11,143 research outputs found
No.305, David J. Miller, interview by Tim Larson
No full textTranscript (77 pages) of interview by Tim Larson with David J. Miller, formerly an employee of radio stations in Utah, on September 25, 1989. This interview is no. 305 in the Everett L. Cooley Oral History Project, and tape nos. U-1092 and U-1093In two interviews David J. Miller (b. 1950) recalls growing up in Utah, attending Utah State University, becoming involved in radio broadcasting in Logan, Utah, later in St. George, Utah and at the time of the interview in Oregon with Frank Carman who had been a pioneer in Utah radio broadcasting. Interviewer: Tim Larso
Episode 62: Coffee Talk with Tim Miller
No full textWe are joined by acclaimed Jazz/ Rock Guitarist and Berklee College Of Music Guitar Professor Tim Miller
Tim Miller: A Case Study
No full texti, 11 p.This report is based on information that I compiled in the form of daily
notes between 11 January (when I first decided that Tim Miller would be a good
subject for a case study) and 23 March, when I concluded my internship at Novi
High School. I gathered information by talking to Tim. his fellow students, and
band director Craig Strain, as well as from my direct observation of Tim in various
situations. Only Strain and I were aware that Tim was a study subject; I did not
seem to pay any more attention to him than I paid to many of the students.
Tim Miller was valuable to observe because his career covered almost every
aspect of the Novi instrumental music program.
Rather than present this study in the form of an edited log, I have chosen
to organize it into logical subdivisions. This format allows me to accentuate the
the connections between various daily occurrences and to draw from my observations
those conclusions that seem justified by educated common sense.
I seek to relate Tim's experiences to my philosophy of education. This
approach necessarily brings my value judgments into this report. Rather than
simply evaluating Tim Miller's progress or personal attitude, I am focusing on
judging what good his participation in the Novi band program is doing him.
The goal of any teacher should be to make the class or program valuable
and meaningful to each student. Good teachers recognize that, while many of the
goals they set will, be equally applicable to every student, each student has some
unique needs, some personal goals to achieve in the course of that program. This
report, then, is an effort to estimate the personal goals that Tim Miller carries
into the band program, and how well those goals are met.Administrator only due to personally identifying information in case study.Novi High School. Novi, Michigan
Dusty Miller
No full textDusty Miller is a traditional bluegrass band from east Tennessee. Tim Stafford formed Dusty Miller with Adam Steffy, Adam\u27s wife, Tammy Rogers, Brian Fesler and Barry Bales. These five musicians have performed and recorded together in various combinations – with the east East Tennessee State University Bluegrass Band (Tim, Adam & Barry), with kingsport’s Boys in the Band (Tim, Adam, Tammy & Barry), and with Rebel Record’s Lonesome River Band (Adam and Brain). In 1990 Alison Krauss hired Tim, Adam and Barry to be in Union Station, a bluegrass/country band. They went on to record a Grammy-award winning CD, Every Time You say Goodbye. Union Station became on the most influential bands in modern bluegrass history
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Interview with Mitch Miller
No full textInterview with Mitch Miller by Tim Owens at NPR New York Bureau Studio 2, U 87. Owens is not heard on the recording. Before the interview, Miller discusses the Santa Fe Opera and pitches an idea for a series on artists whose careers he helped launch, the group The Four Lads, Dick Clark and an allusion to Clark's payola scandal, the appropriation of rock 'n' roll from Black musicians, his success on the Columbia label, Charlie Parker's playing, how Miller got to know Norman Granz, the album Charlie Parker with Strings, how recording sessions were structured with $38 union scale per session, personnel on the session and Miller being a longtime jazz fan, recording engineer Bob Fine, capturing the essence of a performance, Parker's reaction to seeing the assembled orchestra and disappearing, the Foundation for Jazz Chamber Music, Clint Eastwood's use of Miller's material, Norman Granz' "tremendous instinct" and arranging for Oscar Peterson to stay at the Algonquin despite segregation there, Granz becoming a friend of Pablo Picasso, standard tunes whose appeal has outlived their composers, letting history be the judge because "excellence always triumphs," countering allegations of elitism, the Works Progress Administration's