111,566 research outputs found
The William G. Sutherland, D.O. Collection
No full textFinding aid for The William G. Sutherland, D.O. CollectionWilliam Garner Sutherland, D.O. (1872-1954), a Minnesota Osteopathic physician and student of Andrew Taylor Still, discovered the field of cranial osteopathy. Dr. Sutherland referred to his discovery as "Osteopathy in the Cranial Field" (OCF). He founded the Osteopathic Cranial Association in 1946 (which changed its name to the Cranial Academy when it became a component of the American Academy of Osteopathy in 1960). He also founded the Sutherland Cranial Teaching Foundation in 1953 to guide the training of physicians in cranial osteopathic techniques.The Sutherland Collection contains the writings, memorabilia, recorded lectures and voluminous correspondence of Dr. Sutherland, tracing the growth of the Sutherland Cranial Teaching Foundation as well as documenting the spread of the cranial concept as a viable specialty within the osteopathic profession. Included are the unofficial papers of the Sutherland Cranial Teaching Foundation (1950-1971) and the Moorestown Cranial Study Group. The papers were gathered by Anne L. Wales, D.O., an early faculty member of the Sutherland Cranial Teaching Foundation. The Moorestown Cranial Study Group was created by and met in the home/office of Rebecca Conrow Lippincott, D.O. and Howard A. Lippincott, D.O. for the further study and review of cranial procedures and advancements. Materials from the New England Cranial Study Group are also included. The collection contains transcriptions and slides from lectures by Dr. Sutherland, et al (1947-48), a manuscript copy of his seminal work, The Cranial Bowl (1939), photographs of Dr. Sutherland and many other early pioneers in the field, and audio and video presentations of classroom and conference lectures by Dr. Sutherland and other leading cranial experts of the time. Also included in the collection are personal items belonging to Dr. Sutherland and correspondence from Dr. and Mrs. Sutherland to Drs. Chester Handy and Anne Wales
graig-sutherland/transport-miz-tc: Software and Data for MIZ Transport by Sutherland et al. , TC, 2022
No full textSoftware and data assoicated with:
Sutherland, G., Aguiar, V., Hole, L.-R., Rabault, J., Dabboor, M., and Breivik, Ø.: Determining an optimal transport velocity in the marginal ice zone using operational ice-ocean prediction systems, The Cryosphere Discuss. [preprint], https://doi.org/10.5194/tc-2021-289, in review, 2021
Disciples of a crazy saint: The Buchen of Spiti
No full textThe Buchen are specialist religious performers from Spiti, a culturally Tibetan valley in North India. They are widely known for performing an elaborate exorcism ritual that culminates in a slab of stone, marked with images of demons, being smashed on a man’s belly. In winter groups of Buchen perform their religious theatre, a localised form of Ache Lhamo, the Tibetan Opera. This book, published in conjunction with an exhibition at the Pitt Rivers Museum at the University of Oxford is the result of a research project and substantial fieldtrip funded by the Arts and Humanities Research Council, with project partnership from the Pitt Rivers Museum.
Patrick Sutherland has been photographing in Spiti for nearly two decades and working with the Buchen for several years.
The book consists of a self-reflexive essay by Patrick Sutherland illustrated with historical photographs and his own photographs, followed by four sections of photographs and captions by Patrick Sutherland. It concludes with a substantial essay, placing the Buchen into a wider cultural and historical context, by Tashi Tsering, founding Director of the Amnye Machen Institute (Tibetan Centre for Advanced Studies) in Dharamsala. This essay is also illustrated with historical photographs
Margaret Sutherland: Quartet In G Minor (1936) - II
No full textMargaret Sutherland is represented by two compositions, both of them recorded in Sydney in 1946. The Quartet in G minor( House Quartet) for clarinet [or violin], horn [or viola], cello and piano was completed in 1936; the Fantasy Sonata for saxophone was performed, probably for the first time, at a CEMA (Council for the Encouragement of Music and the Arts) concert in 1946. These recordings have the added value of the composer playing the piano part and taking a leading role in the crafting of the performance. Sutherland spent much of her professional life playing chamber music, so it comes as no su rprise that the genre provided her with a vehicle for her own distinctive musical voice. Margaret Sutherland was born in Adelaide in 1897, moving to Melbourne in 1901. Amongst the celebrities in her family were her Aunt Jane who was a member of the Heidelberg School of painters, and Alexander Sutherland who is credited with having built, described (in the Proceedings of the Royal Society of Victoria) and utilised a tinfoil phonograph, making what were, in effect, Australia's first sound recordings. In 1904, Sutherland studied music with Mona McBurney who, in 1896, had gained a B.Mus from the Melbourne University, the first Australian university to admit women (1880). Her next teacher (from 1913) was Edward Goll, a Czech pianist of considerable local reputation. For a short time