210-15-3 Acad Content and Process Standards Adopted

Total Page:16

File Type:pdf, Size:1020Kb

210-15-3 Acad Content and Process Standards Adopted TITLE 210. STATE DEPARTMENT OF EDUCATION CHAPTER 15. CURRICULUM AND INSTRUCTION SUBCHAPTER 1. GENERAL PROVISIONS 210:15-1-3. Procedures for review, revision and implementation of academic content and process standards (a) Review of academic content and process standards. In preparation for review and implementation of subject matter content and process standards required by 70 O.S. §§ 11-103.6 and 11-103.6a, the Superintendent of Public Instruction shall direct the Office of Instruction to recruit a volunteer citizen advisory committee for the purpose of providing the State Department of Education with recommendations pertaining to review and revision of academic content and process standards. (1) Recruitment of the citizen advisory committee shall be conducted in accordance with the following procedures: (A) The citizen advisory committee shall consist of at least ten (10) but no more than sixty (60) volunteers representing a diverse range of stakeholders in the State’s educational system, including, but not limited to, parents or guardians of public school children; public school instructional and administrative employees; higher education specialists in subject matter content and teacher preparation; museum educators; healthcare professionals; local district, state and tribal government leaders; and community and business leaders. (B) In the event that more than sixty (60) individuals volunteer for service on the citizen advisory committee, participants in the citizen advisory committee shall be selected from a pool of applicants. (2) The citizen advisory committee shall be advisory only, and shall neither be supported by state public funds nor be construed as having the power to exercise any actual or de facto act or decision-making power on behalf of the State Department of Education or the State Board of Education. (3) The State Department of Education shall consider the recommendation of the volunteer citizen advisory committee in preparation of its draft subject matter content and process standards. (b) Notice of intent to revise academic content and process standards, opportunity for public comment and public hearing on proposed academic content and process standards. (1) Prior to presenting recommended revisions to subject matter content and process standards to the State Board of Education, the State Department of Education shall provide the public with an opportunity to review and submit written and/or oral comments, data, or opinions relating to the proposed revisions to subject matter content and process standards , in accordance with all the following procedures: (A) The State Department of Education shall publish and post written notice of its intent to revise academic content and process standards at the offices of the State Department of Education and on the website of the State Department of Education. Copies of the notices shall be mailed to all state public school district superintendents through either regular mail or electronic mail. The notice shall contain, at a minimum: (i) A brief description of the academic content and process standards under review; (ii) Identification of the period of public comment provided in (b)(1)(B) of this subsection and provide instructions for how the public may submit its comments, 1 including identification of the name, address(es), and phone number of at least one point of contact to which public comments may be submitted for consideration; and (iii) Identification of the date, time, and location of the public hearing provided in (b)(1)(C) of this subsection. (B) The State Department of Education shall make a draft copy of the academic content and process standards available for public inspection, review and comment for a minimum of thirty (30) days prior to presentation to the State Board of Education for adoption (C) The State Department of Education shall hold a public hearing on the proposed academic content and process standards on the date specified in the notice required by (b)(1)(A)(iii) of this subsection. (c) Adoption of academic content and process standards adopted by the State Board of Education. (1) After consideration of the recommendation(s) of the volunteer citizen advisory committee and public comments pursuant to subsections (a) and (b) of this rule, the State Department of Education Office of Instruction shall prepare its proposed revised subject matter academic content and process standards for presentation to the State Board of Education for adoption, along with a summary of the public comments received on the proposed academic content and process standards as well as an explanation for the basis to incorporate or not incorporate each comment. (2) Academic content and process standards shall be considered enforceable upon the date of adoption by the State Board of Education and shall remain in full force and effect until superceded by adoption of subsequent academic content and process standards or revoked by the State Board of Education. (d) Publication of academic