rock Theme from Mission Impossible Adam Clayton/Larry Mull… 3:27 Soundtrack Ghost Town Adam Lambert 3:28 Pop (slow) Mad World Adam Lambert 3:04 Pop For Your Entertainment Adam Lambert 3:35 Dance (fast) Nirvana Adam Lambert 4:23 I Wanna Grow Old With You (edit) Adam Sandler 2:05 Pop (slow) I Wanna Grow Old With You (start @ 0:28) Adam Sandler 2:44 Pop (slow) Hello Adele 4:56 Pop Make You Feel My Love Adele 3:32 Pop (slow) Chasing Pavements Adele 3:34 Make You Feel My Love Adele 3:32 Pop Make You Feel My Love Adele 3:32 Pop Rolling in the Deep Adele 3:48 Blue-eyed soul Marygold Manor Page 2 of 143 Name Artist Time Genre Someone Like You Adele 4:45 Blue-eyed soul Rumour Has It Adele 3:44 Pop (fast) Sweet Emotion Aerosmith 5:09 Rock (slow) I Don't Want To Miss A Thing (Cold Start)
    [Show full text]
  • Metal Oxides Applied to Thermochemical Water-Splitting for Hydrogen Production Using Concentrated Solar Energy
    chemengineering Review Metal Oxides Applied to Thermochemical Water-Splitting for Hydrogen Production Using Concentrated Solar Energy Stéphane Abanades Processes, Materials, and Solar Energy Laboratory, PROMES-CNRS, 7 Rue du Four Solaire, 66120 Font Romeu, France; [email protected]; Tel.: +33-0468307730 Received: 17 May 2019; Accepted: 2 July 2019; Published: 4 July 2019 Abstract: Solar thermochemical processes have the potential to efficiently convert high-temperature solar heat into storable and transportable chemical fuels such as hydrogen. In such processes, the thermal energy required for the endothermic reaction is supplied by concentrated solar energy and the hydrogen production routes differ as a function of the feedstock resource. While hydrogen production should still rely on carbonaceous feedstocks in a transition period, thermochemical water-splitting using metal oxide redox reactions is considered to date as one of the most attractive methods in the long-term to produce renewable H2 for direct use in fuel cells or further conversion to synthetic liquid hydrocarbon fuels. The two-step redox cycles generally consist of the endothermic solar thermal reduction of a metal oxide releasing oxygen with concentrated solar energy used as the high-temperature heat source for providing reaction enthalpy; and the exothermic oxidation of the reduced oxide with H2O to generate H2. This approach requires the development of redox-active and thermally-stable oxide materials able to split water with both high fuel productivities and chemical conversion rates. The main relevant two-step metal oxide systems are commonly based on volatile (ZnO/Zn, SnO2/SnO) and non-volatile redox pairs (Fe3O4/FeO, ferrites, CeO2/CeO2 δ, perovskites).
    [Show full text]
  • Cata Resume Sept 2015
    Cat Rendic SAGAFTRA TELEVISION/FILM LIP SYNC BATTLE season 1 Dancer Danielle Flora NBA Allstar Game 2015 Christina Aguilera Dancer Jeri Slaughter, Paul Morente Miss Universe Nick Jonas Dancer Casper Smart, Kevin Maher A Step Away Docu Series. Entire Season. Main Character NUVO TV. Jennifer Lopez Nicki Minaj iHeartRadio, Emas, Fashion Rocks Dancer Casper Smart Pitbull Chris Brown Wisin Latin Grammys Dancer/Assistant Choreo Anibal Marrero Jessie J Halo Awards, NNNAwards Dancer Casper Smart The Voice, Gwen Stefani and Pharrell Dancer Jeri Slaughter/Fatima Robinson Ellen Degeneres Show with Julianne and Derek Hough Dancer Nappytabs XFactor season 3 Dancer Jamie King, Galen Hooks American Idol “Carly Rae Jepsen” Dancer Nick Demoura/Kevin Maher Super Bowl Half Time Show Beyonce/Destiny’s Child Dancer F. Gatson/Jaquel Knight/Chris Grant American Idol Jennifer Lopez Dancer Nappytabs NBA Allstar Pitbull, Neyo, Chris Brown Dancer Anibal Marrero/Jamaica Craft Dancing with the Stars with Pitbull Dancer/asst Anibal Marrero Britney Spears Jimmy Kimmel, GMA, MTV PROMO Dancer Jamie King/Brian Friedman Sing Your Face Off Season 1 Dancer Nappytabs Academy Awards with Ann Hathaway and James Franco Dancer Jamal Sims/Draico Johnson Home For The Holidays w. Ricky Martin Dancer Stephanie Roos Fresh Beat Band “Halloween, Graduation, Victorious” Dancer Chuck Maldonado/Nickelodeon Glee “Britney/Brittany” “Hairography” Dancer Zach Woodle/Brooke Lipton/FOX America’s Got Talent Eps 527 Dancer B.Friedman,C. Dupre, Oprah w/ Christina Aguilera Dancer Jeri Slaughter