she also studied with Fritz Hart and Marshall Hall, whose untimely death from peritonitis truncated what Sutherland felt would have been a period of crucial work. She valued Marshall Hall's energy and enthusiasm. Recognising her gift as a pianist, Henri Verbrugghen, the first Director of the NSW Conservatorium and a close friend of Goll, invited Sutherland to Sydney to perform. In 1923, Sutherland replaced Goll for twelve months while he visited Europe. In 1924 and 1925 she was able to follow him, probably studying briefly with Professor Dorothy Howell at the Royal Academy in London. She spent a short time with John Ireland and, in the most productive and influential association to that time, with Sir Arnold Bax. It was under his influence that she completed her Violin Sonata (1925), a composition she first performed at the Society of Women Composers concert in London with the Australian violinist and one-time prodigy Leila Doubleday. Returning to Australia in 1926, she was profoundly affected by a sense of isolation, reporting later that 'the barrenness, the absolute vacuum at home, hit me and hurt me', but it did not stop her composing. Neither did marriage to an unsympathetic psychiatrist and the new responsibilities that came with children interfere, although there was a period immediately after 1926 when she composed very little. The publication of her Violin Sonata perhaps figured prominently and centrally in her own selfevaluation. The expatriate, Louise Hanson-Dyer's L'Oiseau Lyre publishing house, operating out of France, accepted the work, triggering a renewed energyforcomposition. A moreorless continuous stream of works appeared until the composer's infirmity precluded work, the last things coming out in 1967. The 'House Quartet', the Quartet in G Minor, is an early work (1936), its title evocative of Percy Grainger's quirky jingoism. It has flexible instrumentation and is cast in four contrasting movements. It forms part of the discovery of a personal musical language which is amongst the most distinctive of any Australian composer. The Fantasy Sonata is a somewhat enigmatic work, unlisted in the standard references to Sutherland's music. It was recorded by the composer with Melbourne clarinettist and saxophonist Thomas (Tom) White, who also played the oboe at CEMA concerts. Two copies of the score are held in the National Library of Australia's manuscript section in a collection documenting the activities of the Australian Musical Association, which operated out of Australia House in London in the 1950s. It is likely that the work was given a first London performance at that time
Margaret Sutherland: Quartet In G Minor (1936) - I
No full textMargaret Sutherland is represented by two compositions, both of them recorded in Sydney in 1946. The Quartet in G minor( House Quartet) for clarinet [or violin], horn [or viola], cello and piano was completed in 1936; the Fantasy Sonata for saxophone was performed, probably for the first time, at a CEMA (Council for the Encouragement of Music and the Arts) concert in 1946. These recordings have the added value of the composer playing the piano part and taking a leading role in the crafting of the performance. Sutherland spent much of her professional life playing chamber music, so it comes as no su rprise that the genre provided her with a vehicle for her own distinctive musical voice. Margaret Sutherland was born in Adelaide in 1897, moving to Melbourne in 1901. Amongst the celebrities in her family were her Aunt Jane who was a member of the Heidelberg School of painters, and Alexander Sutherland who is credited with having built, described (in the Proceedings of the Royal Society of Victoria) and utilised a tinfoil phonograph, making what were, in effect, Australia's first sound recordings. In 1904, Sutherland studied music with Mona McBurney who, in 1896, had gained a B.Mus from the Melbourne University, the first Australian university to admit women (1880). Her next teacher (from 1913) was Edward Goll, a Czech pianist of considerable local reputation. For a short time she also studied with Fritz Hart and Marshall Hall, whose untimely death from peritonitis truncated what Sutherland felt would have been a period of crucial work. She valued Marshall Hall's energy and enthusiasm. Recognising her gift as a pianist, Henri Verbrugghen, the first Director of the NSW Conservatorium and a close friend of Goll, invited Sutherland to Sydney to perform. In 1923, Sutherland replaced Goll for twelve months while he visited Europe. In 1924 and 1925 she was able to follow him, probably studying briefly with Professor Dorothy Howell at the Royal Academy in London. She spent a short time with John Ireland and, in the most productive and influential association to that time, with Sir Arnold Bax. It was under his influence that she completed her Violin Sonata (1925), a composition she first performed at the Society of Women Composers concert in London with the Australian violinist and one-time prodigy Leila Doubleday. Returning to Australia in 1926, she was profoundly affected by a sense of isolation, reporting later that 'the barrenness, the absolute vacuum at home, hit me and hurt me', but it did not stop her composing. Neither did marriage to an unsympathetic psychiatrist