2,179 research outputs found
Richard C. Funk
No full textBlack and white photograph of Richard C. Funk, Professor of Zoology, 1965-1998.https://thekeep.eiu.edu/archives_faculty_eh/1100/thumbnail.jp
A search for measure of the quality of life on Prince Edward Island: An inter-provincial "cost of living" inquiry
No full textby Godfrey Baldacchino & Matt Funk.; 23 leaves : ill. ; 28 cm; "31 July 2008"- t.p.; Report written for Dr. Michael Mayne, Deputy Minister, Dept. of Innovation and Advanced Learning.; Includes bibliographic references (p. 19-21)
Walter Funk.
No full textNegative of an art work depicting a portrait of Reichswirtschaftminister Walter Funk. Sticker on back reads- "Vor-und Zuname Der Fuhrer." Source: Adolf Hitler. Govt. Collection # G.O.1.1628.47. Oil on canvas (painted back of canvas white), 36 x 50. By Fritz Erler. Date by HDK, 1940.The dimensions according to the list by the Army Art Collection of the U.S. Army Center of Military History are 50.5 x 36.5
Keynote Address — Funk and Afro Futurism: The Past, Present, and Future of the Funk
No full textDr. Frederick “Rickey” Vincent is author of the award-winning Funk: The Music, the People and the Rhythm of The One (1996), the first definitive treatment of funk music and culture. His address addresses: Liberation in the Moment: Other Worlds and Black Liberation (from Soul Train to “Wakanda Forever”) The Rhythm Revolution: Liberation, Motion, and Black Identity (JB and The One) Transcendence: The Higher Plane of the Funk Groove (Sly and the body/mind/spirit unification) The Collective: Tribalism in a Post-Industrial World (Funk blends genres, blends cultures as long as it’s “On the One”) The Epic: P-Funk Earth Tour and Beyond (The “super groups” take over) More Bounce: Digital Funk and the Search for the Soul in the Machine (From Disco to House to EDM) Bring That Beat Back: the Return of the Raw (From LA to DC, the funk band returns)https://ecommons.udayton.edu/dayton_funk_content/1028/thumbnail.jp
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'
Keynes, Richard
No full textThis fonds consists of pages from a diary kept by Richard Keynes. In it he documents his attempted visit to Funk Island, Newfoundland, in 1939 in order to make a census of the small gannet colony there. While on Funk Island, Keynes and his friend, Oliver Davies, hoped to find Great Auk bones which they planned to sell in order to further finance their North American expedition to survey its entire gannet population
"Funk is its own reward" : an analysis of selected lyrics in popular funk music of the 1970s, 2008
No full textThis research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era
Haggadischen Elemente in den Homilien des Aphraates, des persischen Weisen
No full textThis volume contains the inaugural dissertation of the Hungarian scholar Salomon Funk. In it, he addresses the following questions: What is Aphrahat’s dependence on Jewish sources? Which traditions did he receive from the Jews? Is Aphrahat unique in Syriac literature for his relationship to the Jews? After an introduction on Aphrahat’s life, works, and previous scholarship on him, Funk’s method is to go through biblical passages that Aphrahat comments on and show parallels in rabbinic literature. These passages are mostly from the Pentateuch but some subsequent parts of the Old Testament are also briefly touched on. Funk then shows how some of Aphrahat’s expressions and patterns of speech are related to rabbinic literature, and, finally, he indicates how Aphrahat’s psychology and theology relate to Jewish sources. The work concludes with three extraneous notes on the Jews in Persia, the Talmudic expression “Be Abidan,” and Aphrahat’s biblical citations and the Peshitta
On affine planes with 3-regular group of projectivities
No full textThe author looks at affine planes from von Staudt's point of view, by investigating the consequences of regularity assumptions for the group Πa of affine projectivities. This group Πa, which consists of all products of parallel projections, is always doubly transitive; it is 2-regular only in Desarguesian affine planes, and it is 4-regular in free affine planes [A. Barlotti et al., Rend. Sem. Mat. Univ. Padova 60 (1978), 183--200; MR0555963 (81g:51005)]. Concerning 3-regularity, the author proves the following theorem: Let A be an affine plane, and assume that Πa is 3-regular. Then A is a translation plane, and if the kernel of A is not GF(2) (or if A is finite), then A is in fact Desarguesian
Vier-reguläre Möbius-Ebenen
No full textConsider the following regularity condition (Pn): every projectivity fixing n points is the identity. It was known that if the subgroup Π of all proper projectivities satisfies (P3) the plane must be Miquelian. The author shows that this is true even if Π satisfies (P4)
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