33 research outputs found
Will Cockrell on Everest, Inc.
Get PDFWill Cockrell is the author of the book Everest, Inc.: The Renegades and Rogues Who Built an Industry at the Top of the World, a fascinating history of the guiding industry on the world’s highest peak.
In this episode, Justin and Will discuss how his book challenges misconceptions about Everest, the evolving role of Sherpas, and why this mountain holds such a firm grip on our psyche.https://scholarworks.umt.edu/anewangle_podcasts/1342/thumbnail.jp
Data adjuvant therapy dose schedules
No full textData file of simulated dose schedules that prevent the recurrence of colon cancer by apoptotic adjuvant therapy. Includes numerical data in columns for Interval, Duration, Treatment, and 50-year dose sum, ranked by 50-year dose sum. Supplementary file for article tentatively titled “Prevention of Colon Cancer Recurrence from Minimal Residual Disease: Computer Optimized Dose Schedule of Intermittent Apoptotic Adjuvant Therapy.”No restriction on public acces
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A Conductor’s Guide to Jean Sibelius’s Symphony No. 1 in E Minor, Op. 39
No full textIn this study of Symphony No. 1 in E minor, Op. 39 (1899) by Jean Sibelius (1865-1957), the author seeks to guide conductors’ interpretative decisions regarding choice of tempo, tempo fluctuation, phrasing, and rhythmic flexibility for future performances. To provide insight into various interpretative choices, the author investigates a wide range of written sources and recordings by prominent conductors who had lengthy personal and professional relationships with the composer, including Robert Kajanus (1856-1933) and Jussi Jalas (1908-1985)
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Homenaje a Joaquín Sorolla (Cuadros Sinfónicos): An Analysis of Bernardo Adam Ferrero's Musical Interpretation of the Programmatic Themes in the Paintings of Joaquín Sorolla
No full textIn 1988 Bernardo Adam Ferrero's wind band composition Homenaje a Joaquín Sorolla was premiered at the International Wind Band Contest in Valencia, Spain. This relatively unknown wind band composition combines the elements of visual art and music to create a contemporary work for wind band using oil-canvas paintings of Valencian artist Joaquín Sorolla as the source of inspiration. In this document, the author discusses pertinent biographical information about the composer and the artist, and examines the wind band composition and the paintings through musical and visual analysis to evaluate Ferrero's musical interpretation of programmatic themes of the paintings. Through analysis of the craftsmanship of this composition and its connection to the visual arts, the author advocates for Homenaje a Joaquín Sorolla’s inclusion in the core wind band repertoire
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Towards an Improved Baton Technique: The Application and Modification of Conducting Gestures Drawn from the Methods of Rudolf, Green and Saitō for Enhanced Performance of Orchestral Interpretations
No full textSince the early nineteenth century, a conductor has led orchestras in concert, rather than the concertmaster or the composer from a keyboard instrument. There is no theory about the function of the conductor or technique for conducting an orchestra or choir in that early period. Early conductors probably imitated the bow motions of the concertmaster, who was the leader of the group of instrumental players. The increasing importance of conducting resulted in conductors who not only cued to indicate entrances and cut offs as the concertmaster did, but also helped the musicians to understand his musical interpretation and play as a unified musical body. The establishment of this new role soon required the training of future generations of conductors and eventually conducting textbooks, with guidelines and other educational material for the apprentice conductor. In this paper, the author explores the historical background of conducting technique and the development of conducting textbooks in the twentieth century. Three conducting textbooks were chosen representing different approaches: Max Rudolf's The Grammar of Conducting; Elizabeth A. H. Green The Modern Conductor; and Hideo Saitō The Saitō Conducting Method. The author analyzes the conducting theory presented in each textbook and pinpoints the strengths and weaknesses of the three schools. He then suggested integrates beat patterns, combining elements from them, proposes more effective conducting gestures for his interpretation of the music. The focus for these integrated beat patterns is on the physical gestures and patterns of the right hand, not left hand gestures or specific expressive gestures. Chapter 2 summarizes the characteristics of the three conducting theories. Chapter 3 analyzes the basic characteristic motions of each school. Chapters 4 through 6 propose adaptations of conducting gestures, drawing from the three schools to interpret challenging sections of the examples: Marche royale from Histoire du Soldat by Igor Stravinsky, Adagio for Strings by Samuel Barber, and the Ouverture: Die Hebriden by Felix Mendelssohn. For the most effective performance of the author s interpretations, proposed integrated beat patterns are suggested for the phrases shown in the musical examples. Some of the beat patterns are presented in diagrams to show the integrated beat pattern, derived from the author s synthesis of the basic five motions of the three schools adapted from the three schools
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REVEALING STRUCTURAL ASPECTS OF PAUL HINDEMITH'S SYMPHONY IN B-FLAT FOR CONCERT BAND THROUGH A MAP: MUSIC ANALYSIS PROFILE
No full textThis document presents a music analysis tool which illuminates structural elements of Paul Hindemith's Symphony in B-flat for Concert Band. Designed by the author, this type of visual tool is called a Music Analysis Profile and will henceforth be referred to as a MAP.This study offers a historical perspective of visual music analysis models, examines the development of the author's model, and explores an analysis of the Hindemith Symphony through MAP examples. This project is designed to enhance understanding and appreciation of this composition in the following contexts: music rehearsals, classrooms, pre/post concert discussions, and performances. In such contexts, the purpose and usefulness of a MAP as a useful tool is exemplified
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Slovak Influences in 20th Century Music as Represented in Selected Works of Bartók, Janáček and Novák
No full textThe goal of this document is to demonstrate how Slovak folk music inspired creation of some early 20th century chamber, orchestral, and vocal-instrumental compositions. In examples drawn from works of Vítězslav Novák, Leoš Janáček and Béla Bartók the author analyzes the different ways of translating folk music idioms into the compositional language of these composers. The first of the introductory chapters presents an outline of distinctive features of Slovak folk music. It talks about the role of folk song in the life of Slovaks and its connection to social events in the villages. It also analyzes the relationship between language and music. The coexistence of modal and tonal music is emphasized and songs are divided into historical periods. In the second part of the introduction an historic overview of the influence of Slovak folk music in classical music is given. The chapter covers the first known occurrences of this influence in the collections of songs and dances from the Baroque era and the occasional references in the Classical and Romantic music. The impulses behind the wave of interest in Slovak folk music in the 20th century are also examined. The first chapter documents the influence of Slovak folk music on Vítězslav Novák. It describes his early career and his first encounters with Slovakia. The central part of this chapter consists of analysis of the symphonic poem In the Tatras, a work inspired by Slovakia and containing Slovak music references. The second chapter of this document is devoted to Leoš Janáček. His multifaceted approach to folk music included an intimate knowledge of people’s lifestyle, traditions, local dialects and speech patterns. The fruit of his research is documented in the song collection 26 Folk Ballads. The majority of these arrangements for voice and piano are of Slovak origin. The final chapter examines the personal and artistic ties of Béla Bartók to Slovakia. Bartók employed folk music elements in his compositions with a genius which made him a master of such compositional approach. The variety of ways by which Bartók used Slovak folk music is scrutinized in the analysis of Three Village Scenes
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A Study of the Systematic Use of Themes and Motives
No full textAntonio Carlos Gomes (1836-1896) is considered one of the most important Brazilian composers and was the first New World composer whose work was accepted in Europe. His opera Fosca, though, was never discussed in depth and should be recognized as an important work in the history of the nineteenth century Italian opera for its skillful use of themes and motives. The Brazilian composer and musicologist Mario de Andrade presented a study of the principal themes in 1936, in commemoration of the centennial of Carlos Gomes' birth, but there is no record of a thorough study that shows the magnitude of Carlos Gomes' application of his motivic and thematic technique in this work.In this document, the author identifies the principal themes and motives, and demonstrates how the composer systematically used