content and process standards adopted by the State Board of Education. (1) After adoption by the State Board of Education, all academic content and process standards shall be published by the State Board of Education in print and electronic format. A copy in print format shall made available for public inspection at the office of the State Department of Education. Electronic copies of the standards shall be made accessible to the public on the State Department of Education website. (2) All publications of academic content and process standards adopted by the State Board of Education and published by the State Department of Education shall be clearly marked on the cover with the date of approval by the State Board of Education, and shall include a copy of a letter bearing the signature of the Superintendent of Public Instruction serving at the date of publication which contains, at a minimum, the following: (A) An affirmation that the publication is the official version of the academic content and process standards adopted by the State Board of Education currently in effect as of the date of the letter; (B) Identification of the date of the approval of the academic content and process standards adopted by the State Board of Education; (C) Identification of the date of approval of the academic content and process standards being superceded by the revised academic content and process standards, if any; and (D) Identification of the source of constitutional and/or statutory authority for the adoption of academic content and process standards. 2 SUBCHAPTER 3. PRIORITY ACADEMIC STUDENT SKILLS [REVOKED] PART 1. GENERAL [REVOKED] 210:15-3-1. Purpose [REVOKED] The rules of the Subchapter have been adopted for the purpose of establishing PRIORITY ACADEMIC STUDENT SKILLS (PASS) to meet desired levels of competencies for students in public schools according to 70 O.S. § 11.103.5 and 103.6 and review and revise core curriculum requirements according to provisions of 70 O.S. § 11 103.6(a). PART 3. PRE-KINDERGARTEN AND KINDERGARTEN [REVOKED] 210:15-3-5. Overview [REVOKED] (a) Kindergarten programs should be appropriate for the age and developmental level of each child. Teaching is based on the knowledge of how young children develop and learn. The learning environment fosters all areas of development: intellectual, language, physical and social; and provides the challenge for children to learn according to their individual growth patterns. Kindergarten programs should: (1) Provide an environment designed for the age group served and implemented with attention to the needs and differences of the individual children. (2) Provide units or themes of interest to children which integrate and teach all areas of the core curriculum (e.g., language arts, mathematics, science, social studies, the arts). (3) Provide an environment arranged in learning centers or learning areas (e.g., art center, science center, reading center, dramatic play center, block center). Each center will have a variety of activities for the children. This arrangement allows for a wide range of developmental interests and abilities within the same classroom. (4) Provide a balance of classroom activities that are teacher directed and child initiated. These activities may be active or quiet, performed individually or in large and small groups. (5) Provide a learning process which is active; one in which children interact with each other and materials while engaging in cooperative hands on learning with day to day life experiences. (6) Provide curriculum which builds upon what children already know and are able to do to enable them to connect new concepts and skills. (7) Provide opportunities for exposure to a wide variety of information and literacy experiences and the use of technology through daily activities in the classroom and/or media center. (b) These PRIORITY ACADEMIC STUDENT SKILLS (PASS) are intended to be a minimum curriculum for children attending kindergarten in Oklahoma. Teachers trained in early childhood curriculum theories will provide an enriched curriculum including the following skills and many others. 210:15-3-5.1. Definitions [REVOKED] The following words and terms, when used in this Part, shall have the following meaning unless the context clearly indicates otherwise: "Beat" means the consistent pulse that occurs throughout a rhyme, song, or recorded musical selection; "Biographical data" means information pertaining to an individual (e.g., name, age, birthdate, address, telephone number). "Body percussion" means sounds produced by the use of the body (i.e., clap, snap, slap, tap, stamp, stomp, whistle). "Color" means hue (name of the color), value (how light a color is), and intensity (amount of brightness) produced through the reflection of light to the eye. Primary colors are the three 3 colors from which all other colors may be made: red, yellow, and blue. Secondary colors are the result of mixing any two primary colors: orange, green, and purple. "Consonants" means the letters of the alphabet (excluding a, e, i, o, u, usually including y and w) and a single sound made by a parted or complete obstruction of air.
