DOCSLIB.ORG

Second Song for Many (2019)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Second Song for Many (2019) second song for many (2019) Tim PARKINSON Sample performance for Not Copyright 2019 © Tim Parkinson second song for many (2019) for any number of instrumentalists (ideally at least 5 to 20) The score consists of 75 bars of 6’ each, in sections listed A-O, for Audio Track, Continuo, and Ensemble with Conductor. A Conductor uses a stopwatch to signal each bar. Audio Track - A 1” beep (f5) every 30”, beginning at the second before 0’00”. The beeps may act as an audio cue for each section (except for the central sections F-J where they continue strictly in 30” intervals). This part may be prerecorded audio track, or may be performed live by one person playing an electronic beep (sine tone or other waveform on a keyboard) using a stopwatch to keep strict time. Continuo - Instrument may be any type of keyboard, (e.g. piano/electric keyboard/accordion/reed organ); or 2 keyboards; or treble clef may be keyboard and bass clef a pair of matching instruments (e.g. 2 clarinets/2 bassoons/2 violas/cellos) Treble clef melody plays quietly, legato and continuously from start to finish. Bass clef chords may be held until the next, or there may be rests in between. For both clefs the rhythm is very approximate, imprecise, irregular. Notation given is approximate number of notes per unit. Meandering, hesitating, for itself. The continuo may be positioned separately from the ensemble, to one side, but not offstage. Ensemble - Texts are given to provide rhythms for tapping on instruments (A-E), with stones (K-O), and for whispering. Texts are a list of recently extinct species (A-E & K-O); and a text about the middle of the piece (F-J). (From A-E texts are identical for all parts. K-O texts differ amongst the parts.) Section A - E A - tap the rhythm of words on the body of an instrument. The sound should be unpitched, dry and unresonant (no bells), the sound of the material of the instrument (wood, metal, etc). Quietly, gently. B - tap as before + whispering the word Tapping and whispering should be at any point within the 6 second unit. Strict coordination is not necessary, as if saying a communal prayer. C - whispering D - tapping E - tapping and whispering Sample Section F-J There are 4 parts. At least one performer on each part. Parts may be transposed to different octaves if wished, but the lowest sounding part must be the bass. performance Play the given notes on instruments in the rhythm of the words as if they were spoken aloud. (Think the words to oneself while playing.) As before, strict ensemble coordination is not necessary, as if reading the words aloud to oneself in a group. The result should be brief moments of consonant heterophony seperated by silences between the sentences. Relaxed, calm, gentle. for The placement within each bar is important. The sentences are not equidistant. The conductor may signal each sentence. Section K-O K - as Section A before, except instead of tapping instrument, tap two small stones together, quietly, gently. L - tap stones and whisper M - whispering N - whispering words as before, but tap stones once at beginning of unit. (Precise coordination not necessary, as before) O - tapping as NNot second song for many is a sequel to song for many (2011) Duration 7.5 minutes Commissioned by COMA Programme Note “second song for many” is a sequel to “song for many” which was made in 2011 for the Edges Ensemble. In both works, the sound of speech is a part of the overall sound material, although the specific texts used are not required to be intelligible to an audience. “song for many” is a loud piece, which uses a text from a consumer survey to be shouted by half the ensemble. “second song for many” is a quieter piece which uses a list of recently extinct species to create a more delicate atmosphere. A different song for a different many. Biography Tim Parkinson (b.1973) has consistently pursued an