557 research outputs found
The invisible artist: Arrangers in popular music (1950-2000): Their contribution and techniques
No full textThis thesis was submitted for the degree of Doctor of Philosophy and was awarded by Brunel University.This thesis is based on the research conducted by the author for the series,
Richard Niles' History of Pop Arranging, seven thirty-minute documentary
programmes for BBC Radio 2, researched, written and presented by the author and
broadcast in 2003. It also draws on interviews conducted by the author (and other
research) between 2002 and 2007 both for the radio series and for this thesis and on
the author's experience as a professional arranger in popular music working with
many of the genre's significant recording artists including Paul McCartney, Ray
Charles, Cher, Tina Turner, Westlife, Tears For Fears, Dusty Springfield, James
Brown, Pet Shop Boys, Kylie Minogue and producers including Trevor Hom, Steve
Lipson, Steve Mac and Steve Anderson.
It will be argued that the role of the arranger in popular music has often been
undervalued and that during a critical period of popular music history (1950-2000)
arrangers played a significant part in the evolution of musical content. This thesis is,
to the best of the author's knowledge, the first time (apart from the above mentioned
documentary) the subject has ever been examined. The arranger is "invisible" because musical arrangers are often un-credited on
record liner notes or in books or articles concerning popular music. A considerable
amount of research has been necessary to determine who wrote many of the
arrangements considered herein. Motown's Berry Gordy purposely kept the names of
musicians and arrangers off the records because he feared others might 'poach' the
trademark 'Motown Sound'. Other record labels considered the job of the arranger to
be reminiscent of an earlier era, diluting the Rock 'n' Roll image of emotion and
spontanaeity they wished to promote. Some producers and recording artists disliked
sharing credit for their work. Motown arranger David Van dePitte told the author that
arranging was "thankless and anonymous - a very service-oriented profession where
others often take credit for what you've done." Arranging has therefore remained an
intrinsically unseen art created by 'invisible' artists. By analyzing many recordings,
revealing the techniques and concepts they have used in their work to create popular
records, arrangers and their art will be made more 'visible'
Journalist-Source Relations, Mediated Reflexivity and the Politics of Politics
No full textThis essay discusses journalist-source relations but with an emphasis on how such relations influence the understanding and behaviour of politicians. It explores the issue through empirical work conducted at the site of the UK Parliament at Westminster. Findings are based on semistructured interviews with 60 Members of Parliament (MPs) and 20 national political journalists. The research findings initially confirmed many of the observations of earlier studies in the field. UK journalist-source relations still resemble Gans’ (1979) original ‘‘tug-of-war’’ description of an evershifting power balance between the two sides. Such interactions, in turn, are reflected in more compliant or adversarial news coverage. Of greater interest here, the interviews also revealed that such relations have come to play a significant role in the micro-level politics of the political sphere itself. This is because reporter-politician relations and objectives have become institutionalised, intense and subject to a form of ‘‘mediated reflexivity’’. Consequently, politicians have come to incorporate such reporter interactions into their daily thinking and behaviour. As such, journalists are seen as more than a simple means of message promotion to the public. They also act, often inadvertently, as information intermediaries and sources for politicians trying to gauge daily developments within their own political arena
Cost–effectiveness of artemisinin combination therapy for uncomplicated malaria in children: data from Papua New Guinea
No full textObjective: To compare the cost–effectiveness of conventional antimalarial therapy with that of three artemisinin combination treatment regimens in children from Papua New Guinea aged 6 to 60 months. Methods: An incremental cost–effectiveness analysis was performed using data from 656 children with Plasmodium falciparum and/or P. vivax malaria who participated in a large intervention trial in two clinics in northern Papua New Guinea. The children were randomized to one of the following groups: (i) conventional treatment with chloroquine plus sulfadoxine plus pyrimethamine (CQ+S+P); (ii) artesunate plus S plus P; (iii) dihydroartemisinin plus piperaquine (DHA+PQ); and (iv) artemether plus lumefantrine (A+L). For treatment outcomes, World Health Organization definitions were used. The cost of transport between home and the clinic plus direct health-care costs served as a basis for determining each regimen’s incremental cost per incremental treatment success relative to CQ+S+P by day 42 and its cost per life year saved. Findings: A+L proved to be the most effective regimen against P. falciparum malaria and was highly cost-effective at 6.97 United States dollars (US 58 per life year saved). DHA+PQ was the most effective regimen against P. vivax malaria and was more cost-effective than CQ+S+P. Conclusion: A+L and DHA+PQ are highly cost-effective regimens for the treatment of paediatric P. falciparum and P. vivax malaria, respectively, in parts of Papua New Guinea. Future research will be required to determine if these findings hold true for other territories in Asia and Oceania with similar malaria epidemiology.Wendy A Davis, Philip M Clarke, Peter M Siba, Harin A Karunajeewa, Carol Davy, Ivo Mueller & Timothy ME Davi
IndigiComms: Using Decolonization, Power Studies and Indigenous Methods to Inform Postmodern Communications Practice & Scholarship
No full textAt a Blackfoot Sundance in 2015, I prayed for Creator to help me fit together the oppositions in my life — such as Indigenous studies and public relations/communications scholarship, and my mixed Indigenous and non-Indigenous ancestry. I believe that prayer lead me here — to this paper.
