SUNJ Rutgers University Mason Gross School of the Arts
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Margaret Bonds (1913-1972), Composer Three Dream Portraits
21M.410 / 21M.515 Vocal Repertoire and Performance Spring 2005 PROGRAM NOTES Edward Boatner (1898-1981), arranger Didn’t My Lord Deliver Daniel? When I Get Home Edward Hammon Boatner was born on November 13, 1898 in New Orleans, Louisiana to the family of an itinerant minister. Boatner’s father, Dr. Daniel Webster Boatner traveled frequently from church to church, and thus provided his son an introduction to rural church singing. Edward Boatner received his musical education at Western University in Kansas, the Boston Conservatory, New England Conservatory, the Longy School of Music, and the Chicago College of Music. In his lifetime, Boatner arranged and published more than 200 spirituals, with written works including Story of the Spiritual: Thirty Spirituals and Their Origins, and the spiritual musicals, The Man of Nazareth and The Origin of the Spirituals. His arrangements have been recorded by Roland Hayes, Marian Anderson, Paul Robeson, Leontyne Price and Nelson Eddy. Boatner achieved acclaim as a singer and also served as music director of the National Baptist Convention (1925-1933), as music director at Samuel Huston College in Austin and as Dean of Music at Wiley College. He also operated a studio in New York City where he trained choral groups, gave private voice and piano instruction, and trained actors. An avid writer, Boatner published books on music theory and composition. Writings include The Damaging Results of Racism, Black Humor, Great Achievements in Black and White and the novel One Drop of Blood (New York Public Library, Digital Library Collections). Edward Boatner died in New York in 1981, leaving a legacy of developing the concert spiritual genre in which elements of folk song and art song are blended. -
Football Parking and Traffic Patterns DOWNLOAD PRINTABLE PDF If You Do Not Have a Parking Pass, You Must Use GAME DAY PARKING Lo
http://www.cstv.com/printable/schools/rutu/facilities/parking.html?fram... Football Parking and Traffic Patterns DOWNLOAD PRINTABLE PDF If you do not have a parking pass, you must use GAME DAY PARKING lots noted above. **PARKING LOTS OPEN FIVE HOURS PRIOR TO GAME TIME** 1 of 6 8/31/2015 7:42 PM http://www.cstv.com/printable/schools/rutu/facilities/parking.html?fram... DOWNLOAD PRINTABLE PDF Rutgers Knightingale Shuttle Service Information I HAVE A PARKING PASS. WHAT DO I NEED TO KNOW? • Read the back of your parking pass for proper instructions and lot regulations. • Follow posted traffic directions on game day. • Avoid delays by arriving at the stadium as early as possible (our best advice). • Hand Parking Pass to parking attendant and follow instructions to park in assigned location. Pass INVALID without dated stub. • University Parking Decals (faculty/staff and students) are accepted ONLY in the Livingston and College Avenue campus Game Day Cash Parking Lots. University Decals are NOT valid in season parking lots or UMDNJ/ Johnson Park lots. See above map for location of Game Day Cash Parking Lots. I DO NOT HAVE A PARKING PASS. WHERE CAN I PARK? • Game Day Cash Parking Lots can be found on the Livingston, College Avenue, and Biomedical and Health Sciences Campus (formerly UMDNJ) Campuses, as well as the Saint George Greek Church Lot on a first-come, first-served basis. Livingston Campus/RAC: RAC parking lots can be accessed via Suttons Lane or Avenue E. Take the FREE shuttle bus from in front of the RAC ($20 per vehicle). -
Rutgers, the State University of New Jersey New
RUTGERS, THE STATE UNIVERSITY OF NEW JERSEY NEW BRUNSWICK AN INTERVIEW WITH WILLIAM R. FERNEKES FOR THE RUTGERS ORAL HISTORY ARCHIVES WORLD WAR II * KOREAN WAR * VIETNAM WAR * COLD WAR INTERVIEW CONDUCTED BY SHAUN ILLINGWORTH and KRISTIE THOMAS and DAMIEN KULIKOWSKI and MELINDA KINHOFER NEW BRUNSWICK, NEW JERSEY OCTOBER 23, 2009 TRANSCRIPT BY DOMINGO DUARTE Shaun Illingworth: This begins an interview with Dr. William R. Fernekes on October 23, 2009, in New Brunswick, New Jersey, with Shaun Illingworth and … Kristie Thomas: … Kristie Thomas … Damien Kulikowski: … Damien Kulikowski … Melinda Kinhofer: … and Melinda Kinhofer. SI: Thank you very much for coming. We have been looking forward to this for a while. William Fernekes: My pleasure. SI: Could you tell us when and where you were born? WF: I was born at the Margaret Hague Maternity Hospital in Jersey City, New Jersey, [the] 17th of September, 1952. SI: What were your parents' names? WF: My father's name, and he's still alive, is William B. Fernekes; "B" is Bernard. My mother's name is Josephine Claire Mangnante. … When she got married, it became Josephine Fernekes. My mother passed away in 1988. SI: Can you tell us about your father's family history? WF: Sure. My father's side of the family, his mother is named Rita Carrick. She was born in New York City, just around the turn of the century, and her father was actually an immigrant from Great Britain, as was her mother. … I would say before she was fifteen years old, there was a rift and her father left the family. -