    [Show full text]
  • Revolutionary Theatricality: Dramatized American Protest, 1967-1968
    Revolutionary Theatricality: Dramatized American Protest, 1967-1968 Angela Rothman University of Oregon Rothman 1 American protest against the political and social establishment grew between the years 1967 and 1968 because dramatic aspects of rebellion manifested in theatrical methods. Prominent examples of these protests include the San Francisco Mime Troupe, the production of Paradise Now by the Living Theatre, the Broadway cast production of the musical Hair, and the Festival of Life by the Yippie Movement1 at the Chicago Democratic National Convention. During this intense period of domestic conflict, these activists embraced the revolutions of radical theater as visible forms of protest. Theatrical performance is a major presentation performed by actors and interpreted by audiences, both politically and socially. In an America embroiled in war and cultural conflict, the actors in social groups used revolutionary strategies to express the need for changes in society. Naomi Feigelson’s The Underground Revolution: Hippies, Yippies, and Others argues that politics meshed with theater in “the insistence on involvement, the need for each person to feel part of life.” 2 Doing so made “the spectator part of the action, [in] a drive for liberation and personal expression.” 3 Both Broadway and off-Broadway theater companies, as well as activists like the Yippies, created a platform for their messages and invited spectators to join the drama. While political theater was not a new art form, experimental theater methods decisively influenced performative protests in the late 1960s. They demonstrated their theatrical protest in the call to, and act of, revolution. Stephan Mark Halpern writes that as “the war in Vietnam dragged on and on it seemed to expose the unresponsiveness of government and the weaknesses in American society;” this instability coupled with social repression made a volatile mixture.
    [Show full text]
  • Schedule Music
    Franklin School for The Performing Arts 2/24/2021 SCHEDULE MUSIC LITTLE MUSIC SCHOOL JAM WITH BOSTON’S BEST MUSICIANS at FSPA! New LMS Students Kenny Hadley & Staff 60-minute or 30-minute class per week Mozart (Age 18-24 months): Wednesday 10:00-10:30 (1x/week) Mozart (Age 2-3): Wednesday 10:30-11:00 (1x/week) Mozart (Age 3-5): Wednesday 11:00-11:30; Wednesday 4:30-5:00; Saturday TBD Returning LMS Students Vivaldi: Wednesday 11:30-12:00 Jazz R&B Rock Blues Funk Pop (1x/week, plus 15-minute private lesson TBD) CHILDREN’S MUSIC All Children’s Music classes are 30 minutes. Rattles & Rhythms (1-year-olds with adult caregiver): TBD Wee Play (2- and 3-year-olds with adult caregiver): TBD FSPA Jazz Krewe Do-Re-ME! (4- and 5-year-olds): TBD Jazz Instrumental Ensemble for Ages 12+ VOICE CLASSES All Levels Welcome FSPA Groovemasters All Voice Classes are 60 minutes unless otherwise noted. Percussion Ensemble ♦ By Invitation Voice I (Ages 6-8): (45 Minutes) TBD Voice II (by evaluation): TBD Contact Kim Rezendes Voice III/IV (by evaluation): TBD at [email protected] or Voice V (by evaluation): TBD call 508-528-8668 Voice VI (by evaluation): TBD Boys’ Voice: TBD GLEE CLUB FSPA Glee Club Ten-week program each trimester for students 5th -12th Grade. Be part of a team—a musical team! Glee Club Must be enrolled in FSPA Voice Program. Performances throughout is a fun, purpose-filled outlet for your the year. Glee Club: Wednesday 4:30-5:30 performing ambitions.