contributions to music and the arts, the arts as cultures' distinguishing contribution, arranger Jimmy Carroll and his consideration for the listener, the belated hit for "The First Time I Ever Saw Your Face" after it appeared in a Clint Eastwood movie, the Berlin Philharmonic being ordered by Herbert von Karajan to attend a Louis Armstrong concert, the remarkable number of first-take recordings on Charlie Parker with Strings, success depending on timing and exposure, how Charlie Parker drew listeners in, Charles Mingus, the importance of singing through the instrument, Erroll Garner, Parker living on through his instrument, and critics. The interview concludes with Miller's short comments on multiple musicians (Benny Carter, Doc Cheatham, Milt Hinton, Gerry Mulligan, Ella Fitzgerald, and an unnamed singer), and Miller pre-records holiday greetings to NPR listeners. At the end, Miller briefly mentions Auschwitz concentration camp survivor Olga Kovacs, the oboe and french horn as challenging instruments, and his enthusiasm for the former Phoenix Gardens restaurant at 242 E. 40th St in Manhattan
Do dolphins benefit from nonlinear mathematics when processing their sonar returns?
No full textAn interview with author Tim Leighton about the paper
Opportunities for linking young surveyors across professional surveying member organisations and FIG
No full textBlinded Continuous Monitoring of Nuisance Parameters in Clinical Trials
No full text. Determination of a clinical trial's size is an important task in the planning of any trial because of the direct implications of the sample size on feasibility, costs and timelines. However, sample size calculations are often subject to substantial uncertainty due to limited prior information on the size of nuisance parameters such as variances or event rates. Continuous monitoring of the nuisance parameter in clinical trials has been proposed as a tool to size trials appropriately. With this approach, the nuisance parameter is continuously monitored during the trial. The trial is stopped when the actual estimate for the nuisance parameter and sample size fulfil a stopping criterion. Continuous monitoring can therefore be viewed as a stochastic process with stopping time. We describe the bias that occurs with unblinded continuous monitoring of the variance in clinical trials by means of a simulation study. Then we propose a procedure for blinded continuous monitoring that does not require breaking the treatment code during the on-going study and show that the procedure does not suffer from the same biases as observed in unblinded monitoring. Results on the performance properties of such designs are given and the designs are compared with blinded re-estimation procedures with a single data look. By means of asymptotic theoretical arguments and finite sample size simulations we find that the variability in sample size is smaller with blinded continuous monitoring than with blinded sample size re-estimation whenever the power for both designs is close to the target value. Repeated sample size re-estimation is in between continuous monitoring and sample size re-estimation in this respect. Furthermore, we present a hypertension trial where blinded sample size re-estimation with a single data look was applied and we investigate the properties of blinded continuous monitoring in this setting. Finally we close with a brief discussion
A TPQ Interview: Tim Miller on Autobiographical Storytelling
No full textTim Miller has worked as a performer and writer for over twenty years. In the early 1990s, he received international recognition as one of “the NEA Four,” four performance artists whose controversial work led the leadership of the NEA to deny grant funds after approval by a peer review panel. Since that time, Miller has created an impressive body of work as a performer of autobiographical narratives speaking directly about gay issues. He has become one of the most in.uential and signi.cant voices in queer performance today. During the premier of his latest work, Us, Miller agreed to an interview with TPQ. In the interview, Miller discusses both his latest work and his general process of working as a solo performing artist
Tim Di Muzio on 'Sabotage'
No full textIn a series of essays published in 2013 and 2014 on capitaspower.com, political economist Tim Di Muzio explored the concept of ‘sabotage’ as it applies to capitalist power. I recently rediscovered these essays and was so impressed by them that I have reposted them here as a single piece.
About the author: Tim Di Muzio is a researcher at the University of Wollongong. He is the author of numerous books, including Debt as power, Carbon capitalism, and The 1% and the Rest of us
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