Robert F. Ochs, Rutgers College Class of 1949
RUTGERS, THE STATE UNIVERSITY OF NEW JERSEY NEW BRUNSWICK AN INTERVIEW WITH ROBERT F. OCHS FOR THE RUTGERS ORAL HISTORY ARCHIVES OF WORLD WAR II INTERVIEW CONDUCTED BY G. KURT PIEHLER WILMINGTON, NORTH CAROLINA NOVEMBER 24, 1997 TRANSCRIPT BY JOHN NEIMAN Kurt Piehler: This begins an interview with Mr. Robert F. Ochs on November 24th, 1997 with Kurt Piehler at Wilmington, North Carolina. And I guess I’d like to begin by asking you about your parents, but also growing up. Because, in many ways, not only did you spend a lot of time in your career at Rutgers, and in the New Brunswick area, but you are … a native of the New Brunswick/Highland Park/Milltown area. And maybe we should start off with a little bit about your father, because he was born in Milltown. How did your family come to the Milltown/New Brunswick area? Robert Ochs: Well, both of my grandparents came from Germany. My mother’s family was named Ziegert and they settled in South River, New Jersey and my dad’s family, of course, was Ochs, and they actually lived in New Brunswick first. My grandfather Ochs was a shoemaker in New Brunswick, and my father’s brother started a dairy farm in Milltown, and that’s how the Milltown connection came into effect. And my mom and dad got married, and I was born in New Brunswick. In fact, on George Street, up around Remson Avenue. At about the age of six months moved to Highland Park, so that was my home ... all my life, until I came down to North Carolina. -
The Inventory of the Sam Shepard Collection #746
The Inventory of the Sam Shepard Collection #746 Howard Gotlieb Archival Research Center Shepard, Srun Sept,1~77 - Jan,1979 Outline of Inventory I. MANUSCRIPTS A. Plays B. Poetry c. Journal D. Short Prose E. Articles F. Juvenilia G. By Other Authors II. NOTES III. PRINTED MATTER A, By SS B. Reviews and Publicity C. Biographd:cal D. Theatre Programs and Publicity E. Miscellany IV. AWARDS .•, V. FINANCIAL RECOR.EB A. Receipts B. Contracts and Ageeements C. Royalties VI. DRAWINGS AND PHOTOGRAPHS VII. CORRESPONDENCE VIII.TAPE RECORDINGS Shepard, Sam Box 1 I. MANUSCRIPTS A. Plays 1) ACTION. Produced in 1975, New York City. a) Typescript with a few bolo. corr. 2 prelim. p., 40p. rn1) b) Typescript photocopy of ACTION "re-writes" with holo. corr. 4p. marked 37640. (#2) 2) ANGEL CITY, rJrizen Books, 1976. Produced in 1977. a) Typescript with extensive holo. corr. and inserts dated Oct. 1975. ca. 70p. (ft3) b) Typescript with a few holo. corr. 4 prelim. p., 78p. (#4) c) Typescript photocopy with holo. markings and light cues. Photocopy of r.ouqh sketch of stage set. 1 prelim. p., 78p. ms) 3) BURIED CHILD a) First draft, 1977. Typescript with re~isions and holo. corr. 86p. (#6) b) Typescript revisions. 2p. marked 63, 64. (#6) 4) CALIFORNIA HEART ATTACK, 1974. ,•. ' a) Typescript with holo. corr. 23p. (#7) ,, 5) CURSE OF THE STARVING CLASS, Urizen Books, 1976. a) Typescript with holo. corr. 1 prelim. p., 104p. ms) b) Typescript photocopy with holo. corr. 1 prelim. p. 104p. (#9) c) Typescript dialogue and stage directions, 9p. numbered 1, 2, and 2-8. -
Rutgers 2030 Volume 1: New Brunswick
RUTGERS UNIVERSITY PHYSICAL MASTER PLAN RUTGERS 2030 VOLUME 1: NEW BRUNSWICK JUNE 18, 2015 I PREFACE Rutgers University embarked on Rutgers 2030 in RBHS is considered primarily within Volume 1 although May 2013, the first comprehensive master plan in constituent elements are found across Rutgers. over a decade, and the first to incorporate Rutgers Biomedical and Health Sciences (RBHS), created The scope of input was broad, involving survey from the integration of the University of Medicine responses from approximately 8,000 members of the and Dentistry of New Jersey (UMDNJ) with Rutgers community, over thirty presentations and town hall University in July 2013. The physical master plan meetings, and meetings with many administrators, complements the Rutgers University Strategic Plan, faculty, and student groups. prepared in conjunction with the Boston Consulting Group, and approved by the Board of Governors in This