37 research outputs found
Rager, Zoe E. (Death, 1893-10-24)
No full textAddress: 254 Everett St.Age at death: 7 Yrs.389/Pg 102/1893/F W S/Cinti, Ohio/Dr. J. L. Cleveland/J.P. Epply/New Brighton, Pa.Original record filed in drawer labeled 'RAC-RASE'
OBSERVATIONS OF SOFT X-RAY EMITTING PLASMA STRUCTURES DURING THE MAIN NEUTRON EMISSION OF PLASMA FOCI
No full textFilter method and silicon detectors to measure the temperature of a hot dense thermal deuterium plasma from its quantum bremsstrahlung
No full textOn Mothers and Husbandry: An Interpreter’s Guide to “you shall not boil a kid in its mother’s milk
No full textThe body of this essay is separated into two distinct subjects. Firstly, scholarly analyses of the passage and their socio-economic impact are evaluated, followed by Rager’s own theological perspectives on the subject. The first section of the essay begins with first-century philosopher, Philo, who believed that to boil a kid in its mother’s milk was a violation of the dietary laws forbidding the consumption of dairy and meat simultaneously. The segregation of opposites is referenced as well, including child and mother and meat and milk with life and death, Jew and Gentile. For a long time the practice was said to be forbidden because of its resemblance to pagan rituals, a theory later proven wrong. Along the same ritualistic line, the author discusses the possibility that it was not the dairy and meat which needed to be separated but rather the female from the male. Female presence in a religious ritual would have made it impure, and thus the practice was decreed illegal. The analyses continue, positing that the separation was necessary to diffuse any implied incest between a mother and her son. It was also possible, that the passage was a warning to not cheat a land owner, and particularly not Yahweh, out of the best offerings. To boil a kid was to make it appear and taste more tender than it was, thus fooling the recipient into believing he had received better than he had. Some believed that “milk” was meant to be “fat” which implied the death of the mother as well as the kid. The possibility of impure mother’s milk or milk with blood in it arose, but had little evidence to support it. The author then proposes new analyses, first suggesting that the practice was horrifically extravagant and a waste of resources. A second proposal is that the law was made out of respect and need for the mother figure. The author ends noting the fallibility of any of these conclusions, noting the impossibility of certainty on the matter
The History of the Marimba
No full textThe author presents an international and historical history of one of the earliest melodic percussion instruments made by man. His research suggests the instrument was widespread throughout Asia and Africa, although many other regions claim it to have originated in their country.
Known by many names and created from an endless array of materials, this paper reflects the marimbas evolution from the fourteenth century to present day. The writer’s research encompasses the marimbas social roles, musical functions, timbres and styles across many countries as well as its evolution into the twenty-first century
Teachers Attitudes toward Students Learning at Higher Levels: A Challenge to KERA?
No full textTeachers\u27 Attitudes Toward Students Learning at High Levels: A Challenge to KERA? discusses the underlying premise of the Kentucky Education Reform Act that states that all children can learn at high levels. Literature research was conducted from other states as well as from the state of Kentucky. The author distributed surveys in fourteen different schools in four different counties in the state of Kentucky. To clear up some confusion in the minds of educators as well as other citizens, the simple statement should be reworded to state that all children can learn at their highest possible level
The Interpretation of Sousa
No full textThis article creates a recording anthology from four of John P. Sousa\u27s finest marches and includes The Washington Post, The Fairest of the Fair, Hands Across the Sea, and The Thunder. The titles were chosen because of their popularity as being the most recorded marches, and that they all have a common thread between them. Together, they create a unique collage of themes that when put together take on a new life. The author shows how all four compositions were assembled into a symphony titled Symphony on the Themes of Sousa written by Hollywood composer Ira Hearshen. Frederick Fennell recorded all of the works with the Tokyo Kosei Wind Ensemble of Japan October 18-19, 1995. A short list of other titles and recordings are also presented. They reflect the variety of ideas and interpretations on how a composer, conductor or ensemble can perform a single piece of music
Aesthetics in Culture
No full textThis article examines the role of aesthetics in art, music, non-art objects, and activities in daily life. It shows that recognition is vital to our understanding of art and art-objects and sometimes creates conflicts which ask, what does one do with art? The question becomes more confusing when we think about non-art objects and activities which concern our everyday experiences from eating, clothing, cleaning and dealing with life\u27s natural elements. The author points out that Western cultures have a distinct artworld that is usually limited for special occasions set aside for that purpose. He suggests that aesthetics in culture is based upon our knowledge, tastes and imagination, which in turn provide us an understanding and appreciation that is unique to oneself and that this experience and understanding can also transcend into other cultures
Johann Sebastian Bach\u27s Wind/Brass Instruments and Scoring Techniques
No full textEach time period has its own social, cultural and religious rules from which composers obey. Bach’s sacred and secular works walk a fine line and are hard to distinguish between, but each has been performed throughout the ages in a variety of settings.
This paper investigates Bach’s: Ideologies and Scoring which include his petition of August 23, 1730, his Horn (Corno) and its many names and uses. The author details Bach’s trombone (s), how he use them and in what compositions they can be found as well as Bach’s trumpet (s), their various keys and uses including musical excerpts, ornaments and trills. This paper examines and defines what Bach would have considered to be his most important musical element and role, the art of numerical symbolism. Used by many Baroque composers, Bach used it in his fugal, cantata’s and chorale writing, which became an important part of his intellectual life. From his death bed, Bach conveyed his religious beliefs and final evangelist message through this element.
Music Examples include:
Jauchzet Gott in allen Landen, from BWV 51, meas. 1 - 6, meas. 25 - 30
Ach, es bleibt in meiner Liebe, from BWV 77