independent path, seeking to engage with whatever it means today to be a functioning composer in the world. His music has been described as "reconstructing music from the ground up", and "sounding like nothing else", the work invariably returning to fundamental propositions about the meaning of sound. He has been associated with other British independent voices of the same generation, such as Bailie, Crane, Harrison, Newland, Saunders, Whitty. An album of recent piano music played by Mark Knoop will be released in November 2019 on the label All That Dust. This year also saw the release of the album Pleasure Island on Slip. Two albums of music have been released on Edition Wandelweiser (2006, 2010). Time With People, an opera, (2012-13) has received performances in London and Huddersfield (by Edges), Los Angeles (by Southland Ensemble); Chicago, Oberlin, Ohio and Beloit (by a.pe.ri.od.ic, with set design by Parsons & Charlesworth); Cardiff (by Good News From The Future); New York (by Object Collection); Ghent (by G.A.M.E.); La Chaux-de-Fonds (French language version, translated by Louis d'Heudieres, performed by Nouvel Ensemble Contemporain); Helsinki (multilingual version, at Tulkinnanvaraista). A German language version is in preparation for performance in Basel in 2019. In 2018 he was appointed a Creative Fellowship at the Samuel Beckett Research Centre. His music is mostly performed by a dedicated community of friends and musicians, but he has also written for various groups and ensembles including Plus Minus, Apartment House, [rout], Incidental Music, Dedalus, Edges, Basel Sinfonietta, London Sinfonietta; and for various instrumentalists including Stephen Altoft, Angharad Davies, Rhodri Davies, Julia Eckhardt, Tanja Masanti, Andrew Sparling, Craig Shepard, Silvia Tarozzi, Stefan Thut, Deborah Walker. His music has been performed in UK, Europe, USA, Armenia, Australia, New Zealand and Japan. Broadcasts of music have been on BBC Radio 3, Resonance FM, WDR Köln, and Schweizer Radio SRF2. He is also active as pianist and performer,Sample both independently and also by invitation, having been an occasional performer with Apartment House, and Plus-Minus, and having performed in venues such as Tate Modern, Barbican, Cafe Oto, Union Chapel, and in festivals such as Huddersfield Contemporary Music Festival, Tectonics, Borealis, Frontiers, Roadburn, Donaufestival, All Tomorrows Parties,performance Audiograft, Edinburgh Fringe, Musica Nova, Cut & Splice, Sonorités, RDV de l'Erdre. As a soloist he has performed with Object Collection, Skögen, Apartment House, Set Ensemble, Incidental Music, Q-02, J.G. Thirlwell, Phill Niblock, Matteo Fargion, Lee Patterson, Angharad Davies, Rhodri Davies, Jürg Frey, Michael Pisaro, Michael Parsons, Gavin Bryars, Joshua Rifkin, Tom Johnson, and Christian Wolff, amongst others. Since 2003 has been regularly performing with composer James Saunders in the lo-fi electronics, auxiliary instrument and any-sound-producing-means duo Parkinson Saunders. He has organised many public concerts forto promote the presence, wealth and variety of present day music exploration, one thread of which is the concert series, Music We'd Like to Hear (www.musicwedliketohear.com), co-curated with John Lely and Markus Trunk annually in London since 2005. In 2011 he was visiting Professor of Composition at Brno Academy. He has also given lectures at Guildhall School of Music and Drama, Oxford Brookes, Ostrava New Music Days, Huddersfield University, Bath Spa University and Snape Maltings, as well as teaching at Ashmole Academy and Christchurch Primary School. He studied at Worcester College, Oxford, followed by study with Kevin Volans in Dublin, and participated in the Ostrava New MusicNot Days 2001, attending seminars with Petr Kotik, Alvin Lucier, Zsolt Nagy and Christian Wolff. Website - www.untitledwebsite.com Soundcloud - https://soundcloud.com/tim-parkinson-1 YouTube - https://www.youtube.com/user/untitledparkinson Vimeo - https://vimeo.com/timparkinson Twitter - @untitledprknsn Instagram - https://www.instagram.com/untitledparkinson/ second song for many Tim PARKINSON (2019) Bar = 6 seconds A TAP 0'00" 0'06" 0'12" 0'18" Ensemble (treble) The Alagoas The Cryptic Treehunter The Po'ouli Spix's Macaw Foliage-Gleaner Ensemble (treble) The Alagoas The Cryptic Treehunter The Po'ouli Spix's Macaw Foliage-Gleaner Ensemble (treble) The Alagoas The Cryptic Treehunter The Po'ouli Spix's Macaw Foliage-Gleaner Ensemble (bass) The Alagoas The Cryptic Treehunter The Po'ouli Spix's Macaw Foliage-Gleaner Beep 0'00" 0'06" 0'12" 0'18" Continuo (treble) Sample legato sempre Continuo performance (bass) for Not 2 B TAP & WHISPER 0'24" 0'30" 0'36" 0'42" 0'48" Stichocotyle Nephropis The Fishing Cat Beaverpond Marstonia Christmas Island Christmas Island's Pipstrelle Lister's Gecko The Fishing Cat Beaverpond Marstonia Christmas Island Christmas Island's Pipstrelle Lister's Gecko The Fishing Cat Beaverpond Marstonia Christmas Island Christmas Island's Pipstrelle Lister's Gecko The Fishing Cat Beaverpond Marstonia Christmas Island Christmas Island's Pipstrelle Lister's Gecko 0'24" 0'30" 0'36" 0'42" 0'48" Sample performance for Not 3 C WHISPER 0'54" 1'00" 1'06" 1'12" Christmas Island The Capricorn Rabbit-Rat The Nullarbor Dwarf The Lesser Stick-Nest Rat Blue Tailed Skink and Ridley's Stick Insect Bettong and Desert Bettong and Bramble Cay Melomys Christmas Island The Capricorn Rabbit-Rat The Nullarbor Dwarf The Lesser Stick-Nest Rat Blue Tailed Skink and Ridley's Stick Insect Bettong and Desert Bettong and Bramble Cay Melomys Christmas Island The Capricorn Rabbit-Rat The Nullarbor Dwarf The Lesser Stick-Nest Rat Blue Tailed Skink and Ridley's Stick Insect Bettong and Desert Bettong and Bramble Cay Melomys Christmas Island The Capricorn Rabbit-Rat The Nullarbor Dwarf The Lesser Stick-Nest Rat Blue Tailed Skink and Ridley's Stick Insect Bettong and Desert Bettong and Bramble Cay Melomys 0'54" 1'00" 1'06" 1'12" Sample performance for Not 4 D TAP 1'18" 1'24" 1'30" 1'36" Contomastix Charrua The Sumatran Rhinoceros St.
Load more

Recommended publications
  • JVP 26(3) September 2006—ABSTRACTS
    Neoceti Symposium, Saturday 8:45 acid-prepared osteolepiforms Medoevia and Gogonasus has offered strong support for BODY SIZE AND CRYPTIC TROPHIC SEPARATION OF GENERALIZED Jarvik’s interpretation, but Eusthenopteron itself has not been reexamined in detail. PIERCE-FEEDING CETACEANS: THE ROLE OF FEEDING DIVERSITY DUR- Uncertainty has persisted about the relationship between the large endoskeletal “fenestra ING THE RISE OF THE NEOCETI endochoanalis” and the apparently much smaller choana, and about the occlusion of upper ADAM, Peter, Univ. of California, Los Angeles, Los Angeles, CA; JETT, Kristin, Univ. of and lower jaw fangs relative to the choana. California, Davis, Davis, CA; OLSON, Joshua, Univ. of California, Los Angeles, Los A CT scan investigation of a large skull of Eusthenopteron, carried out in collaboration Angeles, CA with University of Texas and Parc de Miguasha, offers an opportunity to image and digital- Marine mammals with homodont dentition and relatively little specialization of the feeding ly “dissect” a complete three-dimensional snout region. We find that a choana is indeed apparatus are often categorized as generalist eaters of squid and fish. However, analyses of present, somewhat narrower but otherwise similar to that described by Jarvik. It does not many modern ecosystems reveal the importance of body size in determining trophic parti- receive the anterior coronoid fang, which bites mesial to the edge of the dermopalatine and tioning and diversity among predators. We established relationships between body sizes of is received by a pit in that bone. The fenestra endochoanalis is partly floored by the vomer extant cetaceans and their prey in order to infer prey size and potential trophic separation of and the dermopalatine, restricting the choana to the lateral part of the fenestra.