In it, I grappled with the question on how the study in Indigenous methods, decolonization studies and media histories could inform the future of a postmodern communications scholarship and practice, while at the same time positing that these will be the very tools needed for the future of ethical public relations scholarship and practice.
The primary source of data for this work comes from an auto ethnographical account of confronting research works within deeply entrenched colonial institutions, and reflects some key markers on my journey as I read and researched works within the disciplines of Indigenous studies, Indigenous Methodologies, media histories and postmodern thought in communication studies.
My research spanned across various disciplines such as Francis’s (1992) exploration of the history behind mainstream Indigenous imaging, which referenced John Dryden’s 1670 play The Conquest of Granada as one of the first places the image of the ‘noble savage’ appeared (p. 7). And I ended my research with post-modern calls to public relations practitioners from Holtzhausen (2002) who claimed that reflexivity could help prevent the formation of metanarratives or dominant discourses in public relations. Further, she also cautioned practitioners to critique their own actions using postmodern theory (pp. 256, 259).
I am not accomplished expert in these fields. I am a scholar. And ethical considerations remind me that this work, and the use of a made-up term like “IndigiComms,” is simply a quiet form of activism — of placing me in the centre of my work using a small ‘i’. I did not need to figure out how to do put these things together, I just needed to find the courage to continue to do what I’ve been doing this whole time — using my voice and my stories. My hopes are that this story can help inform the future of Indigenous communications and public relations scholarship: a discipline lacking in Indigenous Methodologies for research, scholarship and practice
Volume 54 (2022)
No full textThe 2022 edition of The Broad River Review was edited by C. V. Davis, Meredith Bridges, Sarah Goode, Sarianna Miranda-Rosado, and Hannah Travis.
COVER PHOTOGRAPHY: Lex Lucius, Majestic Horses: Pancho Close-Ups 1 & 2
THE 2022 RASH AWARD IN FICTION: Maureen Sherbondy, Rules of the Rich
THE 2022 RASH AWARD IN POETRY: Stephen Benz, Uncle Jerry, Missing in Action
THE 2022 FOOTHILLS POETRY AWARD: Neha Patel, Too Close to the Lights
THE 2022 J. CALVIN KOONTS POETRY AWARD: Hannah Ray, Aubade for the Boatman
POETRY: Jeffrey Alfier, Downcoast at Hampton Roads; George Bandy, Counting Back; Tina Barr, Still Life With Fruit Dish; Roy Bentley, (Sometimes I Feel) Like a Red-Collared Dog; Peter Bergquist, Basements; Terry Hall Bodine, Paper Boats; Dorothy Howe Brooks, Wanderers; Kathleen Calby, Harvest of Ice; Camille Carter, Feet of Clay; Kenneth Chamlee, Random Hours I Look at the Clock; Douglas Cole, The Eeriness of the Nightwalk; Stephany L.N. Davis, The Unmoving; Laine Derr, Without You; Timothy Dodd, Marvel Exchange; Hollie Dugas, Self Portrait as a Swiss Army Knife; Alan Elyshevitz, The Art of Fire and Smoke; Robert Fillman, On Rembrandt’s A Lady and Gentleman in Black; Katherine Gaffney, Notre Dame, 1994; Daniel Ginsburg, Animator; Adrianna Gordey, Dorothy Gale Goes to the Beach; Patricia L. Hamilton, Idol Worship; Todd Heldt, Afternoons; Ann Howells, Graffiti; Rosa Lane, The Victorian Dissident; Mary Dean Lee, Woodstove; Mark Madigan, First Snow; Jessica Mehta, God, Mother; Ryan Nelson, Empty Nest; Cathlin Noonan, Setting the Record; Richard Parisio, The Last Man on Earth; J.C. Reilly, My Cajun Cousin Fabienne Advises on Marriage; Anna Laura Reeve, Flower Moon; Claire Scott, Still Life With Tennis Racquet; Maureen Sherbondy, Mother of Sons; William Snyder, Call Me Pain for a Little While Longer; Noel Sloboda, Motley; Matthew J. Spireng, Flight 5585, Bozeman to Chicago; Brett Thompson, Starlight; Lucinda Trew, God and All the Soldiers; Victoria Twomey, Paradise; Danielle Ann Verwers, October; Ann Weil, Sonnet While Waiting for the Hurricane; Bob Wickless, Words for Nikola Tesla; Kuo Zhang, From X-Small to X-Large
FICTION: Glenn Armocida, Pinned; Terry Hall Bodine, The Burn; Jim Gish, The River of Light; Chad Gusler, Man of Sorrows; Annette Leavy, The Free Temple; Emily Mathis, Baddies; Kai Mawougbe, F3; Ray Morrison, The Man Who Got Away; Kelly Talbot, The Witch Woman; Randolph Thomas, Late Reunion; Hannah Wells, Or Something Like That Chris Wiberg, Juicebox;
CREATIVE FICTION: Genalea Barker, Unless, Of Course, It Doesn’t; Timothy Caldwell, My Father’s Funeral; Miranda Campbell, The Saddest, Most Beautiful Place in Georgia; Evan Gurney, An Intruder in My House; Lucinda Trew, Mothers and Mirrors; Sara Watkins, The Child Who Ate Wordshttps://digitalcommons.gardner-webb.edu/brreview/1022/thumbnail.jp
I.M.A.G.E (Imagine Me a Gentleman of Excellence): Uncommon Swagg, Timothy Brown, Author of Boys Won\u27t Be Boys, Educator and Motivational Speaker
No full textI.M.A.G.E. Seminar will inspire and challenge young men and those who love and serve young men to aspire to a life of excellence and integrity resulting in leaving an Uncommon Legacy. Uncommon is not how most people live their lives. It’s a path to greatness that only a few will find.
