17 research outputs found
Bring the Boys Home
No full textThis content curation project focuses on the musical responses to the Vietnam War by examining songs by John Lennon, Edwin Starr, Freda Payne, Jimi Hendrix. The author provides a brief overview of the political, military and cultural forces at work in the U.S. to provide context for the protest songs analyzed. The song analysis includes examining lyrics and other performance elements. The author concludes with showing parallels to today’s protest music
Bohemian Rhapsody: A Film Review
No full textThis is a review of the 2018 Queen bio-pic, Bohemian Rhapsody
What Percentage of the World Owns a Beatles Album?
No full textWhat inspired me to create this work was seeing the impact that the Beatles had on culture and the world. They became so popular, and I felt the inclination to see how many albums they had sold over the course of their career. In my infographic, I examined the top five best selling Beatles albums and did some quick math to show what percent of the world’s population owns that particular album.https://scholarlycommons.pacific.edu/beatles-day/1001/thumbnail.jp
Revelation of revelations, 2009
No full textDance pioneer, Alvin Ailey, created a dance legacy when he choreographed Revelations in 1960. By using Revelations as the foundation for this study, this thesis reveals ways in which Ailey uses the human body to communicate expressions of the Black aesthetic. African-American dance has always been viewed as a form of entertainment. The research gathered presents African-American dance as an art form that suggests the cultural beauty of African Americans. This thesis details the life and achievements of Ailey. It explains what influenced Ailey to choreograph Revelations. This research also analyzes the emphasis of the dancing body in relation to African- American experiences. The African Dance theory and ten characteristics of African Dance are utilized to present expressive behaviors that display the Black aesthetic. The expressive behaviors presented are body gestures/movements, music, and costuming. From these cultural expressions and the African Dance theory, the researcher determines what makes Ailey unique in the modem dance tradition. This thesis allows for future research of other African-American choreographers and how their choreographic pieces give insight into the African-American experience
Guns N\u27 Roses in Spain
No full textThis is a concert review of a Guns N\u27 Roses concert I saw in Spain last year, it discusses my personal experience and whether I think the ticket price was worth it
Recollections of past days: the autobiography of Patience Loader Rozsa Archer
No full textEdited by Sandra Ailey Petree.Includes bibliographical references and index.For visitors to the Martin's Cove historic site in Wyoming, Patience Loader has become an icon of the disastrous winter entrapment of the Martin and Willie handcart companies. Her record of those events is important, but there is much else of interest in her autobiography. In fact, it is a bit unusual that someone such as her would have left such an engaging record of her life."Reccolections of past days": England, 1827-December 1855 -- On the John J. Boyd, December 1855-February 1856 -- America, February-July 1856 -- Starting Westward, July 3-July 28, 1856 -- On the Plains, July 28-November 30, 1856 -- In the Valley, November 30, 1856-December 1858 -- Camp Floyd, December 1858-July 27, 1861 -- On the Trail to Washington, July 27-November 1861 -- Washington, November 1861-April 1866 -- Back to Utah, April 18-July 21, 1866 -- Back in the Valley, July 21, 1866-1872 -- Afterword -- Appendix 1: James and Amy Britnell Loader Family -- Appendix 2: John and Patience Loader Rozsa Family -- Appendix 3: The Latter-day Saints Millennial Star on Handcart Emigration, December 22, 1855 -- Appendix 4: The Mormon on Handcart Emigration, December 1, 1855 -- Appendix 5: Patience Loader to John Jaques and his reply, The Latter-day Saints Millennial Star, June 14, 1856 -- Appendix 6: Marshall Loader to Amy Britnell Loader, August 6, 1857 -- Appendix 7: Patience Loader Rozsa Archer to Tamar Loader Ricks, November 17, 1914
Temporada coreográfica - primavera 1978