    [Show full text]
  • Funk-Wecker Funk-Wecker Funk-Wecker
    TFA_Anl. No. 60.1501.54_D_GB 26.06.2012 16:10 Uhr Seite 1 Fig. 1 Fig. 2 Bedienungsanleitung E Instruction manual F B C A D G ROHS Kat. Nr. 60.1501.54 Kat. Nr. 60.1501.54 Kat. Nr. 60.1501.54 Funk-Wecker ࡅ Funk-Wecker ࡅ Funk-Wecker ࡅ Vielen Dank, dass Sie sich für dieses Gerät aus dem Hause • Falls die Funkuhr kein DCF-Signal empfangen kann (z.B. 8.1 Batteriewechsel TFA entschieden haben. wegen Störungen, Übertragungsdistanz, etc.), kann die • Sobald die Funktionen des Weckers schwächer werden, Zeit manuell eingestellt werden. Die Uhr arbeitet dann wechseln Sie bitte die Batterie. 1. Bevor Sie mit dem Gerät arbeiten wie eine normale Quarz-Uhr (siehe „Manuelle Einstel- • Öffnen Sie das Batteriefach und legen Sie eine neue • Lesen Sie sich bitte die Bedienungsanleitung genau lung der Uhrzeit”). Batterie 1,5 V AA ein. durch. So werden Sie mit Ihrem neuen Gerät vertraut, • Achten Sie auf die richtige Polarität beim Einlegen der lernen alle Funktionen und Bestandteile kennen, erfah- 6.1 Empfang der Funkzeit Batterie. ren wichtige Details für die Inbetriebnahme und den Die Zeitübertragung erfolgt von einer Cäsium Atom-Funk- • Schließen Sie das Batteriefach wieder. Umgang mit dem Gerät und erhalten Tipps für den Stö- uhr, die von der Physikalisch Technischen Bundesanstalt in 9. Fehlerbeseitigung rungsfall. Braunschweig betrieben wird. Die Abweichung beträgt • Durch die Beachtung der Bedienungsanleitung vermei- weniger als 1 Sekunde in einer Million Jahren. Die Zeit ist Problem Lösungen den Sie auch Beschädigungen des Geräts und die kodiert und wird von Mainflingen in der Nähe von Frank- ➜ Gefährdung Ihrer gesetzlichen Mängelrechte durch furt am Main durch ein DCF-77 (77.5 kHz) Frequenzsignal Keine Zeigerbewegung Batterie polrichtig einlegen ➜ Batterie wechseln Fehlgebrauch.
    [Show full text]
  • At Mckenzie Towne Hall. Descriptions and Registration At: Mtcouncil.Com
    FALL Recreation Guide at McKenzie Towne Hall. Descriptions and registration at: mtcouncil.com MTCouncil FRONT DESK 403-781-6612 Rentals Events Recreation Sandy Henri Brit Wilson Brittany Jones Extension 4 Extension 6 Extension 3 [email protected] [email protected] [email protected] Hall Hours Monday - Saturday Sunday and Holidays 9:00 am - 9:00 pm 10:30 am - 6:00 pm Office Hours Monday - Friday 9:00 am - 5:00 pm McKenzie Towne Council 40 McKenzie Towne Blvd. SE T2Z 4X5 2 Registration Register Online www.mtcouncil.com Online Payment Options: Visa MasterCard Debit Register In Person McKenzie Towne Hall 40 McKenzie Towne Blvd. SE In Person Payment Options: Cash (between 9am & 5pm), debit, or credit card (Visa or MasterCard) Register By Phone: 403 - 781 - 6612 ext. 0 Phone Payment Options: Credit card (Visa or MasterCard) 3 Get fit this fall with McKenzie Towne recreation classes! www.mtcouncil.com Registration Opens - August 13th, 2014 Fall Season starts - September 14th, 2014 Fall Season ends - December 13th, 2014 Double Fit Deals Receive a 15% discount when you register to the same fitness class, twice a week! This deal only pertains to the following classes: Double Fit - Zumba Mondays and Wednesdays at 6:30 pm - 7:30 pm Price: Residents: $155.00 Non-Residents: $205.00 Double Fit - Total Body Workout Tuesdays and Thursdays, 6:40 pm - 7:40 pm; and 7:50 pm - 8:50 pm Price: Residents: $170.00 Non-Residents: $226.00 Double Fit - Family Martial Arts Mondays at 6:10 pm - 7:10 pm and Wednesdays at 6:45 pm - 7:45 pm Price: Residents: $147.00 Non-Residents: $193.00 Double Fit - Mighty Dragons Mondays at 5:15 pm - 6:00 pm and Wednesdays at 5:50 pm - 6:35 pm Price: Residents: $147.00 Non-Residents: $193.00 4 Drop-In Classes Drop-In passes give you the flexibility to attend a variety of classes that meet your busy schedule.