them to enhance the drama and lend coherence to the work as a whole. Gomes, in Fosca, used the technique to such extent that every major character in the opera has a minimum of one theme related to him or her. The leading role Fosca has many themes to represent her different feelings throughout the opera. There are also themes representing specific feelings between two people, and themes related to the chorus as well. Gomes uses his themes to contribute to the drama as active psychological elements and not simply as ornamentation.The recurring themes in Fosca are easily heard and recognized, but this does not mean that Gomes used them in a rudimentary or merely mechanical manner. Gomes' simplicity proves to be a useful tool in ensuring musical and dramatic continuity, offering us an idea of his broader goal as a musical dramatist
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Transcribing from Brass Band to Wind Band: A Comparison of Approaches and Methods and Subsequent Transcription of "Gypsy Dream" by Peter Graham
No full textThe brass band and wind band had similar repertoires in the nineteenth and early twentieth centuries with marches, dances, solos, and transcriptions written prominently for both ensembles. The repertoires diverged at the beginning of the twentieth century as brass band contests commissioned new and original works and international composers began writing serious works for wind band. In the 1970s, British composer Philip Sparke succeeded in writing music for both ensembles and subsequently began to create a shared repertoire, and other composers started contributing to this repertoire. As this repertoire has proliferated, much of it has become worthy of serious study. The purpose of the current study is to find shared scoring tendencies between three transcriptions: one written by the original composer; a second transcribed by a different composer; and a third transcribed by both the original composer and a different composer. The works selected were The Year of the Dragon by Philip Sparke (transcribed by the composer), Variations for Brass Band by Ralph Vaughan Williams (transcribed by Donald Hunsberger), and Call of the Cossacks by Peter Graham (transcribed by the composer and Mick Dowrick). There were several effective instrumentation choices the works shared, including woodwind prominence in solo and lyrical passages, double reeds substituting for small brass ensembles, and high woodwinds written one or more octaves above the original. Adapting these choices, the author created a transcription of Gypsy Dream, the second movement of Call of the Cossacks. Further, these commonalities can serve as guidelines for other transcribers to arrange brass band works for wind band and expand this shared repertoire
Twayne Companion to Contemporary Literature in English : From the Editors of the Hollins Critic
No full textPart of the new Twayne Companion to Literature series, this set features 101 select essays reprinted from The Hollins Critic (produced by Hollins University in Roanoke, Virginia) during the period between 1975 and 2002. A chronology of that period\u27s important literary publications, awards, and events sets the context for the essays at the beginning of volume 1. Each essay, usually between 5,000 and 6,000 words, surveys a contemporary author\u27s entire body of work and is intended to \u27do something more than merely offer a review of his (or her) books and something less than deliver a verdict on his (or her) \u27place\u27 in literary history.\u27 Essays also feature a brief biography accompanied by a line-art portrait of the writer, a bibliography of the author\u27s works, and, where applicable, a career update. The essays, written by literary scholars, were chosen because of the excellence of the writing and a perceived lack of subject coverage elsewhere.
Included authors are mostly novelists or poets, primarily American but also Canadian, English, or Irish. Coeditor Dillard takes pains to discuss the collapse of the traditional literary canon in his introduction, thus banishing all expectation of national figures and trying to exonerate himself from a canon debate. Instead, he offers examples of the current openness and . . . genuine diversity of style and content far more complex, varied, and interesting than one shaped merely by the demands of political correctness. Indeed, the authors covered have an impressive range of styles: among the included are postmodernists Thomas Pynchon and Paul Auster, science fiction writer Octavia Butler, historical fiction writer Thomas Flanagan, popular novelist Anne Tyler, cutting-edge novelist Richard Powers, and poets Mary Jo Salter and John Ashbery. An index at the back of volume 2 facilitates locating people and titles. --Amazon.com descriptionhttps://digitalcommons.hollins.edu/facbooks/1058/thumbnail.jp