and the new responsibilities that came with children interfere, although there was a period immediately after 1926 when she composed very little. The publication of her Violin Sonata perhaps figured prominently and centrally in her own selfevaluation. The expatriate, Louise Hanson-Dyer's L'Oiseau Lyre publishing house, operating out of France, accepted the work, triggering a renewed energyforcomposition. A moreorless continuous stream of works appeared until the composer's infirmity precluded work, the last things coming out in 1967. The 'House Quartet', the Quartet in G Minor, is an early work (1936), its title evocative of Percy Grainger's quirky jingoism. It has flexible instrumentation and is cast in four contrasting movements. It forms part of the discovery of a personal musical language which is amongst the most distinctive of any Australian composer. The Fantasy Sonata is a somewhat enigmatic work, unlisted in the standard references to Sutherland's music. It was recorded by the composer with Melbourne clarinettist and saxophonist Thomas (Tom) White, who also played the oboe at CEMA concerts. Two copies of the score are held in the National Library of Australia's manuscript section in a collection documenting the activities of the Australian Musical Association, which operated out of Australia House in London in the 1950s. It is likely that the work was given a first London performance at that time
Margaret Sutherland: Quartet In G Minor (1936) - IV
No full textMargaret Sutherland is represented by two compositions, both of them recorded in Sydney in 1946. The Quartet in G minor( House Quartet) for clarinet [or violin], horn [or viola], cello and piano was completed in 1936; the Fantasy Sonata for saxophone was performed, probably for the first time, at a CEMA (Council for the Encouragement of Music and the Arts) concert in 1946. These recordings have the added value of the composer playing the piano part and taking a leading role in the crafting of the performance. Sutherland spent much of her professional life playing chamber music, so it comes as no su rprise that the genre provided her with a vehicle for her own distinctive musical voice. Margaret Sutherland was born in Adelaide in 1897, moving to Melbourne in 1901. Amongst the celebrities in her family were her Aunt Jane who was a member of the Heidelberg School of painters, and Alexander Sutherland who is credited with having built, described (in the Proceedings of the Royal Society of Victoria) and utilised a tinfoil phonograph, making what were, in effect, Australia's first sound recordings. In 1904, Sutherland studied music with Mona McBurney who, in 1896, had gained a B.Mus from the Melbourne University, the first Australian university to admit women (1880). Her next teacher (from 1913) was Edward Goll, a Czech pianist of considerable local reputation. For a short time she also studied with Fritz Hart and Marshall Hall, whose untimely death from peritonitis truncated what Sutherland felt would have been a period of crucial work. She valued Marshall Hall's energy and enthusiasm. Recognising her gift as a pianist, Henri Verbrugghen, the first Director of the NSW Conservatorium and a close friend of Goll, invited Sutherland to Sydney to perform. In 1923, Sutherland replaced Goll for twelve months while he visited Europe. In 1924 and 1925 she was able to follow him, probably studying briefly with Professor Dorothy Howell at the Royal Academy in London. She spent a short time with John Ireland and, in the most productive and influential association to that time, with Sir Arnold Bax. It was under his influence that she completed her Violin Sonata (1925), a composition she first performed at the Society of Women Composers concert in London with the Australian violinist and one-time prodigy Leila Doubleday. Returning to Australia in 1926, she was profoundly affected by a sense of isolation, reporting later that 'the barrenness, the absolute vacuum at home, hit me and hurt me', but it did not stop her composing. Neither did marriage to an unsympathetic psychiatrist and the new responsibilities that came with children interfere, although there was a period immediately after 1926 when she composed very little. The publication of her Violin Sonata perhaps figured prominently and centrally in her own selfevaluation. The expatriate, Louise Hanson-Dyer's L'Oiseau Lyre publishing house, operating out of France, accepted the work, triggering a renewed energyforcomposition. A moreorless continuous stream of works appeared until the composer's infirmity precluded work, the last things coming out in 1967. The 'House Quartet', the Quartet in G Minor, is an early work (1936), its title evocative of Percy Grainger's quirky jingoism. It has flexible instrumentation and is cast in four contrasting movements. It forms part of the discovery of a personal musical language which is amongst the most distinctive of any Australian composer. The Fantasy Sonata is a somewhat enigmatic work, unlisted in the standard references to Sutherland's music. It was recorded by the composer with Melbourne clarinettist and saxophonist Thomas (Tom) White, who also played the oboe at CEMA concerts. Two copies of the score are held in the National Library of Australia's manuscript section in a collection documenting the activities of the Australian Musical Association, which operated out of Australia House in London in the 1950s. It is likely that the work was given a first London performance at that time