Recommended publications
  • Event. Location
    12th Annual A remarkable CHAMBER EVENT. MUSIC FESTIVAL A remarkable of the LOCATION. BLUEGRASS 2018 Overview Festival Program Now in its 12th year, the FRIDAY, MAY 25, 2018 Chamber Music Festival of the Bluegrass is a premier The Meeting House Central Kentucky cultural destination. Join CMS Artistic Directors David Haydn Finckel and Wu Han for Trio in C major for Piano, Violin, and Cello, Hob. XV:27 (1797) special performances in the Allegro 1820 Meeting House and the Wu Han, Huang, Finckel Meadow View Barn. Chamber music enthusiasts will also Schumann enjoy two educational lectures, Quartet in E-flat major for Piano, Violin, Viola, and Cello, Op. 47 (1842) led by Patrick Castillo, Andante cantabile exploring the history of each Wu Han, Keefe, Lipman, Atapine featured piece of music. Waxman 2018 ARTISTS Carmen Fantasie for Viola and Piano (1947) Lipman, Pohjonen JUHO POHJONEN, Piano WU HAN, Piano Brahms Trio in E-flat major for Horn, Violin, and Piano, Op. 40 (1865) PAUL HUANG, Violin Finale: Allegro con brio ERIN KEEFE, Violin Vlatkovic, Pohjonen MATTHEW LIPMAN, Viola DMITRI ATAPINE, Cello DAVID FINCKEL, Cello RADOVAN VLATKOVIC´ , Horn Friday, May 25 at 6:30pm: Patrons’ Gala and Dinner 12th Annual CHAMBER MUSIC FESTIVAL of the BLUEGRASS SATURDAY, MAY 26, 2018 AT 11:00 AM Dvorák, 14’ SUNDAY, MAY 27, 2018 AT 5:00 PM THE MEETING HOUSE Drobnosti (Miniatures) for Two Violins and Viola, MEADOW VIEW BARN Op. 75a (1887) Haydn, 16’ Cavatina: Moderato Mozart, 26’ Trio in C major for Piano, Violin, and Cello, Capriccio: Poco allegro Quartet in G minor for Piano, Violin, Viola, and Hob.
    [Show full text]
  • The Critical Reception of Beethoven's Compositions by His German Contemporaries, Op. 123 to Op
    The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 123 to Op. 124 Translated and edited by Robin Wallace © 2020 by Robin Wallace All rights reserved. ISBN 978-1-7348948-4-4 Center for Beethoven Research Boston University Contents Foreword 6 Op. 123. Missa Solemnis in D Major 123.1 I. P. S. 8 “Various.” Berliner allgemeine musikalische Zeitung 1 (21 January 1824): 34. 123.2 Friedrich August Kanne. 9 “Beethoven’s Most Recent Compositions.” Allgemeine musikalische Zeitung mit besonderer Rücksicht auf den österreichischen Kaiserstaat 8 (12 May 1824): 120. 123.3 *—*. 11 “Musical Performance.” Wiener Zeitschrift für Kunst, Literatur, Theater und Mode 9 (15 May 1824): 506–7. 123.4 Ignaz Xaver Seyfried. 14 “State of Music and Musical Life in Vienna.” Caecilia 1 (June 1824): 200. 123.5 “News. Vienna. Musical Diary of the Month of May.” 15 Allgemeine musikalische Zeitung 26 (1 July 1824): col. 437–42. 3 contents 123.6 “Glances at the Most Recent Appearances in Musical Literature.” 19 Caecilia 1 (October 1824): 372. 123.7 Gottfried Weber. 20 “Invitation to Subscribe.” Caecilia 2 (Intelligence Report no. 7) (April 1825): 43. 123.8 “News. Vienna. Musical Diary of the Month of March.” 22 Allgemeine musikalische Zeitung 29 (25 April 1827): col. 284. 123.9 “ .” 23 Allgemeiner musikalischer Anzeiger 1 (May 1827): 372–74. 123.10 “Various. The Eleventh Lower Rhine Music Festival at Elberfeld.” 25 Allgemeine Zeitung, no. 156 (7 June 1827). 123.11 Rheinischer Merkur no. 46 27 (9 June 1827). 123.12 Georg Christian Grossheim and Joseph Fröhlich. 28 “Two Reviews.” Caecilia 9 (1828): 22–45.
    [Show full text]
  • The Time Is Now Thethe Timetime Isis Nownow Music Has the Power to Inspire, to Change Lives, to Illuminate Perspective, 20/21 SEASON and to Shift Our Vantage Point
    20/21 SEASON The Time Is Now TheThe TimeTime IsIs NowNow Music has the power to inspire, to change lives, to illuminate perspective, 20/21 SEASON and to shift our vantage point. featuring FESTIVAL Your seats are waiting. Voices of Hope: Artists in Times of Oppression An exploration of humankind’s capacity for hope, courage, and resistance in the face of the unimaginable PERSPECTIVES Rhiannon Giddens “… an electrifying artist …” —Smithsonian PERSPECTIVES Yannick Nézet-Séguin “… the greatest generator of energy on the international podium …” —Financial Times PERSPECTIVES Jordi Savall “… a performer of genius but also a conductor, a scholar, a teacher, a concert impresario …” —The New Yorker DEBS COMPOSER’S CHAIR Andrew Norman “… the leading American composer of his generation ...” —Los Angeles Times Left: Youssou NDOUR On the cover: Mirga Gražinytė-Tyla carnegiehall.org/subscribe | 212-247-7800 Photos: NDOUR by Jack Vartoogian, Gražinytė-Tyla by Benjamin Ealovega. Box Office at 57th and Seventh Rafael Pulido Some of the most truly inspiring music CONTENTS you’ll hear this season—or any other season—at Carnegie Hall was written in response to oppressive forces that have 3 ORCHESTRAS ORCHESTRAS darkened the human experience throughout history. Perspectives: Voices of Hope: Artists in Times of Oppression takes audiences Yannick Nézet-Séguin on a journey unique among our festivals for the breadth of music 12 these courageous artists employed—from symphonies to jazz to Debs Composer’s popular songs and more. This music raises the question of why, 13 Chair: Andrew Norman no matter how horrific the circumstances, artists are nonetheless compelled to create art; and how, despite those circumstances, 28 Zankel Hall Center Stage the art they create can be so elevating.
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • Capital Trio Duncan Cumming, Piano; Hilary Cumming, Violin; Sölen¸ Dikener, Cello
    Williams College Department of Music Capital Trio Duncan Cumming, piano; Hilary Cumming, violin; Sölen¸ Dikener, cello Ludwig van Beethoven Sonata in C major, op. 102, No. 1 (1770-1827) I. Andante—Allegro vivace II. Adagio—Tempo d’Andante—Presto Bedrich Smetana Z Domoviny (From My Homeland) (1824-1884) I. Moderato II. Andantino—Moderato— Allegro vivo—Presto ***intermission*** Antonin Dvorák Piano Trio in E minor, Op. 90 (“Dumky”) (1841-1904) I. Lento maestoso—Allegro vivace, quasi doppio movimento II. Poco adagio—Vivace non troppo III. Andante—Poco più mosso— Vivace non troppo IV. Andante moderato—Allegretto scherzando V. Allegro—Meno VI. Lento maestoso—Vivace quasi doppio movimento Thursday, February 7, 2013 8:00 p.m. Brooks-Rogers Recital Hall Williamstown, Massachusetts Upcoming Events at Williams: See music.williams.edu for full details and to sign up for the weekly e-newsletters. 2/10 3:00pm Berkshire Symphony Soloist Recital Brooks-Rogers Recital Hall 2/12 6:00pm Berkshire Symphony Soloist Competition Brooks-Rogers Recital Hall 2/15 8:00pm Williams Chamber Players Brooks-Rogers Recital Hall 2/15 8:00pm Club Zambezi Dance Party! ’62 Center, CenterStage ** 2/16 2:00pm Club Zambezi Dance Party! (Families welcome!) ’62 Center, CenterStage ** 2/24 3:00pm World Music: Ballaké Sissoko, Malian Master Brooks-Rogers Recital Hall 2/27 12:15pm MIDWEEKMUSIC Chapin Hall Stage 3/1 8:00pm Joana Genova & Friends - Bartok & the Balkans Brooks-Rogers Recital Hall 3/2 8:00pm Visiting Artist: Paul LaRosa, baritone, Vivien Shotwell, mezzo Brooks-Rogers Recital Hall 3/3 1:00pm Vocal Master Class with Paul La Rosa and Vivian Shotwell Brooks-Rogers Recital Hall 3/6 12:15pm MIDWEEKMUSIC Chapin Hall Stage 3/8 8:00pm Berkshire Symphony: The Rite of Spring ’62 Center, MainStage 3/9 3:00pm Berkshire Symphony: The Rite of Spring ’62 Center, MainStage 3/9 8:00pm Berkshire Symphony: The Rite of Spring ’62 Center, MainStage 3/10 3:00pm Visiting Artist: Gilles Vonsattel, piano Chapin Hall No photography or recording without permission.
    [Show full text]
  • Faithful to My Land
    FAITHFUL TO MY LAND A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS IN MUSIC WITH A PRIMARY EMPHASIS IN MUSIC THEORY AND COMPOSITION AND A SECONDARY AREA IN CONDUCTING BY WIBOON TRAKULHUN DISSERTATION CO-CHAIRS: DR. ELEANOR TRAWICK DR. KEITH KOTHMAN BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2011 FAITHFUL TO MY LAND A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS IN MUSIC BY WIBOON TRAKULHUN APPROVED BY: _________________________________ Date _____________________ Dr. Eleanor Trawick Chairperson _________________________________ Date _____________________ Dr. Keith Kothman Co-Chairperson _________________________________ Date _____________________ Dr. Duane Karna Member _________________________________ Date _____________________ Dr. James Helton Member _________________________________ Date _____________________ Dr. Lisa Huffman Member _________________________________ Date _____________________ Dr. Robert Morris Dean of Graduate School Ball State University Muncie, Indiana May 2011 -ii- ACKNOWLEDGMENTS I would like to express my most sincere gratitude to Dr. Eleanor Trawick, my doctoral committee chair and advisor, for her guidance in the preparation of this dissertation and her very generous support in my studies during the past years. It is difficult to fully convey in words the level of gratitude for her enthusiasm and for the countless times she devoted to the severe task of reading this dissertation. Her patience, advice, and encouragement have contributed immeasurably to my composition, dissertation, and education. I would also like to acknowledge and appreciate Dr. Keith Kothman, my doctoral committee co-chair, for his instruction and support of my composition. This piece would not have been accomplished if not for his invaluable suggestions.
    [Show full text]
  • University of Oklahoma Graduate College Pianistic Analysis of Bedřich Smetana's Piano Cycle Dreams, Six Characteristic Pieces
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PIANISTIC ANALYSIS OF BEDŘICH SMETANA’S PIANO CYCLE DREAMS, SIX CHARACTERISTIC PIECES FOR PIANO A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By KRISTINA HENCKEL Norman, Oklahoma 2016 PIANISTIC ANALYSIS OF BEDŘICH SMETANA’S PIANO CYCLE DREAMS, SIX CHARACTERISTIC PIECES FOR PIANO A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jane Magrath, Chair ______________________________ Dr. Barbara Fast ______________________________ Dr. Marvin Lamb ______________________________ Dr. Michael Lee ______________________________ Dr. Joseph Havlicek © Copyright by KRISTINA HENCKEL 2016 All Rights Reserved. ACKNOWLEDGMENTS My many thanks go out to every member (past and present) who served on my doctoral committee: The chair Dr. Jane Magrath, Dr. Michael Lee, Dr. Marvin Lamb, Dr. Barbara Fast, Dr. Joseph Havlicek, Dr. Jeongwon Ham, and Dr. Stephen Beus. Your guidance and commitment were absolutely vital for my growth as a writer of this document. A special thanks goes to Dr. Magrath who guided me through the most challenging part of my degree, this document, and who supported my desire to showcase the value and beauty of the piano works of Smetana and the contributions of other Czech composers and scholars. I am absolutely certain that it is only through the dedication and tireless work of my editor, Mark Worcester, that I have been able to complete a document of such depth and scope. He went beyond proofing my writing and made me feel like I had a collaborator and partner in this process. Enormous thanks go to my mom Krista Pelechová, my husband Terrel, and my children, Elishka and Maksim, for their tireless support, patience and love.
    [Show full text]
  • Cipc-2021-Program-Notes.Pdf
    PROGRAM NOTES First and Second Rounds Written by musicologists Marissa Glynias Moore, PhD, Executive Director of Piano Cleveland (MGM) and Anna M. O’Connell (AMO) Composer Index BACH 03 LISZT 51 BÁRTOK 07 MESSIAEN 57 BEACH 10 MONK 59 BEETHOVEN 12 MOZART 61 BRAHMS 18 RACHMANINOFF 64 CHOPIN 21 RAMEAU 69 CZERNY 29 RAVEL 71 DEBUSSY 31 PROKOFIEV 74 DOHNÁNYI 34 SAINT-SAËNS 77 FALLA 36 SCARLATTI 79 GRANADOS 38 SCHUBERT 82 GUARNIERI 40 SCRIABIN 84 HAMELIN 42 STRAVINSKY 87 HANDEL 44 TANEYEV 90 HAYDN 46 TCHAIKOVSKY/FEINBERG 92 LIEBERMANN 49 VINE 94 2 2021 CLEVELAND INTERNATIONAL PIANO COMPETITION / PROGRAM NOTES he German composer Johann Sebastian Bach was one of a massive musical family of Bachs whose musical prowess stretched over two Johann Thundred years. J.S. Bach became a musician, earning the coveted role as Thomaskantor (the cantor/music director) for the Lutheran church Sebastian of St. Thomas in Leipzig. At St. Thomas, Bach composed cantatas for just about every major church holiday, featuring a variety of different voice types Bach and instruments, and from which his famed chorales are sung to this day in churches and choral productions. As an organist, he was well known for his ability to improvise extensively on hymn (chorale) tunes, and for reharmonizing (1685-1750) older melodies to fit his Baroque aesthetic. Many of these tunes also remain recognizable in church hymnals. Just as his chorales serve as a basis in composition technique for young musicians today, his collection of keyboard works entitled The Well-Tempered Clavier serves even now as an introduction to preludes and fugues for students of the piano.
    [Show full text]
  • Antonin Dvorak, Biblical Songs, Op. 99: a Transcription for Wind Orchestra with Historical Context and Transcription Method
    UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 Antonin Dvorak, Biblical Songs, Op. 99: A transcription for wind orchestra with historical context and transcription method Raymond T. Brown University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Brown, Raymond T., "Antonin Dvorak, Biblical Songs, Op. 99: A transcription for wind orchestra with historical context and transcription method" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 887. http://dx.doi.org/10.34917/2238502 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. ANTONIN DVORAK, BIBLICAL SONGS, Op.99: A TRANSCRIPTION FOR WIND ORCHESTRA WITH HISTORICAL CONTEXT AND TRANSCRIPTION METHOD by Raymond Thomas Brown Bachelor of Music Education Brigham
    [Show full text]
  • Driving Tours
    19 7 6 13 5 25 17 4 Sonoma 20 County 27 23 24 10 18 26 8 14 11 116 22 21 1 2 d 3 a o 12 R a m lu eta es-P 16 ey R t. P N ic a s io V a 9 l le 15 N y R o a d Marin County Cheesemakers of Marin and Sonoma County 1 Achadinha Cheese Company 14 McClelland Dairy 2 Andante Cheese 15 Nicasio Valley Cheese Company 3 Barinaga Ranch Farmstead Sheep 16 Point Reyes Farmstead Cheese Company Milk Cheese 17 Pugs Leap 4 Bellwether Farms 18 Ramini Mozzarella 5 Bleating Heart Cheese 19 Redwood Hill Farm & Creamery 6 Bodega Artisan Cheese 20 Saint Benoit Yogurt 7 Bohemian Creamery 21 Spring Hill Cheese Company 8 Clover Stornetta Farms 22 Straus Family Creamery 9 Cowgirl Creamery 23 Toluma Farms 10 Epicurean Connection 24 Two Rock Valley Goat Cheese 11 Laura Chenel’s Chevre 25 Valley Ford Cheese Company 12 Marin French Cheese Company 26 Vella Cheese Company 13 Matos Cheese Factory 27 Weirauch Farm & Creamery A PROJECT OF THE MARIN ECONOMIC FORUM Driving Tours Marin County Tour Sonoma County Tour Novato to Nicasio and Point Reyes Station (about 50 miles) Petaluma to Sonoma to Sebastopol (about 50 miles) Driving Directions Driving Directions Start at the Marin French Cheese Company right outside Novato, Starting in the historic agricultural town of Petaluma, with its where you can take a tour, picnic, and taste their award-winning charming turn-of-the-century buildings and quaint downtown, Rouge et Noir brie.
    [Show full text]
  • An Exploration of Smetana's Z Domoviny (From My Homeland)
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2020 AN EXPLORATION OF SMETANA’S Z DOMOVINY (FROM MY HOMELAND), TWO PIECES FOR VIOLIN AND PIANO, JB 1:118 Yeseul Kim University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.407 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Kim, Yeseul, "AN EXPLORATION OF SMETANA’S Z DOMOVINY (FROM MY HOMELAND), TWO PIECES FOR VIOLIN AND PIANO, JB 1:118" (2020). Theses and Dissertations--Music. 169. https://uknowledge.uky.edu/music_etds/169 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Ursatz, Grundgestalt, and Hyperdissonance: Post-Kuchkist Compound Syntax In
    Ursatz, Grundgestalt, and Hyperdissonance: Post-Kuchkist Compound Syntax in Rachmaninoff Etudes-Tableaux, Op. 39, Nos. 1-3 A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2014 by Paul W. Pisano B. M., Utah State University, 1991 M. M., University of Cincinnati, 1994 ABSTRACT Over seventy years since the composer’s death, the music of Sergei Rachmaninoff continues to elicit polarized responses from listeners; even expressions of academic indif- ference may betray a degree of contempt by what they do not say. Much of this reaction, positive or negative, owes to a rather superficial appraisal of his style and the influences thereupon. Comprehension of the multilayered syntax of the composer’s late Russian and post-exilic works in particular—including the Etudes-Tableaux, Op. 39, Nos. 1-3, the subject of this document—requires study from multiple perspectives. Accordingly, the author subjects these Etudes to Schenkerian and Schoenbergian (i.e., Grundgestalt) analysis, critiquing Robert Cunningham’s Schenkerian analysis of No. 1 in the process. He also observes influences, not of the oft-cited Tchaikovsky, but of the more progressive Rimsky-Korsakoff and other members and successors of the Mighty Handful (Kuchka)—including Rachmaninoff’s contemporaries Scriabin and Stravinsky. Especially noteworthy is his juxtaposition of symmetrical pitch structures and modality onto the common-practice model, creating a phenomenon for which Rachmaninoff scholar Blair Johnston has coined the term “hyperdissonance.” ii iii ACKNOWLEDGMENTS First I wish to thank Dr.
    [Show full text]