    [Show full text]
  • Shape Evolution and Sexual Dimorphism in the Mandible of the Dire Wolf, Canis Dirus, at Rancho La Brea Alexandria L
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2014 Shape evolution and sexual dimorphism in the mandible of the dire wolf, Canis Dirus, at Rancho la Brea Alexandria L. Brannick [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the Animal Sciences Commons, and the Paleontology Commons Recommended Citation Brannick, Alexandria L., "Shape evolution and sexual dimorphism in the mandible of the dire wolf, Canis Dirus, at Rancho la Brea" (2014). Theses, Dissertations and Capstones. Paper 804. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. SHAPE EVOLUTION AND SEXUAL DIMORPHISM IN THE MANDIBLE OF THE DIRE WOLF, CANIS DIRUS, AT RANCHO LA BREA A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Science in Biological Sciences by Alexandria L. Brannick Approved by Dr. F. Robin O’Keefe, Committee Chairperson Dr. Julie Meachen Dr. Paul Constantino Marshall University May 2014 ©2014 Alexandria L. Brannick ALL RIGHTS RESERVED ii ACKNOWLEDGEMENTS I thank my advisor, Dr. F. Robin O’Keefe, for all of his help with this project, the many scientific opportunities he has given me, and his guidance throughout my graduate education. I thank Dr. Julie Meachen for her help with collecting data from the Page Museum, her insight and advice, as well as her support. I learned so much from Dr.
    [Show full text]
  • Cellist and Inter-Disciplinary Artist Anton Lukoszevieze Is One of the Most Diverse Performers of His Generation and Is Notable
    Cellist and inter-disciplinary artist Anton Lukoszevieze is one of the most diverse performers of his generation and is notable for his performances of avant-garde, experimental and improvised music. Anton has given many performances at numerous international festivals throughout Europe and the USA (Maerzmusik, Donaueschingen, Wien Modern, GAS, Transart, Ultima) and BBC Radio 3. Deutschlandfunk, Berlin produced a radio portrait of him in September, 2003. Anton has also performed concerti with the City of Birmingham Symphony Orchestra at the 2001 Aldeburgh festival, the Netherlands Radio Symphony Orchestra and the BBC Scottish Symphony Orchestra at the Tectonics Festival, as well as performances with contemporary vocal ensemble Exaudi and King’s College Choir, Cambridge. He is notable for his use of the curved bow (BACH-Bogen), which he is using to develop new repertoire for the cello. From 2005-7 he was New Music Fellow at King’s College, Cambridge and Kettle’s Yard Gallery. Anton is the subject of seven films by the renowned artist-filmmaker Jayne Parker. In addition he acted and performed in 3 films by the artist Beatrice Gibson. From 2003-14 he was a member of Zeitkratzer and in 2008 made his contemporary dance debut with the Vincent Dance Company in Broken Chords, Dusseldorf. His compositions have been performed by Apartment House, Exaudi, Rhodri Davies, Luce Mense, Mark Knoop, Musica Nova, Tel Aviv and An Assembly. Anton has premiered and commissioned new works for cello by a multitude of contemporary composers, including Christian Wolff, Christopher Fox, Gerhard Staebler, Amnon Wolman, Kunsu Shim, Laurence Crane, Richard Ayres, Phill Niblock, Sven Lyder Karhs, Jennifer Walshe, Claudia Molitor, Rytis Mažulis, Arturas Bumšteinas, Ričardis Kabelis, Juste Janulytė, Richard Emsley, James Saunders, John Lely, Tim Parkinson, Alwynne Pritchard, Peter Eötvös, Egidija Medekšaite, Joseph Kudirka, Benedict Drew, Bryn Harrison, Joseph Kudirka, Mathew Adkins.