Margaret Sutherland: Quartet In G Minor (1936) - III
No full textMargaret Sutherland is represented by two compositions, both of them recorded in Sydney in 1946. The Quartet in G minor( House Quartet) for clarinet [or violin], horn [or viola], cello and piano was completed in 1936; the Fantasy Sonata for saxophone was performed, probably for the first time, at a CEMA (Council for the Encouragement of Music and the Arts) concert in 1946. These recordings have the added value of the composer playing the piano part and taking a leading role in the crafting of the performance. Sutherland spent much of her professional life playing chamber music, so it comes as no su rprise that the genre provided her with a vehicle for her own distinctive musical voice. Margaret Sutherland was born in Adelaide in 1897, moving to Melbourne in 1901. Amongst the celebrities in her family were her Aunt Jane who was a member of the Heidelberg School of painters, and Alexander Sutherland who is credited with having built, described (in the Proceedings of the Royal Society of Victoria) and utilised a tinfoil phonograph, making what were, in effect, Australia's first sound recordings. In 1904, Sutherland studied music with Mona McBurney who, in 1896, had gained a B.Mus from the Melbourne University, the first Australian university to admit women (1880). Her next teacher (from 1913) was Edward Goll, a Czech pianist of considerable local reputation. For a short time she also studied with Fritz Hart and Marshall Hall, whose untimely death from peritonitis truncated what Sutherland felt would have been a period of crucial work. She valued Marshall Hall's energy and enthusiasm. Recognising her gift as a pianist, Henri Verbrugghen, the first Director of the NSW Conservatorium and a close friend of Goll, invited Sutherland to Sydney to perform. In 1923, Sutherland replaced Goll for twelve months while he visited Europe. In 1924 and 1925 she was able to follow him, probably studying briefly with Professor Dorothy Howell at the Royal Academy in London. She spent a short time with John Ireland and, in the most productive and influential association to that time, with Sir Arnold Bax. It was under his influence that she completed her Violin Sonata (1925), a composition she first performed at the Society of Women Composers concert in London with the Australian violinist and one-time prodigy Leila Doubleday. Returning to Australia in 1926, she was profoundly affected by a sense of isolation, reporting later that 'the barrenness, the absolute vacuum at home, hit me and hurt me', but it did not stop her composing. Neither did marriage to an unsympathetic psychiatrist and the new responsibilities that came with children interfere, although there was a period immediately after 1926 when she composed very little. The publication of her Violin Sonata perhaps figured prominently and centrally in her own selfevaluation. The expatriate, Louise Hanson-Dyer's L'Oiseau Lyre publishing house, operating out of France, accepted the work, triggering a renewed energyforcomposition. A moreorless continuous stream of works appeared until the composer's infirmity precluded work, the last things coming out in 1967. The 'House Quartet', the Quartet in G Minor, is an early work (1936), its title evocative of Percy Grainger's quirky jingoism. It has flexible instrumentation and is cast in four contrasting movements. It forms part of the discovery of a personal musical language which is amongst the most distinctive of any Australian composer. The Fantasy Sonata is a somewhat enigmatic work, unlisted in the standard references to Sutherland's music. It was recorded by the composer with Melbourne clarinettist and saxophonist Thomas (Tom) White, who also played the oboe at CEMA concerts. Two copies of the score are held in the National Library of Australia's manuscript section in a collection documenting the activities of the Australian Musical Association, which operated out of Australia House in London in the 1950s. It is likely that the work was given a first London performance at that time
Sutherland, A G, VX46275
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/420062Surname: SUTHERLAND. Given Name(s) or Initials: A G. Military Service Number or Last Known Location: VX46275. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 3746.244642
Item: [2016.0049.52323] "Sutherland, A G, VX46275
Sutherland, G J, 53130
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/420039Surname: SUTHERLAND. Given Name(s) or Initials: G J. Military Service Number or Last Known Location: 53130. Missing, Wounded and Prisoner of War Enquiry Card Index Number: SEA-5144.244619
Item: [2016.0049.52300] "Sutherland, G J, 53130
Sutherland, G C, QX12470
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/420055Surname: SUTHERLAND. Given Name(s) or Initials: G C. Military Service Number or Last Known Location: QX12470. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 2047.244635
Item: [2016.0049.52316] "Sutherland, G C, QX12470
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