25 research outputs found
Paris, Pheobe (Death, 1870-12-20)
No full textAddress: 211 1/2 BarrAge at death: 67Pg 109/1870/298/F W W/New Jersey/Dr. Garritson/Estep/Spring GroveOriginal record filed in drawer labeled 'PARHAM-PATTERSON,F'
Heeman, Pheobe (Death, 1906-12-10)
No full textAddress: Longview HospitalAge at death: 40 yrs.222/Pg 149/1906/F W S/Ky./Dr. J. W. Mann/A. Schraffenberger/Linden GroveOriginal record filed in drawer labeled 'HAWKINS-HEGEGE'
Dodge, Pheobe K (Death, 1897-02-22)
No full textAddress: Christ Hospital 70 E. Aubern Ave.Age at death: 36 yrs.Pg 19/1897/366/F W M/Ill./Dr. W. Chidester/H. Gildehaus/Spring GroveOriginal record filed in drawer labeled 'DIETZ-DOERGER'
Archea, Pheobe (Death, 1877-11-20)
No full textAddress: 171 Water St.Age at death: 44 yrs244/Pg 76/1877/F W M/City/Dr. Branch/J. Epply/WesleyanOriginal record filed in drawer labeled 'ANKE-ARMBRUSTER'
Jones, Pheobe R (Death, 1879-01-04)
No full textAddress: 8th & CentralAge at death: 26 yrsPg 2/1879/45/M W M/City/Dr. T. Kearney/Estep/Spring GroveOriginal record filed in drawer labeled 'JONES, A-JOY'
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The history of the Homestake Opera House, 1912-1937
No full textBeginning in the mid 19th Century, intercontinental railroad service made it possible for theatrical road companies to move more freely across America and perform in the smaller community opera houses. This thesis is about one of these opera houses, the Homestake Opera House in Lead, South Dakota. This thesis chronicles the events from the conception of the opera house by Pheobe Hearst and Thomas Grier, to the construction of the structure, 1911 through 1914, and finally through some of the events that took place in the opera house from the opening in August, 1914 to late November, 1936, at which time the opera house was converted into a movie house. Focus is given to the road companies that performed in the opera house within the time period specified. Such performances are chronicled by date, company name, title and type of performance, and names of the author(s)
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Phosphate biomineralization in mid-Neoproterozoic protists
No full textThe origin and expansion of biomineralization in eukaryotes played a critical role in Earth history, linking biological and geochemical processes. However, the onset of this phenomenon is poorly constrained due to a limited early fossil record of biomineralization. Although macroscopic evidence for biomineralization is not known until the late Ediacaran, we here report biologically controlled phosphatic biomineralization of scale microfossils from mid-Neoproterozoic (pre-Sturtian) strata of northwest Canada. Primary biological control on
mineralization is supported by the identification of apatite in both chert-hosted and limestone-hosted specimens, the conspicuously rigid original morphology of the scale microfossils relative to co-occurring organic-walled cyanobacteria and acritarchs, and the microstructure of the constituent phosphate. Cell-enveloping mineralized scales occur in a wide range of extant protists, but the apparent restriction of phosphate scales to one modern taxon of green algae suggests a possible affiliation for these fossils. Documentation of primary phosphate biomineralization in Fifteenmile Group (Yukon Territory, Canada) microfossils greatly extends the known record of biologically controlled mineralization and provides a unique window into the diversity of early eukaryotes.Earth and Planetary SciencesVersion of Recor
The Sinister Glamour of Modernity
No full textFor two instruments.Dedicated to Dawn Bennett.Premiered: Dawn Bennett (viola) and Diana Blom (piano), Curtin University April 2, 2013 with futher performances at University of Western Sydney and Edith Cowan University.Vibraphone and viola version premiered by Pheobe Green and Leah Scholes in Melbourne, June 2016, with further performances at Griffith University and Sydney ConservatoriumLaptop version premiered by Judy Curry at University of Centra Missouri, USA in November 2016...."an exceptionally creepy, spidery sound underpinning the viola’s drunken, careening lines." is Mathew Lorenzon, 2016 Partial Durations.This piece for explores ways different instruments describe the tracing of memory. Can the things that happen in a place or time be somehow recorded or remembered if there is no 'physical' evidence of them? Using the performers aural skills to find and trace each others pitch and dynamic choices - not provided in the score - this work uses the concept of the sustained note as a parallel to a longterm memory etch. The work is inspired by Australian author Ross Gibson's book ' Seven Versions of an Australian Badlands', and the title is taken from one of the chapters of that book. E-bows are used on the piano to create ghost like sustained tones uncharacteristic of the piano.To perform this piece, you will need the score file and the Decibel Score Player which you will need to read on an iPad. You can also read it a a video. A digital or hard copy of the score is available from Material Press.Below is the score to this peice, a recording on viola and piano and a performance by a laptop performer