No full textPrograma de la Temporada coreogràfica de la primavera de 1978. En primer lloc hi va actuar el Ballet reial de Wallonie, dirigit per G. Rassel i amb la direcció artística de J. Giuliano, i J. Doussard com a director musical. Van interpretar fragments d'"El Trencanous" amb coreografia de J. Lazzini i "El llac dels cignes" amb coreografia de J. Parés, ambdues amb música de P. I. Txaikovsky, "Cantadaggio" amb música de G. Mahler i coreografia de J. Lazzini, "Secuencias" amb música de R. Wagner, A. Vivaldi, M. Ohana i W. Kilar i coreografia de J. Giuliano, "Bolero" amb música de M. Ravel i coreografia de J. Giuliano i "Coppelia", amb música de L. Delibes i coreografia d'A. LabisSeguidament va actuar el Ballet internacional de Caracas, sota la direcció de V. Nebrada i Z. Rodríguez, i amb la direcció musical de D. Lipton. Van interpretar "El rio" amb música de D. Ellington i coreografia d'A. Ailey, "Nuestros valses" amb música de T. Carreño i coreografia de V. Nebrada, "Rodin mis en vie" amb música de M. Kamen i coreografia de M. Sappington, "Allegro Briante" amb música de P. I. Txaikovski i coreografia de G. Balanchine, "Batucada fantàstica" amb música de L. Perrone i coreografia de V. Nebrada, "Carmina burana" amb música de C. Orff i coreografia de J. Butler, "Sombras" amb música de C. Debussy i coreografia de V. Nebrada, "Ariel" amb música de W. A. Mozart i coreografia de J. Neumeir, "Weewis" amb música de S. Walden i coreografia de M. Sappington, "La luna y los hijos que tenia" amb música de M. Kamen i coreografia de V. Nebreda i "Paso a dos" amb música d'A. Scriabin i coreografia de V. NebredaOrquestra del Gran Teatre del Liceu dirigida per J. Doussard i D. LiptonDe cada obra s'ha digitalitzat un programa sencer. De la resta s'han digitalitzat les parts que són diferents
Developing an open-source analysis pipeline for a glider-based acoustic zooplankton fish profiler (AZFP)
No full textMulti-frequency acoustic sensors such as the Acoustic Zooplankton Fish Profiler (AZFP) simultaneously observe marine species of various sizes and trophic levels. As such, they are now routinely being used to augment or replace traditional vessel-based sampling. When acoustic sensors are integrated into underwater autonomous vehicles such as gliders, they can record data at a wider depth range and over longer time periods than vessel-based sampling. The AZFP requires specialized processing and software packages that can be expensive to purchase or subscribe to. Additionally, software packages are typically designed for vessel hull-mounted acoustic sensors, and therefore are limited in application to vertically profiling platforms including gliders. This study utilized modern, free open source software, originally developed for vessel-based acoustic sampling (Echopype), and developed a pipeline to extend Echopype for processing novel glider-based AZFP acoustic data. Echopype is a free acoustic processing package that, with alterations, can be used as an alternative to other packages such as Echoview, the proprietary software that is frequently used for processing these types of datasets. Using a case study focused on Antarctic krill, we then compared processed data outputs of Echopype and Echoview. The adapted Echopype processing method was able to reproduce the results that Echoview accomplished in calculating and plotting acoustic backscatter strength recorded by a glider- mounted AZFP. However, this correlation became weaker with more complexity integrated into the data processing stream, particularly in the comparison of data outputs after applying seafloor masking and krill swarm detection. Therefore, future efforts to address these more complex analysis features would further improve Echopype application to glider-based acoustic data.M.S.Includes bibliographical reference
Post 1990s Dance Theatre and (the idea of) the Neutral
No full textPhDThe thesis focuses on the concept of neutrality in the works of contemporary
European (post 1990s) choreographers. While broad ideas around neutrality are
considered, the thesis primarily engages with Roland Barthes’ definition of
neutrality as a structural term: 'every inflection that, dodging or baffling the
paradigmatic, oppositional structure of meaning, aims at the suspension of the
conflictual basis of discourse'. I argue that the minimalist work of Judson
Church, New York City, is anticipating the interest in the neutral that will more
strongly formulate itself in dance theatre after the 1990s. In the first chapter on
Jérôme Bel, the concept of neutrality is introduced as a general idea, together with
its inherent problem. The 'problem' is not that this or that element that Bel
chooses cannot be perceived as neutral, but that neutral or stage zero can never be
neutral enough. The second chapter, dedicated to the work of Thomas Lehmen,
explores the idea of 'neutralization' in relation to the notion of the self in
Lehmen's performance, where 'It is not I or you who lives: 'one' (une vie) lives in
us' (P. Hallward). In the third chapter I argue that in Raimund Hoghe’s
performances, love is conceived essentially as a balance between narcissism and
pure object-love – as a neutral state. The fourth chapter, on Croatia’s BADco.,
gravitates around the ways in which group processes function, arguing that the
idea of the neutral is located in the ‘invisible hand’ of emergence. The thesis shifts
academic performance analysis towards a more concept-based approach,
unpicking and/or constructing timeless, abstract and broad concepts and ideas that
the work of these choreographers resonates with