    [Show full text]
  • A Clear Apparance
    A Clear Apparence 1 People in the UK whose music I like at the moment - (a personal view) by Tim Parkinson I like this quote from Feldman which I found in Michael Nyman's Experimental Music: Cage and Beyond; Anybody who was around in the early fifties with the painters saw that these men had started to explore their own sensibilities, their own plastic language...with that complete independence from other art, that complete inner security to work with what was unknown to them. To me, this characterises the music I'm experiencing by various composers I know working in Britain at the moment. Independence of mind. Independence from schools or academies. And certainly an inner security to be individual, a confidence to pursue one's own interests, follow one's own nose. I donʼt like categories. Iʼm not happy to call this music anything. Any category breaks down under closer scrutiny. Post-Cage? Experimental? Post-experimental? Applies more to some than others. Ultimately I prefer to leave that to someone else. No name seems all-encompassing and satisfying. So Iʼm going to describe the work of six composers in Britain at the moment whose music I like. To me itʼs just that: music that I like. And why I like it is a question for self-analysis, rather than joining the stylistic or aesthetic dots. And only six because itʼs impossible to be comprehensive. How can I be? Thereʼs so much good music out there, and of course there are always things I donʼt know. So this is a personal view.
    [Show full text]
  • La Brea and Beyond: the Paleontology of Asphalt-Preserved Biotas
    La Brea and Beyond: The Paleontology of Asphalt-Preserved Biotas Edited by John M. Harris Natural History Museum of Los Angeles County Science Series 42 September 15, 2015 Cover Illustration: Pit 91 in 1915 An asphaltic bone mass in Pit 91 was discovered and exposed by the Los Angeles County Museum of History, Science and Art in the summer of 1915. The Los Angeles County Museum of Natural History resumed excavation at this site in 1969. Retrieval of the “microfossils” from the asphaltic matrix has yielded a wealth of insect, mollusk, and plant remains, more than doubling the number of species recovered by earlier excavations. Today, the current excavation site is 900 square feet in extent, yielding fossils that range in age from about 15,000 to about 42,000 radiocarbon years. Natural History Museum of Los Angeles County Archives, RLB 347. LA BREA AND BEYOND: THE PALEONTOLOGY OF ASPHALT-PRESERVED BIOTAS Edited By John M. Harris NO. 42 SCIENCE SERIES NATURAL HISTORY MUSEUM OF LOS ANGELES COUNTY SCIENTIFIC PUBLICATIONS COMMITTEE Luis M. Chiappe, Vice President for Research and Collections John M. Harris, Committee Chairman Joel W. Martin Gregory Pauly Christine Thacker Xiaoming Wang K. Victoria Brown, Managing Editor Go Online to www.nhm.org/scholarlypublications for open access to volumes of Science Series and Contributions in Science. Natural History Museum of Los Angeles County Los Angeles, California 90007 ISSN 1-891276-27-1 Published on September 15, 2015 Printed at Allen Press, Inc., Lawrence, Kansas PREFACE Rancho La Brea was a Mexican land grant Basin during the Late Pleistocene—sagebrush located to the west of El Pueblo de Nuestra scrub dotted with groves of oak and juniper with Sen˜ora la Reina de los A´ ngeles del Rı´ode riparian woodland along the major stream courses Porciu´ncula, now better known as downtown and with chaparral vegetation on the surrounding Los Angeles.
