780 research outputs found
Testimony of William Rutter
No full textRutter, a UCSF scientist, discussed insulin-producing experiments, relevant NIH guidelines, and patenting procedures. He testified on August 21st and 22nd
Shakespeare and child's play : performing lost boys on stage and screen
No full text'Childness' - the essential nature of being a child - remains a vital critical issue for us today. In this text, Carol Rutter shows how recent performances on stage and film have used the range of Shakespeare's insights in order to re-examine and re-think these issues in terms of today's society and culture.
Shakespeare wrote more than fifty parts for children, amounting to the first comprehensive portrait of childhood in the English theatre. Focusing mostly on boys, he put sons against fathers, servants against masters, innocence against experience, testing the notion of masculinity, manners, morals, and the limits of patriarchal power. He explored the nature of relationships and ideas about parenting in terms of nature and nurture, permissiveness and discipline, innocence and evil. He wrote about education, adolescent rebellion, delinquency, fostering, and child-killing, as well as the idea of the redemptive child who 'cures' diseased adult imaginations. 'Childness' - the essential nature of being a child - remains a vital critical issue for us today. In Shakespeare and Child's-Play Carol Rutter shows how recent performances on stage and film have used the range of Shakespeare's insights in order to re-examine and re-think these issues in terms of today's society and culture
Howard Goodman and William Rutter Letter
No full textLetter from the two scientists describing their actions to comply with NIH cloning guidelines
Plan of eligible villa sites and capital market gardens, portion of the Petersham Estate known as Marrickville to be sold by auction by Messrs. W. Dean & Co. [cartographic material] /
No full textDated: "Feby. 2 1855."; Real estate sale plan of area adjoining Sydenham Rd on South-west, South-east of [Hensen Park?], Sydney, New South Wales.; Inset: Local sketch.; Oriented with north to top right.; Also available in an electronic version via the internet at: http://nla.gov.au/nla.map-rm4419; Library's copy includes ms. annotations
The Lamb: An Analysis and Comparison of the Settings of John Rutter and John Tavener
No full textWilliam Blake’s poem entitled The Lamb has been set to two very effective settings; one by John Rutter and the other by John Tavener. These two composers were close friends who were both educated at the prestigious Highgate School in London, England. Although they had much in common, their musical styles differ tremendously. Their different approach to sacred music has captured the imagination of people around the world. Although both settings are very different in their musical form, harmonic structure and melodic components, they have achieved success in their own rights. This paper will use intervallic, syllabic and stylistic comparison as a means of examining and contrasting John Rutter and John Tavener’s musical styles, all while using their settings of The Lamb to help guide the comparison
RICE CHORALE Wednesday, November 28, 1984 8:00 p.m. in Hamman Hall
No full textSelections by Shepherd Singers are not listed on programPROGRAM: Angelus Domini ad pastores, Nicolas Gombert (active 16th century) -- Hodie Christus natus est, Jan Pieterszoon Sweelinck (1562-1621) -- Das neugeborne Kindelein, Dietrich Buxtehude (1637-1707) -- O Come O Come Emmanuel, Zoltán Kodály (1882-1967) -- Rejoice, Rejoice, William Byrd (1539 or 1540-1623) -- Deck the Halls, James McKelvy -- Quem pastores laudavere, John Rutter (1945-) -- Christmas cantata, Daniel Pinkha
William Cavendish: Amateur Professional Playwright
No full textThis chapter focusses on William Cavendish and dramatic writing, a field in which he participated both as patron and as author. Cavendish is perhaps best known as a patron of Restoration professional commercial drama, and secondarily for the family drama associated with his circle, performed outside London, generally by amateurs, and with the involvement of family members including Jane Cavendish and Elizabeth Brackley. And yet, before the Civil War, Cavendish had already built for himself an extraordinary position within English commercial drama. During the period up to 1642 he acted as patron, one way or another, to almost all the leading Caroline professional playwrights, as well as himself being involved in the writing of at least three comedies, two of which clearly achieved a measure of commercial success. This chapter asks: what was Cavendish attempting to do in this continuing early engagement with professional drama? And how did it connect with his wider political and cultural aspirations
A companion to the Cavendishes writing, patronage, and material culture
No full textThe noble Cavendishes were one of the most influential families in the politics and culture of early modern England and beyond. A Companion to the Cavendishes offers a comprehensive account of the Cavendish family's creative output and cultural significance in the seventeenth century. It discusses the writings of individuals including William and Margaret Cavendish, and William's daughters Jane and Elizabeth; family members' work and patronage in other media such as music, architecture, and the visual arts; their participation in contemporary developments in politics, philosophy, and horsemanship; and the networks in which they moved both in England and in continental Europe. It also covers the work of less well-known family members such as the poet and biographer George Cavendish and the composer Michael Cavendish. This volume combines path-breaking scholarship with discussion of existing research, making it an invaluable resource for all those interested in this fascinating and diverse group of men and women
John Rutter Three Birthday Madrigals's Music Analysis and Interpretation
No full textJohn Rutter, a world-famous British choral conductor and composer, was educated well in his childhood and the choral experience during that time has helped him to become an outstanding musician. After he was well-known, he not only established the Cambridge Singers and Collegium label, but also spared no pains to spread choral music such as being a guest-conductor or lecturer around the world.
Three Birthday Madrigals was completed in 1997. It\ue2s for two to four part female chorus and is a rearrangement from Birthday Madrigals, a choral suite including five pieces of music for mixed choir that was commissioned by Brian Kay to celebrate the seventy-fifth birthday of the great jazz pianist, George Shearing, in 1995. The texts of Three Birthday Madrigals all came from the eminent poet of Elizabethan Era of the late Renaissance Period; The first piece It was a lover and his lass came from William Shakespeare\ue2s As You Like It, the second piece My true love hath my heart is a sonnet, coming from Sir Philip Sidney\ue2s Arcadia, and the third piece When daisies pied combined William Shakespeare\ue2s Love's Labour's Lost with George Peele\ue2s The Old Wives\ue2 Tale.
Rutter used two distinguished styles in Three Birthday Madrigals. He applied the jazz style to describe the delightful feeling of the first piece and the relaxing and pleasing feeling of the third piece. He utilized the English Partsong tradition when expressing the touching and profound love of the second piece. The most noticeable feature of the first piece is the dotted rhythm. Rutter indicated that the dotted eighth and sixteenth notes should be performed with a two-to-one ratio to interpret the swing style. The piano accompaniment sentence is extremely important, and improvisation-like manner will determine the jazz flavor firmly. The second piece preserves the unique aesthetic quality of pure human voices by having the singing a cappella. The first soprano part carries the melody most of time with the other voices supplying the harmonies. The third piece is a jazz waltz. It is similar with the first piece; the piano accompaniment plays an important role in creating atmosphere jazz and in enriching the musical color. Rutter applied smooth line against syncopation and clothed each section with legato and staccato simultaneously to make contrast. Therefore, when interpreting this piece, the choir should express the contrast clearly to make the music lively and attractive.
This master report consists of seven parts: the preface, a biographic sketch of John Rutter, Rutter\ue2s compositional genres, Rutter\ue2s choral music, a biographic sketch of three poets, analysis and interpretation of Three Birthday Madrigals, and the conclusion. There are two appendices at the end of this paper. Appendix A supplies two e-mail letters from Rutter. Appendix B is a list of Rutter\ue2s published secular choral music
The Merry Wives by William Shakespeare (review)
No full textTheatre review. The Merry Wives. By William Shakespeare. Directed by Barrie Rutter. Northern Broadsides and The Everyman Theatre, Cheltenham, UK. April 19, 2016
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