    [Show full text]
  • Funk, R., 2017K Erich Fromm's Socio-Psychoanalytic Re-Vision of Freudian Theory Property of the Erich Fromm Document Center
    Property of the Erich Fromm Document Center. For personal use only. Citation or publication of material pro- hibited without express written permission of the copyright holder. Eigentum des Erich Fromm Dokumentationszentrums. Nutzung nur für persönliche Zwecke. Veröffentlichungen – auch von Teilen – bedürfen der schriftlichen Erlaubnis des Rechteinhabers. Funk_R_2017k Erich Fromm's Socio-Psychoanalytic Re-Vision of Freudian Theory Rainer Funk „Erich Fromm’s Socio-Psychoanalytic Re-Vision of Freudian Theory“, in: Fromm Forum (English Edi- tion – ISBN 1437-1189), 21 / 2017, Tuebingen (Selbstverlag), pp. 22-31. Copyright © 2017 by Dr. Rainer Funk, Ursrainer Ring 24, D-72076 Tuebingen / Germany. E-Mail: frommfunk[at-symbol]gmail.com. The following paper by Rainer Funk and the comment by Sandra Buechler were presented on January 18, 2017 in a Discussion Group on the "History of Psychoanalysis" at the Na- tional Meeting of the American Psychoanalytic Association at the Waldorf Astoria Hotel in New York. The discussion group was led by Prof. Peter Rudnytsky. Erich Fromm shares the fate of several other spend the rest of his life in Locarno, Switzer- pioneers in psychoanalysis who did not follow land, where I became his last assistant and fi- the mainstream of what once was called nally his literary executor and trustee of his sci- "Freudian orthodoxy” and as a result were ig- entific papers and his reference library. nored and forgotten. I could tell you the story Fromm grew up as an only child in an orthodox of how this happened in the case of Fromm (cf. Jewish family and studied sociology at the Uni- Funk 2000), but this would take too long.
    [Show full text]
  • The Young Erich Fromm's Contribution to Criminology*
    THE YOUNG ERICH FROMM'S CONTRIBUTION TO CRIMINOLOGY* KEVIN ANDERSON Northern Illinois University Erich Fromm's virtually unknown early writings on crime were published in German in psychoanalytic journals in the early 1930s, but have never been translated into English. In three articles published in 1930 and 1931, Fromm considered the criminaljustice system as an important legitimating institution within the capitalist social order. His theoretical contribution to criminology is discussed here as a largely unknown but important chapter in the history of criminology, one which can still speak to us today. I also assess his contribution from several vantage points: (1) its relationship to earlier German liberal criminological reformers such as Liszt and Aschaf- fenburg; (2) its connection to the Frankfurt School's synthesis of Marxism and psychoanalysis, which underlay their account of the leanings of large sectors of the German population toward authoritarianism; (3) the differ- ence in focus between Fromm's work and that of other psychoanalytic crimi- nologists of the period, such as Alexander and Staub; and (4) comparisons with other leading European radical theorists who subsequently wrote on crime: the Frankfurt School's Rusche and Kirchheimer, the French psycho- analyst Lacan, and the French post-structuralist Foucault. I conclude that Fromm's work contains important insights for contemporary criminology. The young Erich Fromm's Freudian Marxist critiques of the criminal justice system seem to have disappeared into oblivion. Published in German in leading psychoanalytic journals in 1930 and 1931, Fromm's three scholarly articles on crime constitute an important and original discussion of how the fear of crime and the Downloaded By: [CDL Journals Account] At: 19:38 17 September 2009 role of the state in repressing crime support and legitimate the ex- isting capitalist social order.
    [Show full text]