Through the principles taught by Author and Educator Tim Brown, participants will identify with the path of greatness which encompasses Living Uncommon in a Common World. Tim Brown will share the foundational points of how to live as a Gentleman of Excellent and how to develop Uncommon Swagger. A young man that is confident without being arrogant, who knows who he is and is not threatened by other people; he is sure of himself, seeing no need to bend to peer pressure.
This session will challenge young men to rise above the common world around them and to change the IMAGE of African American young men. Join me for this informative and life empowering session
DNA fusion gene vaccination mobilizes effective anti-leukemic cytotoxic T lymphocytes from a tolerized repertoire
No full textThe majority of known human tumor-associated antigens derive from non-mutated self proteins. T cell tolerance, essential to prevent autoimmunity, must therefore be cautiously circumvented to generate cytotoxic T cell responses against these targets. Our strategy uses DNA fusion vaccines to activate high levels of peptide-specific CTL. Key foreign sequences from tetanus toxin activate tolerance-breaking CD4+ T cell help. Candidate MHC class Ibinding tumor peptide sequences are fused to the C terminus for optimal processing and presentation. To model performance against a leukemia-associated antigen in a tolerized setting, we constructed a fusion vaccine encoding an immunodominant CTL epitopederived from Friend murine leukemia virus gag protein (FMuLVgag) and vaccinated tolerant FMuLVgag-transgenic (gag-Tg) mice. Vaccination with the construct induced epitopespecificIFN-c-producing CD8+ T cells in normal and gag-Tg mice. The frequency and avidity of activated cells were reduced in gag-Tg mice, and no autoimmune injury resulted. However, these CD8+ T cells did exhibit gag-specific cytotoxicity in vitro and in vivo. Also, epitope-specific CTL killed FBL-3 leukemia cells expressing endogenous FMuLVgag antigen and protected against leukemia challenge in vivo. These results demonstrate a simple strategy to engage anti-microbial T cell help to activate epitope-specific polyclonal CD8+ T cell responses from a residual tolerized repertoire
): its pharmacologic profile, efficacy and safety in the treatment of adults with diabetes mellitus
No full textJohn Wesley and Methodist music in the eighteenth century : principles and practice
No full textEThOS - Electronic Theses Online ServiceGBUnited Kingdo
The Bass-less Trio
No full textMiles Davis asserts in his autobiography, that "a great artist needs to be able to stretch" [Davis, Troup, 1990]. While I may not a great artist, I aspire to make art with my music, and in my own musical journey I have been interested in trying out new ideas. Jazz musicians, because of their various skills (and in particular, in the art of improvisation) find themselves straddling musical boundaries and genres, just to pay the rent. In my own projects however, this musical adroitness was born just as much out of artistic curiosity as it was necessity, leading me to compose and perform in a variety of contexts and styles for a broad range of instrumentation. These contexts and styles include: duos for saxophone and piano accordion; Bach sonatas with string ensembles; improvising live dance music with DJs; organ trios; in electronica contexts; art and poetry collaborations. The need for creativity has expressed itself in all of my work, to varying degrees. On reflection, it's the need to create something new and fresh out of work and ideas that are already explored to some extent. This desire is consistent with the jazz legacy I have inherited. In much the way Louis Armstrong began transforming popular songs into jazz vehicles, Charles Mingus took ideas from older African American musical traditions and transformed them to offer a fresh perspective on those traditions, and Miles Davis borrowed ideas from rock and soul music to pioneer new directions in jazz during the 1960s and 1970s, I too am looking for new avenues of expression for jazz musicians
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