The Sinister Glamour of Modernity
No full textFor two instruments.<br>Dedicated to Dawn Bennett.<br><br>Premiered: Dawn Bennett (viola) and Diana Blom (piano), Curtin University April 2, 2013 with futher performances at University of Western Sydney and Edith Cowan University.<br>Vibraphone and viola version premiered by Pheobe Green and Leah Scholes in Melbourne, June 2016, with further performances at Griffith University and Sydney Conservatorium<br>Laptop version premiered by Judy Curry at University of Centra Missouri, USA in November 2016.<br><br><em>..."an exceptionally creepy, spidery sound underpinning the viola’s drunken, careening lines."</em> is Mathew Lorenzon, 2016 <a href="https://partialdurations.com/2016/07/25/phoebe-green-and-leah-scholes-the-arrival/" target="_blank">Partial Durations.</a><br><br>This piece for explores ways different instruments describe the tracing of memory. Can the things that happen in a place or time be somehow recorded or remembered if there is no 'physical' evidence of them? Using the performers aural skills to find and trace each others pitch and dynamic choices - not provided in the score - this work uses the concept of the sustained note as a parallel to a longterm memory etch. The work is inspired by Australian author Ross Gibson's book ' Seven Versions of an Australian Badlands', and the title is taken from one of the chapters of that book. E-bows are used on the piano to create ghost like sustained tones uncharacteristic of the piano.<br><br>To perform this piece, you will need the score file and the <a href="https://itunes.apple.com/au/app/decibel-scoreplayer/id622591851?mt=8" target="_blank">Decibel Score Player</a> which you will need to read on an iPad. You can also read it a a video<a href="https://www.cathope.com/uploads/1/7/7/0/17709781/sinisterglamour_instructions.png">.</a> A digital or hard copy of the score is available from <a href="http://materialpress.com/start.htm" target="_blank">Material Press.</a><br>Below is the score to this peice, a recording on viola and piano and a performance by a laptop performer
The Sinister Glamour of Modernity
No full textFor two instruments.<br>Dedicated to Dawn Bennett.<br><br>Premiered: Dawn Bennett (viola) and Diana Blom (piano), Curtin University April 2, 2013 with futher performances at University of Western Sydney and Edith Cowan University.<br>Vibraphone and viola version premiered by Pheobe Green and Leah Scholes in Melbourne, June 2016, with further performances at Griffith University and Sydney Conservatorium<br>Laptop version premiered by Judy Curry at University of Centra Missouri, USA in November 2016.<br><br><em>..."an exceptionally creepy, spidery sound underpinning the viola’s drunken, careening lines."</em> is Mathew Lorenzon, 2016 <a href="https://partialdurations.com/2016/07/25/phoebe-green-and-leah-scholes-the-arrival/" target="_blank">Partial Durations.</a><br><br>This piece for explores ways different instruments describe the tracing of memory. Can the things that happen in a place or time be somehow recorded or remembered if there is no 'physical' evidence of them? Using the performers aural skills to find and trace each others pitch and dynamic choices - not provided in the score - this work uses the concept of the sustained note as a parallel to a longterm memory etch. The work is inspired by Australian author Ross Gibson's book ' Seven Versions of an Australian Badlands', and the title is taken from one of the chapters of that book. E-bows are used on the piano to create ghost like sustained tones uncharacteristic of the piano.<br><br>To perform this piece, you will need the score file and the <a href="https://itunes.apple.com/au/app/decibel-scoreplayer/id622591851?mt=8" target="_blank">Decibel Score Player</a> which you will need to read on an iPad. You can also read it a a video<a href="https://www.cathope.com/uploads/1/7/7/0/17709781/sinisterglamour_instructions.png">.</a> A digital or hard copy of the score is available from <a href="http://materialpress.com/start.htm" target="_blank">Material Press.</a><br>Below is the score to this peice, a recording on viola and piano and a performance by a laptop performer
