Faculty Recital: Ketty Nez, piano and Katie Wolfe, violin, September 17, 2018

This is the concert program of the Faculty Recital: Ketty Nez, piano and Katie Wolfe, violin on Monday, September 17, 2018 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were "Five Melodies," Op. 35b by Sergei Prokofiev, Sonata No. 2 for solo violin by Grazyna Bacewicz, "double images" by Ketty Nez, and Sonata for Violin and Piano in E minor, BB28, DD72 by Béla Bartók. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

UNLV New Horizons Band & The Las Vegas Flute Ensemble & The UNLV Community Band

Program listing performers and works performed

The Shadow of a Doubt: discovering a new work by Edith Wharton

No abstract available

Grappling with movement models: performing arts and slippery contexts

The ways we leave, recognise, and interpret marks of human movement are deeply entwined with layerings of collective memory. Although we retroactively order chronological sediments to map shareable stories, our remediations often emerge unpredictably from a multidimensional mnemonic fabric: contemporary ideas can resonate with ancient aspirations and initiatives, and foreign fields of investigation can inform ostensibly unrelated endeavours. Such links reinforce the debunking of grand narratives, and resonate with quests for the new kinds of thinking needed to address the mix of living, technological, and semiotic systems that makes up our wider ecology. As a highly evolving field, movement-and-computing is exceptionally open to, and needy of, this diversity. This paper argues for awareness of the analytical apparatus we sometimes too unwittingly bring to bear on our research objects, and for the value of transdisciplinary and tangential thinking to diversify our research questions. With a view to seeking ways to articulate new, shareable questions rather than propose answers, it looks at wider questions of problem-framing. It emphasises the importance of - quite literally - grounding movement, of recognising its environmental implications and qualities. Informed by work on expressive gesture and creative use of instruments in domains including puppetry and music, this paper also insists on the complexity and heterogeneity of the research strands that are indissociably bound up in our corporeal-technological movement practices

FoR Codes pendulum: Publishing choices within Australian research assessment

This paper reports on an exploratory case study that considered the impacts of journal ranking and Fields of Research codes on the publishing decisions of Australian authors. The study also considered the level of alignment between authors’ allocation of Fields of Research codes and the codes assigned to the journals in which they were published. The conclusion is reached that authors are still coming to an understanding of the impact of research assessment on their publishing choices and the process of scholarly communication within their discipline. Findings point to a number of concerns about the impact of both journal ranking and discipline-specific research codes

New Urban Decorum? City Aesthetics To And Fro

From the municipal and civic perspective, improving the environment responds to the idea “to make a more beautiful city”, answering to the jump from the industrial city to the metropolitan one, and then to the different attempts for ordering cities during the twentieth century. To and fro refers to the journey into the past and arriving in the present. Urban decorum raises the question of What? Who? Where? but especially the How? The issues raised by the “urban decorum” are not new. They emerge, firstly, from boredom inherent in urban life with the consequent need for self-expression and, secondly, from the grass-root processes based on mutual support that intend to take part in improving the quality of the built environment, of the urbanscape, in the city, empowering citizens in the process of “city making” and decision-making

From anarchism to state funding : Louis Lumet and the cultural paradoxes of the third republic

In 1896 Louis Lumet despised the state and openly yearned for a red Messiah to sweep away bourgeois culture and politics. By 1904 he was in the receipt of state fundin g. This article unravels the paradox of his trajectory by f ocusing on the common interest that eventually united his i nterests with those of republican governments: the relation ship between art and the people. Drawing on hitherto unknow n writings by Lumet himself, as well as on little-used arch ives, the article explores Lumet’s anarchist persona and co nnections in fin-de-siècle Paris, charts his involvement in the Théâtre d’Art Social and the Théâtre Civique, and exam ines his role in the state-supported Art pour Tous. The fin al discussion reveals areas of conflict and convergence in the perception of the people as political actors by both an archists and the state, raising questions about the theory and practice of cultural democratization

UNLV Symphony Orchestra: Concert II

Program listing performers and works performe

Muir String Quartet, March 20, 2015

This is the concert program of the Muir String Quartet performance on Monday, March 30, 2015 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were 9. My dearest one..., 1. I know that in my love there is yet hope., 3. When your sweet glances on me fall., and 8. On the shore of the brook... from Cypreses, Love songs by Antonín Dvořák, "Dover Beach" for Medium Voice and String Quartet, Op. 3 by Samuel Barber, String Quartet by S. Barber, and String Quartet No. 1, (From My Life) by Bedřich Smetana. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Boston University Wind Ensemble, April 19, 2011

This is the concert program of the Boston University Wind Ensemble performance on Tuesday, April 19, 2011 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Courtly Dances from Gloriana by Benjamin Britten, Concerto for Trumpet and Wind Orchestra by Bernhard Heiden, Divertissement for Double Wind Quintet, op. 36 by Emile Bernard, and Sasparilla by John Mackey. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund