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COCKEREL Education Guide DRAFT
VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Exploration in Opera Teacher Resource Guide The Golden Cockerel By Nikolai Rimsky-Korsakov Table of Contents The Opera The Cast ...................................................................................................... 2 The Story ...................................................................................................... 3-4 The Composer ............................................................................................. 5-6 Listening and Viewing .................................................................................. 7 Behind the Scenes Timeline ....................................................................................................... 8-9 The Russian Five .......................................................................................... 10 Satire and Irony ........................................................................................... 11 The Inspiration .............................................................................................. 12-13 Costume Design ........................................................................................... 14 Scenic Design ............................................................................................... 15 Q&A with the Queen of Shemakha ............................................................. 16-17 In The News In The News, 1924 ........................................................................................ 18-19 -
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
“UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. -
Songs of the Mighty Five: a Guide for Teachers and Performers
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks SONGS OF THE MIGHTY FIVE: A GUIDE FOR TEACHERS AND PERFORMERS BY SARAH STANKIEWICZ DAILEY Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Ayana Smith, Research Director __________________________________ Mary Ann Hart, Chairperson __________________________________ Marietta Simpson __________________________________ Patricia Stiles ii Copyright © 2013 Sarah Stankiewicz Dailey iii To Nathaniel iv ACKNOWLEDGMENTS I wish to express many thanks and appreciation to the members of my committee—Dr. Ayana Smith, Professor Mary Ann Hart, Professor Marietta Simpson, and Professor Patricia Stiles—for their support, patience, and generous assistance throughout the course of this project. My special appreciation goes to Professor Hart for her instruction and guidance throughout my years of private study and for endowing me with a love of song literature. I will always be grateful to Dr. Estelle Jorgensen for her role as a mentor in my educational development and her constant encouragement in the early years of my doctoral work. Thanks also to my longtime collaborator, Karina Avanesian, for first suggesting the idea for the project and my fellow doctoral students for ideas, advice, and inspiration. I am also extremely indebted to Dr. Craig M. Grayson, who graciously lent me sections of his dissertation before it was publically available. Finally, my deepest gratitude goes to my family for love and support over the years and especially my husband, Nathaniel, who has always believed in me. -
Rimsky-Korsakov Overture and Suites from the Operas
CHAN 10369(2) X RIMSKY-KORSAKOV OVERTURE AND SUITES FROM THE OPERAS Scottish National Orchestra Neeme Järvi 21 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 220-210-21 221/8/061/8/06 110:02:490:02:49 Nikolai Andreyevich Rimsky-Korsakov (1844–1908) COMPACT DISC ONE 1 Overture to ‘May Night’ 9:06 Suite from ‘The Snow Maiden’ 13:16 2 I Beautiful Spring 4:28 Drawing by Ilya Repin /AKG Images 3 II Dance of the Birds 3:18 4 III The Procession of Tsar Berendey 1:49 5 IV Dance of the Tumblers 3:40 Suite from ‘Mlada’ 19:18 6 I Introduction 3:19 7 II Redowa. A Bohemian Dance 3:55 8 III Lithuanian Dance 2:24 9 IV Indian Dance 4:21 10 V Procession of the Nobles 5:18 Suite from ‘Christmas Eve’ 29:18 11 Christmas Night – 6:15 12 Ballet of the Stars – 5:21 13 Witches’ sabbath and ride on the Devil’s back – 5:30 14 Polonaise – 5:47 15 Vakula and the slippers 6:23 TT 71:30 Nikolai Andreyevich Rimsky-Korsakov, 1888 3 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 22-3-3 221/8/061/8/06 110:02:420:02:42 COMPACT DISC TWO Rimsky-Korsakov: Overture and Suites from the Operas Musical Pictures from ‘The Tale of Tsar Saltan’ 21:29 1 I Tsar’s departure and farewell 4:57 2 II Tsarina adrift at sea in a barrel 8:43 Among Russian composers of the same year he was posted to the clipper Almaz on 3 III The three wonders 7:48 generation as Tchaikovsky, who were which he sailed on foreign service for almost prominent in the latter part of the three years, putting in at Gravesend (with a 4 The Flight of the Bumble-bee 3:22 nineteenth century, Nikolai Andreyevich visit to London), cruising the Atlantic coasts Interlude, Act III, from The Tale of Tsar Saltan Rimsky-Korsakov is unrivalled in his of North and South America, the Cape Verde mastery of orchestral resource. -
Southern Medical and Surgical Journal
T SOUTHERN MEDICAL AID SURGICAL JOUMAL KDlTlD B PAUL F. EVE, M. D., and I. P. GARVIN, M. D. Medical College of Georgia. " Je prends Ic Men ou je le trouvc." VOL. II.-- 184 6.-NEW SERIES. AUGUSTA, GA. JAMES McCAFFERTY, PRINTER AND PUBLISHER. 1846. SOUTHERN MEDICAL AND SURGICAL JOURNAL. Vol. I] NEW SERIES.—FEBRUARY, 1846. [No. 2. PART I.—ORIGINAL COMMUNICATIONS. ARTICLE V. Arc account of the operations of Lithotrity and Lithotripsy in the United States, with a successful Case. By Paul F. Eve, M. D., Professor of Surgery in the Medical College of Georgia. A brief historical notice of the operations for crushing stone in the bladder, that have been performed in our country, it is thought would not be uninteresting or unacceptable to the profession ; and be also a suitable introduction to the first case of the kind in which it is believed, this method has been successfully resorted to, in the South-west. The word Lithotrity is derived from Xi0o$, a stone, and Tirpau, or Tepcco, I pierce—that of Lithontripsy, or Lithotripsy, from \id6s, a stone and TpiSa, I pulverize, or Tpinrrw, 1 crush, or T> t7n S , pulverization. The first designates the operation which Civiale established twenty years ago, and consisted in repeatedly drilling holes through a calculus in the bladder ; and the latter term we apply to the more recent one of crushing the stone directly and at once, without previously piercing it. About the year 1820, a regular series of experiments were com- menced in the city of Paris, having for their object the destruction of stone in the bladder without resorting to cutting instruments. -
Catholics and Lutherans Has Intprmpdiatp Court Hinged on the Doctrine of Justification
love lessons Spicy_Hot A student writes about her younger brother, Red Hot Chili Peppers sizzled in their April 8 Tuesday who recently died of meningitis, and concert. according to music critic Dave Fulton. encourages everyone to embrace life as he did. APRIL 18, Scene + page 10 Viewpoint+ page 9 2000 THE The Independent Newspaper Serving Notre Dame and Saint Mary's VOL XXXIII NO. 124 HTTP://OBSERVER.ND.EDU NEWS ANALYSIS Theologians Bauer: Microsoft could face 01ore lawsuits been absolutely what I expected," discuss By COLLEEN McCARTHY Bauer said. Associate News Editor The third ruling, which Bauer Highlights of the expects could come this summer, justification Tlw April 3 ruling by a federal judge would deal with remedies to the situa Microsoft Case that t~omputnr giant Microsoft violated tion, since Jackson declared Microsoft By ERIN PIROUTEK U.S. antitrust laws dons not mean that in violation of antitrust laws. Associate News Editor tlw ease is ovPr. "The range of remedies extends to the breakup of Microsoft to ending dif In fact. appeals by For centuries the disagreement \1irrosort to the ferent kinds of conduct to changing May 1998 contracts it has with competitors and between Catholics and Lutherans has intPrmPdiatP court hinged on the Doctrine of Justification. of appnals in eustomt'rs," Bauer said. "The ruling Judge Thomas Penfield could also deal with Microsoft's licens Traditionally Lutherans have empha Washington, D.C. Jackson rules Microsoft sized that salvation is by faith alone, and tlwn possibly to ing codes regarding placement of their Web browser. while Catholics maintained that good thP U.S. -
Adjustment to Misfortune—A Problem of Social-Psychological Rehabilitation
Adjustment to Misfortune—A Problem of Social-Psychological Rehabilitation Dedicated to the memory of Kurt Lewin TAMARA DEMBO, Ph.D.,2 GLORIA LADIEU LEVITON, Ph.D.,3 AND BEATRICE A. WRIGHT, Ph.D.4 AT PARTICULAR times in the history of To investigate the personal and social science, particular problems become ripe for problems of the physically handicapped, two investigation. A precipitating event brings groups of subjects were needed—people who them to the attention of a single person and were considered handicapped and people sometimes to that of several at the same time. around them. Therefore, as subjects of the It is therefore understandable that during research both visibly injured and noninjured World War II the need was felt to investigate people were used. Interviews were employed as the problems of social-psychological rehabilita the primary method of investigation, the tion of the physically handicapped and that great majority of the 177 injured persons someone should look for a place and the means interviewed being servicemen or veterans of to set up a research project that would try to World War II. More than half the subjects solve some of these problems. In pursuit of had suffered amputations and almost one such a goal a research group was established fourth facial disfigurements. The injured man at Stanford University on February 1, 1945. was asked questions designed to elicit his expectations, experiences, and feelings in his Conducted partially under a contract between dealings with people around him. Sixty-five Stanford University and the wartime Office noninjured people also were interviewed in of Scientific Research and Development (rec regard to their feelings toward the injured man. -
5. Edward and Irving
MEET YOUR STUDENTS: 5. EDWARD AND IRVING* Richard M. Felder Department of Chemical Engineering North Carolina State University Raleigh, NC 27695-7905 The scene is a dormitory room, shared by two senior engineering students. Irving is hunched over his computer, looking at an open manual next to the keyboard, as Edward breezes in. Ed: “Yo, Irv—shut it down and move it out...it's party time.” Irv: (Silence) E: “Come on, ace—the brew is losing its head...up and away!” I: “Chill out, Eddie—I'm trying to figure out how to install this upgrade on my operating system. Why don't you go on ahead and I'll get there later.” E: “Right—just like last week, when you were going to get there in 15 minutes and you never showed at all.” I: “I told you I got involved with the control homework and lost track of time...anyway, you know I don't enjoy these parties—you guys are lunatics.” E: “We can't be lunatics, we're engineers—we're all nerds, we solve differential equations for kicks, most of us wear glasses...besides, I knew the campus security guard wouldn't really call the police last Friday—he just likes to blow smoke. Here, I'll bet I can figure that out...a few line commands here, a couple of mouse clicks there, and we're off for the bright lights and the beautiful... I: “Eddie, get your grubby hands off that machine and let me read the manual and do it right. -
Fresh Dressed
PRESENTS FRESH DRESSED A CNN FILMS PRODUCTION WORLD PREMIERE – DOCUMENTARY PREMIERE Running Time: 82 Minutes Sales Contact: Dogwoof Ana Vicente – Head of Theatrical Sales Tel: 02072536244 [email protected] 1 SYNOPSIS With funky, fat-laced Adidas, Kangol hats, and Cazal shades, a totally original look was born— Fresh—and it came from the black and brown side of town where another cultural force was revving up in the streets to take the world by storm. Hip-hop, and its aspirational relationship to fashion, would become such a force on the market that Tommy Hilfiger, in an effort to associate their brand with the cultural swell, would drive through the streets and hand out free clothing to kids on the corner. Fresh Dressed is a fascinating, fun-to-watch chronicle of hip-hop, urban fashion, and the hustle that brought oversized pants and graffiti-drenched jackets from Orchard Street to high fashion's catwalks and Middle America shopping malls. Reaching deep to Southern plantation culture, the Black church, and Little Richard, director Sacha Jenkins' music-drenched history draws from a rich mix of archival materials and in-depth interviews with rappers, designers, and other industry insiders, such as Pharrell Williams, Damon Dash, Karl Kani, Kanye West, Nasir Jones, and André Leon Talley. The result is a passionate telling of how the reach for freedom of expression and a better life by a culture that refused to be squashed, would, through sheer originality and swagger, take over the mainstream. 2 ABOUT THE FILMMAKERS SACHA JENKINS – Director Sacha Jenkins, a native New Yorker, published his first magazine—Graphic Scenes & X-Plicit Language (a ‘zine about the graffiti subculture)—at age 17. -
The Fullness of Jesus : O
' eastern NAZAMENE COLLEGE HEASEfIBRAKV L/ FROM H THE LIBRARY OF tt) /^eA4» Rif/UUt <M‘. McUfJu4/Uf> < ^AZAnEHEO Digitized by the Internet Archive in 2015 https://archive.org/details/fuiinessofjesusoOOsimp T-i v'- LIBRARY REGULATIOJ^S 1. INIembers will not be allowed to come o the library for books, but all selections ust be made by means of Catalogue and Ms. .. No member will be allowed to take more Ilian one book at a lime, or keep it longer tliaii two weeks. 3. INIembers are requested to keep at least leu numbers on their cards and erase numbers of books not wanted. 4. Exchanging books with another mem- ber is strictly prohibited. 5. Cards must always accompany books returned. 6. Marking books or turning down cor- ners of leaves is prohibited. 7. Any member injuring or losing a book will be expected to replace it before another can be taken. CONTENTS. The Fulness of Christ ------ i Cliristian Life in the Four Gospels - - - - T2 Christian Life in Acts - - - - - - 27 Christian Life in Romans ------ 43 Christian Life in First Corinthians, Part i. - - 57 Christian Life in First Corinthians, Part 2. - - -65 _ _ Christian Life in Second Corinthians _ yo - - - - - Christian Life in Galatians • - 85 Christian Life in Ephesians ----- 88 Christian Life in Philippians ----- 94 Chrietian Life in Colossians _ - - _ 102 Christian Life in Thessalonians - - - - - iio Christian Idfe in Timoth)' - - - - - 120 From Grace to Glory - - - - - - 130 Christian Life in Hebrews - - - - - 138 Christian Life in James - - - - - - 149 Christian Life in First Peter - - - - - 158 Christian Life in Second Peter ----- Christian Life in the Epistles of John - - - 184 Christian Life in the P^pistle of Jude - - - - 189 Christian Life in the Personal Epistles - - - 199 - - - Christian Life in the Apocalypse, Part 1 . -
Through the Iris TH Wasteland SC Because the Night MM PS SC
10 Years 18 Days Through The Iris TH Saving Abel CB Wasteland SC 1910 Fruitgum Co. 10,000 Maniacs 1,2,3 Redlight SC Because The Night MM PS Simon Says DK SF SC 1975 Candy Everybody Wants DK Chocolate SF Like The Weather MM City MR More Than This MM PH Robbers SF SC 1975, The These Are The Days PI Chocolate MR Trouble Me SC 2 Chainz And Drake 100 Proof Aged In Soul No Lie (Clean) SB Somebody's Been Sleeping SC 2 Evisa 10CC Oh La La La SF Don't Turn Me Away G0 2 Live Crew Dreadlock Holiday KD SF ZM Do Wah Diddy SC Feel The Love G0 Me So Horny SC Food For Thought G0 We Want Some Pussy SC Good Morning Judge G0 2 Pac And Eminem I'm Mandy SF One Day At A Time PH I'm Not In Love DK EK 2 Pac And Eric Will MM SC Do For Love MM SF 2 Play, Thomas Jules And Jucxi D Life Is A Minestrone G0 Careless Whisper MR One Two Five G0 2 Unlimited People In Love G0 No Limits SF Rubber Bullets SF 20 Fingers Silly Love G0 Short Dick Man SC TU Things We Do For Love SC 21St Century Girls Things We Do For Love, The SF ZM 21St Century Girls SF Woman In Love G0 2Pac 112 California Love MM SF Come See Me SC California Love (Original Version) SC Cupid DI Changes SC Dance With Me CB SC Dear Mama DK SF It's Over Now DI SC How Do You Want It MM Only You SC I Get Around AX Peaches And Cream PH SC So Many Tears SB SG Thugz Mansion PH SC Right Here For You PH Until The End Of Time SC U Already Know SC Until The End Of Time (Radio Version) SC 112 And Ludacris 2PAC And Notorious B.I.G.