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A Helmet with it\u27s Original Lining
No full textHinged face cover. Provenance: Purchased by William Randolph Hearst from Arnold Seligmann, Rey and Co. Inc., April 24, 1924 for $650.https://digitalcommons.liu.edu/post_hearst/1267/thumbnail.jp
A Wheel-Lock Rifle
No full textBearing on its barrel the name of Martin Bummi in Culmbach. Stock and shaft richly decorated with baroque wave-design in relief, the carving strengthened and ornamented with brass studs simulating drops of water. Mountings in steel encrusted with ormolu, late Renaissance figures, heads, dragons, Saint George. Numerous ormolu rosettes and figures appear, notably on butt, where there is a fine bear and (apparently) a portrait of the owner himself in buff coat, spurred and booted. Poincon occurs at base of barrel. Provenance: Purchased by William Randolph Hearst from Arms and Armor Sale, American Art Galleries, November 23, 1923 for 159.https://digitalcommons.liu.edu/post_hearst/1258/thumbnail.jp
A Remarkable Pair of Flintlock Pistols
No full textOf the most exquisite craftsmanship. These great objects of art may be favorably compared with any pieces of their type known to exist. The locks and all-steel mountings are chiselled with the greatest possible freedom and depict human figures, masks, birds, monsters and foliage in great profusion, the hammers and triggers being especially worthy of notice. The mounts are set in walnut stocks which are slightly carved; the barrels are fluted at the breech and of circular section beyond. Both are signed Lazarino Cominazo. From the Sigmaringen Museum. Provenance: Purchased by William Randolph Hearst from Mr. R. Bartel Sale through Sotheby, & Co., London, July 29, 1930 for 4720.26.https://digitalcommons.liu.edu/post_hearst/1248/thumbnail.jp
A Wheel-Lock Pistol
No full textPolygonal barrel with fluted breech, signed; Gironimo Muto. Lock and all the mounts of the stock finely chased and perforated. From the Thill Collection. Provenance: Purchased by William Randolph Hearst from Arnold Seligmann, Rey & Co., Inc., April 24, 1924 for 324.https://digitalcommons.liu.edu/post_hearst/1241/thumbnail.jp
A Pistol
No full textFluted barrel. Lock covered with plates of copper gilt. Stock inlaid with engraved ivory. Butt carved in shape of eagle\u27s head. Provenance: Purchased by William Randolph Hearst from Arnold Seligmann, Rey & Co., Inc., April 24, 1924 for 172.https://digitalcommons.liu.edu/post_hearst/1237/thumbnail.jp
A Pair of Wheel-Lock Pistols
No full textPlain octagonal barrels and locks. Stocks of very unusual form, inlaid with ivory. From the Magniac Collection, London, 1892. Provenance: Purchased by William Randolph Hearst from Samuel Austin Sale, through American Art Association, April 26, 1917 for 224.https://digitalcommons.liu.edu/post_hearst/1234/thumbnail.jp
The (Re)Building of Social Capital for People Sleeping Rough: Concepts of Home and Community in Byron Bay, Australia
Get PDFPeople experiencing homelessness and/or sleeping rough (sleeping in open air or in inadequate dwellings) are exposed to multiple layers of vulnerability including social isolation and lack of support from others. Without resources that help them transition out of constant survival mode, it can be difficult for people sleeping rough to maintain relationships and build social capital. Social capital broadly refers to the positive impact that community resources have on a subject or group. This case study adds to the existing literature on homelessness by providing a perspective focused on themes of community connection and social capital. To explore how community spaces encourage the (re)building of social capital for people sleeping rough, I conducted a qualitative case study in Byron Bay, Australia, a tourist community with the second highest number of people sleeping rough in New South Wales. Methods for data collection included a three-month internship at the Byron Community Centre (BCC) (fall of 2019), six semi-structured interviews with BCC staff and volunteers, and participant observations of BCC clients. This case study suggests that social capital building involves both community connections and access to community spaces for people sleeping rough. It further finds that programs and projects directly addressing basic needs can indirectly create opportunities that cultivate a sense of belonging both within a physical space and social community. It concludes that the accrual of social capital can aid people sleeping rough by helping them to avoid or mitigate conflicts and establish social trust and access to resources
An Analysis of Harmonic Color Use by Impressionist Composers
Get PDFHarmony is the musical element that truly distinguishes Western music from other kinds of music around the world. This is the vertical aspect of music that results when two or more pitches are heard simultaneously. The type of harmony that has formed the basis for most music over the past few centuries is known as tonal harmony. Tonal harmony involves having a tonal center, using major and minor scales, and using tertian chords that are related to one another and to the tonal center in various ways.
There was a period of time when tonal harmony and its principles were practically the sole basis for all compositions of Western music. This era, known as the common practice period, took place roughly from 1650 to about 1900. Once the twentieth century began, serious composers developed a very strong interest in post-tonal harmony. Tonal harmony still existed during the twentieth century, and it still widely exists today. However, the reason the common practice period ended around 1900 is because that is when composers began to look for different and newer ways to make their compositions stand out, and many did this through the use of post-tonal harmony.
The traditional tonal system was stretched to its limits for over two centuries, and that is when composers began to look for alternative ways to go about composing and organizing their music. They attempted to modify many of the basic elements of music, such as scales, chord structures, harmonic succession, and texture. Post-tonal music refers to music composed since the general decline of tonal harmony that does not follow traditional tonal conventions. It also collectively refers to the various approaches and styles that have been adopted since the common practice period.
There was an important art movement that was already taking place as tonal harmony began to decline. This movement is known as Impressionism, which was a term that applied to a style of painting that developed in the late nineteenth century. Artists of this movement sought to evoke certain moods and atmospheres, and they used light and color in ways that were considered nontraditional. Once the nineteenth century was coming to an end, composers became influenced by the concept of impressionism, and they became fascinated with the idea of depicting colors and images through sound. These composers realized that the best way to do this would be to turn away from the more formal procedures of tonal harmony.
Two of the most influential and celebrated composers of Impressionist music are Claude Debussy (1862-1918) and Maurice Ravel (1875-1937). These two composers, best known for their piano works, were craftsmen that were able to compose pieces of music that were truly able to convey certain moods and depict specific images. While most of their compositions have a tinge of tonality, these works still manage to break away from the traditional principles of tonal and functional harmony. The harmonic approaches of these two composers are what enabled them to portray all sorts of colors and images, and their harmonic choices are what made them two of the most distinctive composers of post-tonal and Impressionist music.
To the next generation of musical theorists, Lennon J. Ashto
Mary and Buck Lai
No full textOriginal color photograp of Mrs. Mary Lai, now Treasurer Emerita, LIU and husband Mr. Buck Lai, former Provost at LIU Brooklyn.https://digitalcommons.liu.edu/post_early/1011/thumbnail.jp