study would not have been possible without the February 2014, and the strategic plans of each of leadership of Rutgers University President Robert L. Rutgers’ component institutions. Barchi and support of Chancellors Nancy Cantor, Richard Edwards, Phoebe Haddon, and Brian Strom. Rutgers 2030 envisions development at Rutgers In addition, the Physical Master Plan Executive Steering over a 15-year time frame, 2015 to 2030, and is Committee, Rutgers University Facilities and Capital comprehensive in its scope; taking into account Planning members, Deans, staff, faculty and students buildings, the natural and constructed landscape, contributed invaluable insight to the development of transportation, and infrastructure. The report consists the project. of three volumes: The master plan consulting team included Robert Volume 1: Rutgers University–New A.M. -
Missionaries
Brooklyn Academy of Music 1997 Next Wave Festival .•- •• • •••••• ••• • • • • Julio Galan, Rado, 1996, oil on canvas, 39 '/>" x 31 W' Missionaries PHILIP MORRIS BAM 1997 Next Wave Festival is sponsored by COMPANIES INC. Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Harvey Lichtenstein President and Executive Producer presents Missionaries Running time: BAM Majestic Theater approximately November 4-8, 1997 at 7:30pm two hours and twenty minutes Conceived, composed and directed by Elizabeth Swados including one intermission Produced by Ron Kastner, Peter Manning and New York Stage and Film Cast Dorothy Abrahams, Vanessa Aspillaga, Carrie Crow, Josie de Guzman, Pierre Diennet, Marisa Echeverria, Abby Freeman, Peter Kim, Gretchen Lee Krich, Fabio Polanco, Nick Petrone, Heather Ramey, Nina Shreiber, Tina Stafford, Rachel Stern, Amy White Musical direction and piano David Gaines Percussion Genji Ito, Bill Ruyle Guitar Ramon Taranco Cello / keyboards J. Michael Friedman Lighting design Beverly Emmons Costu me design Kaye Voyce Production manager Jack O'Connor General manager Christina Mills Production stage manager Judy Tucker Co-commissioned by Brooklyn Academy of Music Major support provided by ==:ATaaT and The Ford Foundation ~ Missionaries is meant to honor the memory of those who were killed in EI Salvador during the terrible times of the 1970s and 1980s. I hope it will also bring attention to the extraordinary efforts being made today by the MADRES and other groups devoted to stopping violence and bringing freedom and dignity to the poor. Jean Donovan, Dorothy Kazel, Ita Ford, and Maura Clarke were murdered because of their beliefs and dedication to the women and children of EI Salvador. -
Journalism 375/Communication 372 the Image of the Journalist in Popular Culture
JOURNALISM 375/COMMUNICATION 372 THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Journalism 375/Communication 372 Four Units – Tuesday-Thursday – 3:30 to 6 p.m. THH 301 – 47080R – Fall, 2000 JOUR 375/COMM 372 SYLLABUS – 2-2-2 © Joe Saltzman, 2000 JOURNALISM 375/COMMUNICATION 372 SYLLABUS THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Fall, 2000 – Tuesday-Thursday – 3:30 to 6 p.m. – THH 301 When did the men and women working for this nation’s media turn from good guys to bad guys in the eyes of the American public? When did the rascals of “The Front Page” turn into the scoundrels of “Absence of Malice”? Why did reporters stop being heroes played by Clark Gable, Bette Davis and Cary Grant and become bit actors playing rogues dogging at the heels of Bruce Willis and Goldie Hawn? It all happened in the dark as people watched movies and sat at home listening to radio and watching television. “The Image of the Journalist in Popular Culture” explores the continuing, evolving relationship between the American people and their media. It investigates the conflicting images of reporters in movies and television and demonstrates, decade by decade, their impact on the American public’s perception of newsgatherers in the 20th century. The class shows how it happened first on the big screen, then on the small screens in homes across the country. The class investigates the image of the cinematic newsgatherer from silent films to the 1990s, from Hildy Johnson of “The Front Page” and Charles Foster Kane of “Citizen Kane” to Jane Craig in “Broadcast News.” The reporter as the perfect movie hero. -
GULDEN-DISSERTATION-2021.Pdf (2.359Mb)
