5,907 research outputs found
The choral music of Lou Harrison. (Volumes I and II)
No full textLou Harrison's music is clearly an important contribution to the twentieth century repertoire. His early writing for percussion ensemble, experiments in just intonation, melding of Eastern and Western influences, instrument building, and music for gamelan are especially significant. While much of his work has received attention, performance, and praise, his music for chorus is not well-known, much of it in manuscript and inaccessible.This study examines in detail the complete choral works of Harrison from 1939 to the present. It is the purpose of the study to define his compositional style through an analysis of these works. The text is divided into three main sections, the first of which is a brief biography and chronology of the choral works. The main body of the document is an analysis of the works, discussed in chronological order. Each piece is addressed individually with regard to the stylistic characteristics of melody, rhythm, harmony, texture, form, and text setting, where applicable. The final portion is a summary of Harrison's compositional style for chorus and concluding remarks. Appendices include a chronological listing of the works, and transcriptions of conversations between the author and Lou Harrison and Ben Johnston and Harrison. The second volume contains reproductions of the unpublished choral scores.Harrison's background has furnished a rich and fertile soil for the development of his choral style. His early study with Henry Cowell and Arnold Schoenberg, associations with John Cage and Harry Partch, and abiding affinity to Eastern cultural, philosophical, and musical influences, coupled with an adherence to the principles of just intonation and interest in the world's music, has produced a willful experimentation with and assimilation of various styles within his own. All of these influences are clearly evident in the choral works, music which is expressive, fresh, imaginative, and interesting, an amalgam of his many loves and interests.U of I OnlyETDs are only available to UIUC Users without author permissio
The choral music of Lou Harrison. (Volumes I and II)
No full textLou Harrison's music is clearly an important contribution to the twentieth century repertoire. His early writing for percussion ensemble, experiments in just intonation, melding of Eastern and Western influences, instrument building, and music for gamelan are especially significant. While much of his work has received attention, performance, and praise, his music for chorus is not well-known, much of it in manuscript and inaccessible.This study examines in detail the complete choral works of Harrison from 1939 to the present. It is the purpose of the study to define his compositional style through an analysis of these works. The text is divided into three main sections, the first of which is a brief biography and chronology of the choral works. The main body of the document is an analysis of the works, discussed in chronological order. Each piece is addressed individually with regard to the stylistic characteristics of melody, rhythm, harmony, texture, form, and text setting, where applicable. The final portion is a summary of Harrison's compositional style for chorus and concluding remarks. Appendices include a chronological listing of the works, and transcriptions of conversations between the author and Lou Harrison and Ben Johnston and Harrison. The second volume contains reproductions of the unpublished choral scores.Harrison's background has furnished a rich and fertile soil for the development of his choral style. His early study with Henry Cowell and Arnold Schoenberg, associations with John Cage and Harry Partch, and abiding affinity to Eastern cultural, philosophical, and musical influences, coupled with an adherence to the principles of just intonation and interest in the world's music, has produced a willful experimentation with and assimilation of various styles within his own. All of these influences are clearly evident in the choral works, music which is expressive, fresh, imaginative, and interesting, an amalgam of his many loves and interests.Made available in DSpace on 2011-05-07T13:59:15Z (GMT). No. of bitstreams: 2
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Does the human ventromedial prefrontal cortex support fear learning, fear extinction or both? A commentary on subregional contributions
No full textCurrent models of human fear learning processes emphasize a primary contribution of the ventromedial prefrontal cortex (vmPFC) to fear inhibition (i.e., fear extinction). Here, we discuss crucial findings from recent brain imaging studies that highlight the role of vmPFC and its subregions in how fear is acquired (i.e., fear conditioning)
Attitudes toward sexuality in the Book of Ben Sira
No full textThe fact that Ben Sira seemingly has a negative attitude towards women or femininity can easily lead to the assumption that the work has a negative attitude toward sexuality. However, this thesis will seek to demonstrate that the author's view on sexuality is complex, subtle, and depends on the context of the individual sayings. First of all we have to make a distinction between the attitudes of the writer of the original Hebrew text of the book and that of the Greek translator. The two texts, produced in different social settings, circumstances, times and places, differ substantially at times in regard to sexuality. Therefore it is essential to treat them separately and to compare them. In addition, the Book of Ben Sira, the longest Jewish wisdom book, is a complex combination of carefully composed wisdom poems that structure the whole work, and of teachings on everyday issues including marriage, family life, self-control, desires and passions, and sexual promiscuity. The openness about issues of eroticism that characterizes some of the poems concerning personified female wisdom is unprecedented in the wisdom writings of Second Temple Judaism. Similarly, the sage dedicates a greater number of passages than other wisdom books, to the discussion of social relations especially in regard to family. In so doing his regular point of departure seems to be what benefits or damages these relations mean, and whether they bring disgrace to a person, especially through sexuality. These all have bearings on the author’s and translator’s views of sexuality, including the position a person or situation under discussion might have in the sage’s social value system. Therefore the thesis examines the wisdom poems, and all sayings that concern sexuality found in discussions of passions, relations with parents, daughters and sons, wives and husbands, and warnings against sexual wrongdoing, including prostitution and adultery. All this is done with a special regard to the differences between the Hebrew original text and the Greek translation