    [Show full text]
  • Colonization, Statemaking, and Development: a Political Ecology of the Saru River Development Project, Hokkaido, Japan
    AN ABSTRACT OF THE THESIS OF Michael J. Ioannides for the degree of Master of Arts in Applied Anthropology presented on December 7, 2017. Title: Colonization, Statemaking, and Development: A Political Ecology of the Saru River Development Project, Hokkaido, Japan. Abstract approved: ______________________________________________________ Bryan D. Tilt Although dam construction has been an integral tool in development initiatives for nearly a century, dams can have significant negative impacts on local residents, particularly those who are permanently displaced from their homes and must be resettled elsewhere. Dams have unique impacts on indigenous peoples. As a result, many dam construction projects become flashpoints for organized resistance among indigenous peoples. This thesis examines a case that exemplifies indigenous resistance to dam construction: the Saru River Development Project in Hokkaido, Japan, involving the Nibutani Dam (completed 1997) and the Biratori Dam (under construction). This project has been famously opposed by indigenous Ainu landholders. Although much has been written about the legal and political significance of the Ainu’s resistance to the Saru River Development Project, information on the project’s impacts on local Ainu residents is scattered across many disparate sources, and no comprehensive English-language account has yet been produced. This thesis seeks to fill this gap in the literature by cataloging the impacts of the Saru River Development Project as comprehensively as possible and synthesizing available facts into a holistic account. This thesis organizes these impacts according to the newly-published Matrix Framework (Kirchherr and Charles 2016), enabling it to be more easily compared with other case studies of dam construction around the world.
    [Show full text]
  • Endangered Traditional Beliefs in Japan: Influences on Snake Conservation
    Herpetological Conservation and Biology 5(3):474–485. Submitted: 26 October 2009; 18 September 2010. ENDANGERED TRADITIONAL BELIEFS IN JAPAN: INFLUENCES ON SNAKE CONSERVATION 1 2 3 KIYOSHI SASAKI , YOSHINORI SASAKI , AND STANLEY F. FOX 1Department of Biology, Loyola University Maryland, Baltimore, Maryland 21210, USA, e-mail: [email protected] 242-9 Nishi 24 Minami 1, Obihiro, Hokkaido 080-2474, Japan 3Department of Zoology, Oklahoma State University, Stillwater, Oklahoma 74078, USA ABSTRACT.—Religious beliefs and practices attached to the environment and specific organisms are increasingly recognized to play a critical role for successful conservation. We herein document a case study in Japan with a focus on the beliefs associated with snakes. In Japan, snakes have traditionally been revered as a god, a messenger of a god, or a creature that brings a divine curse when a snake is harmed or a particular natural site is disturbed. These strong beliefs have discouraged people from harming snakes and disturbing certain habitats associated with a snake god. Thus, traditional beliefs and cultural mores are often aligned with today’s conservation ethics, and with their loss wise conservation of species and their habitats may fall by the wayside. The erosion of tradition is extensive in modern Japan, which coincides with increased snake exploitation, killing, and reduction of habitat. We recommend that conservation efforts of snakes (and other biodiversity) of Japan should include immediate, cooperative efforts to preserve and revive traditional beliefs, to collect ecological and geographical data necessary for effective conservation and management activities, and to involve the government to make traditional taboos formal institutions.
    [Show full text]
  • ANIMALS in WORLD HISTORY History 200 / Environmental Studies 404
    ANIMALS IN WORLD HISTORY History 200 / Environmental Studies 404 Spring 2015 Tuesday/Thursday 11 am - 12:15 pm 175 Science Hall Prof. Elizabeth Hennessy Office: 5110 Humanities Email: [email protected] (When you email me, please put “AWH” in the subject line.) Office Hours: Wednesdays, 1:30-3:30 (by appointment as necessary) COURSE DESCRIPTION Animals are everywhere in human history, yet rarely credited as important historical players. From Cortés’s army of pigs that invaded the New World to the dogs that pioneered space exploration, human history rests on the backs of animals. Moving animals to center stage, this class offers a broad survey of human-animal relationships across various world regions and historical time periods. We will focus on historical case studies of particular animals and species across four themes: 1. Cosmology and Human Identity: From Native American totems to Bucky Badger, what roles do animals play in how we understand ourselves and organize our social groups? 2. Domestication and the Wild: How and to what effect have animals—from livestock to pets—evolved along with humans? Why are some species valued for their utility to people while others are valued for their “wildness”? 3. Development: How has the biology and ecology of different species—such as whales, sheep, and even mosquitos—shaped patterns of empire, globalization, and economic development? 4. Political Movements: How are contemporary political campaigns—from veganism to attempts to bring back extinct species—redefining how we relate to nonhumans? We will explore these questions through a combination of class discussions, lectures, and first-hand animal encounters.