A Stage Full of Trees and Sky: Analyzing Representations of Nature on the New York Stage, 1905 – 2012 by Leslie S. Gulden, M.F.A. A Dissertation In Fine Arts Major in Theatre, Minor in English Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Dorothy Chansky Chair of Committee Dr. Sarah Johnson Andrea Bilkey Dr. Jorgelina Orfila Dr. Michael Borshuk Mark Sheridan Dean of the Graduate School May, 2021 Copyright 2021, Leslie S. Gulden Texas Tech University, Leslie S. Gulden, May 2021 ACKNOWLEDGMENTS I owe a debt of gratitude to my Dissertation Committee Chair and mentor, Dr. Dorothy Chansky, whose encouragement, guidance, and support has been invaluable. I would also like to thank all my Dissertation Committee Members: Dr. Sarah Johnson, Andrea Bilkey, Dr. Jorgelina Orfila, and Dr. Michael Borshuk. This dissertation would not have been possible without the cheerleading and assistance of my colleague at York College of PA, Kim Fahle Peck, who served as an early draft reader and advisor. I wish to acknowledge the love and support of my partner, Wesley Hannon, who encouraged me at every step in the process. I would like to dedicate this dissertation in loving memory of my mother, Evelyn Novinger Gulden, whose last Christmas gift to me of a massive dictionary has been a constant reminder that she helped me start this journey and was my angel at every step along the way. Texas Tech University, Leslie S. Gulden, May 2021 TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………ii ABSTRACT …………………………………………………………..………………...iv LIST OF FIGURES……………………………………………………………………..v I. -
An Actor Remembers: Memory's Role in the Training of the United States
An Actor Remembers: Memory’s Role in the Training of the United States Actor by Devin E. Malcolm B.A. in The Human Drama, Juniata College, 1997 M.A. in Theatre, Villanova University, 2002 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Theatre History and Performance Studies University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH Dietrich School of Arts and Sciences This dissertation was presented by Devin E. Malcolm It was defended on November, 5th 2012 and approved by Kathleen George, PhD, Theatre Arts Bruce McConachie, PhD, Theatre Arts Edouard Machery, PhD, History and Philosophy of Science Dissertation Advisor: Attilio Favorini, PhD, Theatre Arts ii Copyright © by Devin E. Malcolm 2012 iii AN ACTOR REMEMBERS: MEMORY’S ROLE IN THE TRAINING OF THE UNITED STATES ACTOR Devin E. Malcolm, PhD University of Pittsburgh, 2012 This dissertation examines the different ways actor training techniques in the United States have conceived of and utilized the actor’s memory as a means of inspiring the actor’s performance. The training techniques examined are those devised and taught by Lee Strasberg, Stella Adler, Joseph Chaikin, Stephen Wangh and Anne Bogart and Tina Landau. As I shall illustrate, memory is not the unified phenomenon that we often think and experience it to be. The most current research supports the hypothesis that the human memory is composed of five distinctly different, yet interrelated systems. Of these five my research focuses on three: episodic, semantic, and procedural. -
Community Gamelan in America: Identifying Best Practices in Ensemble Management
Community Gamelan in America: Identifying Best Practices in Ensemble Management © 2017 Arts Indonesia - Gamelan Dharma Swara This research is supported in part by a grant from the Paul R. Judy Center for Applied Research at the Eastman School of Music Table Of Contents I. Introduction II. Methodology III. Articulation Of Challenges IV. Best Practices V. Recommendations VI. Conclusion VII. Acknowledgements Appendix A: Ensemble Profiles 1. Gamelan Dharma Swara 2. Gamelan Son of Lion 3. Gamelan Sekar Jaya 4. Gamelan Galak Tika 5. Portland Taiko 6. Calpulli Mexican Dance Company 7. Lightbulb Ensemble Appendix B: Gamelan Dharma Swara Vision Statement 1 I. INTRODUCTION The shimmering tones and dense textures of gamelan – the percussive ensembles of metallophones, drums, and gongs found in various forms across Indonesia – have long excited and influenced innovative Western composers, from Debussy and Bartok to Glass, Cage, and Reich. Gamelan’s influence can also be heard in modern electronic and pop music: Bjork commissioned the building of the gameleste, a hybrid between a celesta and a gamelan; and Beck invited Burat Wangi, a gamelan ensemble based at the California Institute of the Arts, to participate in his live version of David Bowie's Sound and Vision. The sounds of gamelan have never been more readily accessible to global listeners as they are today, and while gamelan maintains a vibrant standing in its original context, a strong culture of gamelan has proliferated outside the Indonesian archipelago. In the United States roughly 150 -
SHSU Video Archive Basic Inventory List Department of Library Science
SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films.