Evidence for the decay B0→J/ψω and measurement of the relative branching fractions of meson decays to J/ψη and J/ψη′
No full textFirst evidence of the B 0 → J / ψ ω decay is found and the B s 0 → J / ψ η and B s 0 → J / ψ η ′ decays are studied using a dataset corresponding to an integrated luminosity of 1.0 fb -1 collected by the LHCb experiment in proton-proton collisions at a centre-of-mass energy of sqrt(s) = 7 TeV. The branching fractions of these decays are measured relative to that of the B 0 → J / ψ ρ 0 decay:frac(B (B 0 → J / ψ ω), B (B 0 → J / ψ ρ 0)) = 0.89 ± 0.19 (stat) - 0.13 + 0.07 (syst),frac(B (B s 0 → J / ψ η), B (B 0 → J / ψ ρ 0)) = 14.0 ± 1.2 (stat) - 1.5 + 1.1 (syst) - 1.0 + 1.1 (frac(f d, f s)),frac(B (B s 0 → J / ψ η ′), B (B 0 → J / ψ ρ 0)) = 12.7 ± 1.1 (stat) - 1.3 + 0.5 (syst) - 0.9 + 1.0 (frac(f d, f s)), where the last uncertainty is due to the knowledge of f d / f s, the ratio of b-quark hadronization factors that accounts for the different production rate of B 0 and B s 0 mesons. The ratio of the branching fractions of B s 0 → J / ψ η ′ and B s 0 → J / ψ η decays is measured to befrac(B (B s 0 → J / ψ η ′), B (B s 0 → J / ψ η)) = 0.90 ± 0.09 (stat) - 0.02 + 0.06 (syst)
Mellifluous music in early western Christianity
No full text This chapter explores the place of ‘sweet music’ in the early Western Church and its subsequent influence on the earliest theologies of music, of creation, and of God. The author begins by reflecting on the account of 4th-century bishop of Minorca, Severus, and his description of music’s role in the Christian conversion of Jews on the island. There it served as a miraculous and ‘mellifluous assault on the senses’, something that could evoke both delight or terror depending on the hearer’s condition, and was believed to be God’s own presence at work in the human soul. Harrison then turns to Augustine and how he developed his own theology – and psychology – of music in De Musica, drawing on the influence of the hymns of Ambrose of Milan. She explores Augustine’s account of the soul’s apprehension of sound, wherein a sensuous and spiritual experience is made possible by a God whose grace and providential order are diffused through His creation, despite humanity’s (and the world’s) fallen state. Throughout this early period, Harrison concludes, we see a Church fascinated by music’s pleasing sweetness as something beneficial to faith and ultimately a sign of God’s presence. </p
Measurement of the ratio of prompt χ c to J / ψ production in pp collisions at √s = 7 TeV
No full textThe prompt production of charmonium χ c and J / ψ states is studied in proton-proton collisions at a centre-of-mass energy of √s = 7 TeV at the Large Hadron Collider. The χ c and J / ψ mesons are identified through their decays χ c → J / ψ γ and J / ψ → μ + μ - using 36 pb - 1 of data collected by the LHCb detector in 2010. The ratio of the prompt production cross-sections for χ c and J / ψ, σ (χ c → J / ψ γ) / σ (J / ψ), is determined as a function of the J / ψ transverse momentum in the range 2 < p T J / ψ < 15 GeV / c. The results are in excellent agreement with next-to-leading order non-relativistic expectations and show a significant discrepancy compared with the colour singlet model prediction at leading order, especially in the low p T J / ψ region
Group of Blooded Democrats at Mason City, Nebraska, during the Grover Cleveland campaign of 1888.
No full textIn a special golden anniversary edition dated 26 November 1942, the Custer County Chief published this photograph with the headline 'Plug Hat Group of Democrats and Mason City,' and a cut line which read: 'This picture taken during the Harrison-Cleveland presidential campaign of 1888. The republicans wore light colored tall hats and the Mason City democrast, not to be outdone, fitted themselves with regular black silk plug hats. Those in the picture from left to right are : J. A. Payne, Ed Rusmisell, R. B. Walter, Geo. Hurley, J. C. Porter, Mac Warrrington, Chas. Porter, Ben Bridgeford, J. J. Tooley, John Reichel, Geo. Porter, R. W. Kennelley.
Westpac Banking Corporation v Commissioner of Inland Revenue: An Analysis
No full textThis paper examines Harrison J’s tax avoidance approach employed in Westpac Banking Corporation v Commissioner of Inland Revenue. The author critically evaluates several approaches to the tax avoidance inquiry, which are essentially questions of statutory interpretation. The Supreme Court in Ben Nevis Forestry Ventures Ltd v Commissioner of Inland Revenue (Ben Nevis) arguably mischaracterised Richardson J’s initial formulation of the scheme and purpose approach to tax avoidance, which on its true construction is not that dissimilar to the parliamentary contemplation test that the Supreme Court introduced. The rejection of the longstop approach in Ben Nevis is seemingly anomalous because in essence the longstop approach amounts to little more than a purposive construction of the statutory provisions. Harrison J’s refusal to recognise a two-step structure to the tax avoidance inquiry and his Honour’s characterisation of the “not merely incidental” test are also addressed. This paper closely scrutinises the pertinent features of his Honour’s avoidance analysis. Harrison J takes a broad overarching approach to the nebulous question of tax avoidance. The avoidance conclusion rests on the absence of underlying commerciality to the transactions. By explicitly using measures of commerciality and refraining from adding judicial gloss to the statutory wording, Harrison J’s judgment brings some clarity to the tax avoidance inquiry. However Harrison J’s finding of a commercial purpose is somewhat perplexing. The author argues that Harrison J has gone someway to melding the two limbs of the statutory definition of “tax avoidance arrangement”. Harrison J’s judgment reveals that considerations associated with the “not merely incidental” exception may now become a constitutive feature of all tax avoidance inquiries
Nat Zoan : a romance of Borneo /
No full textInscribed presentation copy, from the author to Thos. B. Lewis.Sequel to: Ben Nebo.A poem.Mode of access: Internet
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