    [Show full text]
  • Tracing Ainu and Pre-Ainu Cultural Continuity Through Cladistic Analysis of Faunal Assemblages
    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses Fall 2017 Tracing Ainu and Pre-Ainu Cultural Continuity Through Cladistic Analysis of Faunal Assemblages Christopher Lowry Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Archaeological Anthropology Commons Recommended Citation Lowry, Christopher, "Tracing Ainu and Pre-Ainu Cultural Continuity Through Cladistic Analysis of Faunal Assemblages" (2017). All Master's Theses. 909. https://digitalcommons.cwu.edu/etd/909 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. TRACING AINU AND PRE-AINU CULTURAL CONTINUITY THROUGH CLADISTIC ANALYSIS OF FAUNAL ASSEMBLAGES ____________________________________ A Thesis Presented to The Graduate Faculty Central Washington University ____________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Science Resource Management ____________________________________ by Christopher James Lowry November 2017 i CENTRAL WASHINGTON UNIVERSITY Graduate Studies We hereby approve the thesis of Christopher James Lowry Candidate for the degree of Master of Science APPROVED FOR THE GRADUATE FACULTY ______________ __________________________________________ Dr. Steve Hackenberger, Committee Chair ______________
    [Show full text]
  • Programme Notes
    Thursday January 24th Wolff For Piano (I) (1952) Bread and Roses (1976) John Cage Seven Haiku (1951-2) Wolff For Piano II (1953) Tim Parkinson piano piece (2006)****** -- INTERVAL— Wolff For piano with preparations (1957) Eric Satie Nocturnes (1919) Wolff Piano Song (“I am a dangerous woman”) (1983) Pianist:Pieces (2001) *** Friday January 25th Wolff For prepared piano (1951) Eric Satie Air; Essai; Notes (1); Notes (2); Exercices; Notes (3); Harmonies; Choral (from 1 'Carnet d'esquisses et do croquis', 1900-13 ) Wolff A Piano Piece (2006) *** Charles Ives Three-Page Sonata (1905) Steve Chase Piano Dances (2007-8) ****** Wolff Accompaniments (1972) --INTERVAL— Wolff Eight Days a Week Variation (1990) Cornelius Cardew Father Murphy (1973) Howard Skempton Whispers (2000) Wolff Preludes 1-11 (1980-1) Saturday January 26th Christopher Fox at the edge of time (2007) *** Wolff Studies (1974-6) Michael Parsons Oblique Pieces 8 and 9 (2007) ****** 2 Wolff Hay Una Mujer Desaparecida (1979) --INTERVAL-- Wolff Suite (I) (1954) For pianist (1959) Webern Variations (1936) Wolff Touch (2002) *** (** denotes world premiere; *** denotes UK premiere) for pianist: the piano music of Christian Wolff Given the importance within Christian Wolff’s compositional aesthetic of music which involves interaction between players, it is perhaps surprising that there is a significant body of works for solo instrument. In particular the piano proves to be central 3 to Wolff’s output, from the early 1950s to the present day. These concerts include no fewer than sixteen piano solos; I have chosen not to include a number of other works for indeterminate instrumentation which are well suited to the piano (the Tilbury pieces for example) as well as two recent anthologies of short pieces, A Keyboard Miscellany and Incidental Music , and also Long Piano (Peace March 11) of which I gave the European premiere in 2007.
    [Show full text]
  • Baltic Journal of Economics
    Sponsored by: Baltic Journal of Economics The Bank of Latvia Baltic Journal of Economics Volume 6 Number 2 Winter/Spring 2007 Articles TheBankofEstonia Interdependence of Nordic and Baltic Stock Markets Ulf Nielsson Volume 6 Number 2 Winter/Spring 2007 Euro Introduction Effects on Individuals’ Economic Decisions: Testing the Presence of Difference Assessment Account among Lithuanian and Latvian Consumers Lineta Ramoniene and Dovydas Brazys An Economic Analysis of the Influence of Different Vilnius University Attitudes Toward Game Animals: Emphasizing the Significance of Large Carnivores Yukichika Kawata Book Reviews Constantine A. Stephanou (ed.) Adjusting to EU Enlargement. Recurring Issues in a New Setting by Mark Chandler Published by EuroBaltic Centries of Excellence www.eurobaltic.lv/bje.html The Baltic Journal of Economics Information for Contributors to the Baltic Journal of Economics Articles submitted to the BJE must be typed in double spacing throughout. Articles should be no more than 10,000 words in length, including notes and references. An abstract of up Jorgen Drud Hansen to 125 words should precede the main text, accompanied by up to five key words and JEL Editor in Chief classification. Raul Eamets Editor Tides and section headings should be clear and brief. Lengthy quotations (exceeding 40 words) University of Tartu should be displayed, indented, in the text. Submitted articles must be of good English language quality using British or American spelling. Kenneth Smith Editor Tables and figures should have concise and descriptive titles. All footnotes to tables and their Millersville University source should be typed below the tables. References cited in the text should read: Smith (1998: 66–9), Kroncke and Smith (1988, 1999).
    [Show full text]
  • Wolf (Dier) 1 Wolf (Dier)
    Wolf (dier) 1 Wolf (dier) Wolf [1] IUCN-status: Veilig (2008) Liggende wolf Taxonomische indeling Rijk: Animalia (Dieren) Stam: Chordata (Chordadieren) Klasse: Mammalia (Zoogdieren) Orde: Carnivora (Roofdieren) Familie: Canidae (Hondachtigen) Geslacht: Canis Soort Canis lupus Linnaeus, 1758 Verspreidingsgebied wolf (huidige verspreiding in het groen, voormalige verspreiding in het rood) Wolf Afbeeldingen Wolf Wolf (dier) 2 Wolf op Wikispecies De wolf (Canis lupus) is een roofdier uit de familie der hondachtigen (Canidae). Het is naar alle waarschijnlijkheid de voorouder van de hond (Canis lupus familiaris). In ieder geval kunnen ze samen vruchtbare nakomelingen voortbrengen, zodat de hond en de wolf, althans volgens bepaalde definities, tot dezelfde soort kunnen worden gerekend. Kenmerken: uiterlijk en fysiologie De wolf heeft een grijze tot grijzige vacht, met een rossig bruine kleur op rug, kop en oren. De verschillen tussen individuele wolven en ondersoorten zijn echter groot en ze komen in allerlei kleurvariëteiten voor, van geheel wit via roodbruin tot geheel zwart. Wolven hebben een kop-romplengte van 80 tot 160 cm, en een staart van 30 tot 50 centimeter. De schouderhoogte is 65 tot 80 centimeter. Vrouwtjes zijn zo'n tien procent kleiner dan mannetjes: mannetjes wegen 20 tot 80 kg, vrouwtjes worden gemiddeld 18 tot 50 kg zwaar. De wolf heeft in rust een hartslag van 90 slagen per minuut en een ademhalingsfrequentie van 15 tot 20 per minuut. Bij grote inspanning kan dit oplopen tot een hartslag van 200 per minuut en een ademhalingsfrequentie van 100 per minuut. Het gehoor, de reukzin en het zichtvermogen zijn goed ontwikkeld. Een wolf kan tegen de wind in andere dieren ontdekken die zich op een afstand van 300 meter van hem bevinden.
    [Show full text]