John F. Kennedy History, Memory, Legacy: An Interdisciplinary Inquiry

On September 25, 1963, President John F. Kennedy traveled to Grand Forks, North Dakota, greeted its citizens while touring the city, and delivered a speech at the University of North Dakota Field House, which addressed important issues still vital today: environmental protection, conservation of natural resources, economic development, the struggle between democracy and totalitarianism, and the importance of education and public service. The University conferred on the President an honorary Doctor of Laws degree. Over 20,000 people assembled on campus that day to see JFK -- the largest campus gathering in UND history. Tragically, less than two months later, the thirty-fifth President of the United States was assassinated in Dallas. To commemorate the forty-fifth anniversary of the President\u27s Grand Forks visit, and in tandem with the University\u27s one hundred and twenty-fifth anniversary, UND organized a September 25-27, 2008 conference to foster interdisciplinary discussion and analysis of the issues addressed in JFK\u27s UND speech, as well as other significant issues of the Kennedy era, including civil rights, space exploration, the nuclear threat, and the influence of the media on presidential politics. The Conference also explored issues related to the President\u27s assassination within weeks of his UND visit. This publication of conference proceedings collects the papers presented during this conference as well as transcripts of significant addresses and discussions.https://commons.und.edu/oers/1002/thumbnail.jp

Pomobabble: Postmodern Newspeak and Constitutional Meaning for the Uninitiated

A parody of postmodern writing

The Music Sound

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music

Foundations of Modern Cello Technique; Creating the Basis for a Pedagogical Method

Throughout their studies, cellists use short technical exercises such as scales and études which, under the supervision of a teacher, provide the skills necessary to play the repertoire. Etudes in particular – this body of formal, pedagogical works that developed in tandem with the rise of the virtuoso – are designed to strengthen specific technical notions in musical context, providing access to more demanding repertoire. Surprisingly, however, the last significant collection of études for the cellist is Popper’s High School of Cello Playing (1905). The rich palette of extended techniques for cello, achieved through a century of innovation and experimentation, has no equivalent representation. The cellist who desires, or is required, to meet this new rise in virtuosity must essentially decipher new idioms alone, unless fortunate enough to work with a specialist who will pass on the fruits of personal experience. I suggest that many of the problems which modern music faces today are connected to the performer’s dearth of proficiency concerning certain musical and instrumental techniques. As a survey of pedagogical material will show, few steps have been taken to enable cellists to gain the technical fluency needed for providing engaging performances of 20th- and 21st-century repertoire. Through discussions with contemporary music specialists, the study of existing publications, and my own performing experience, I present the cello’s extended techniques as a linear progression of traditional technique. Three future projects guide the content and structure of this thesis: curriculum development, the creation of an online database, and the commissioning of concert études modelled on Paganini’s 24 Caprices for Solo Violin. The 24 sections of this thesis guide the reader through a technique’s origin and development, basic acoustical information, and performance advice, creating a pedagogical framework. Only with a clear methodological approach can contemporary music be expected to become more than a specialism

Northrop Frye on Twentieth-Century Literature

This volume brings together Northrop Frye\u27s criticism on twentieth-century literature, a body of work produced over almost sixty years. Including Frye\u27s incisive book, T.S. Eliot, as well as his discussions of writers such as James Joyce, W.B. Yeats, Wallace Stevens, and George Orwell, the volume also contains a recently discovered review of C.G. Jung\u27s book on the synchronicity principle and a previously unpublished introduction to a twentieth-century literature anthology. Frye\u27s insightful commentaries demonstrate definitively that he was as astute a critic of the literature of his own time as he was of the literature of earlier periods. Glen Robert Gill\u27s substantial introduction delineates the development of Frye\u27s criticism on twentieth-century literature, puts it in historical and cultural context, and relates it to his overarching theory of literature. This volume in Frye\u27s Collected Works is indispensible not only for readers of Frye\u27s work but for all scholars and students of twentieth-century literature

PAINTING THE SKY BLACK

Dieter Häussinger, Direktor des HITM und der Medizinischen Klinik und Poliklinik für Gastroenterologie, Hepatologie und Infektiologie und Lehrstuhlinhaber für Innere Medizin an der Heinrich-Heine-Universität Düsseldorf, ist im Bereich der klinischen und experimentellen Hepatologie und Gastroenterologie aktiv. Er engagiert sich für die Weiterentwicklung der klinischen Infektiologie. In diesem Zusammenhang erfolgte die Zertifizierung seiner Klinik als Zentrum für Infektiologie, der Aufbau einer tropenmedizinischen Ambulanz und Infektionssprechstunde, die Errichtung des Leber- und Infektionszentrums mit der einzigen Sonderisoliereinheit in Nordrhein-Westfalen für hochinfektiöse Patienten sowie die Gründung des Hirsch-Instituts für Tropenmedizin

PAINTING THE SKY BLACK

Dieter Häussinger, Direktor des HITM und der Medizinischen Klinik und Poliklinik für Gastroenterologie, Hepatologie und Infektiologie und Lehrstuhlinhaber für Innere Medizin an der Heinrich-Heine-Universität Düsseldorf, ist im Bereich der klinischen und experimentellen Hepatologie und Gastroenterologie aktiv. Er engagiert sich für die Weiterentwicklung der klinischen Infektiologie. In diesem Zusammenhang erfolgte die Zertifizierung seiner Klinik als Zentrum für Infektiologie, der Aufbau einer tropenmedizinischen Ambulanz und Infektionssprechstunde, die Errichtung des Leber- und Infektionszentrums mit der einzigen Sonderisoliereinheit in Nordrhein-Westfalen für hochinfektiöse Patienten sowie die Gründung des Hirsch-Instituts für Tropenmedizin

Volume 54, Number 09 (September 1936)

Good Humor in Music: Do Composers Tend Toward the Sombre Colors, or Do They Inclinde Toward the Gay? Radio and Music (interview with David Sarnoff) Music at Harvard: From a Historical Review Memories of William Mason and His Friends Whetting the Children\u27s Appetite for Music A-440 by National Broadcast Origin of Sousa\u27s Name: Ridiculous and False Stories about the Ancestry of John Philip Sousa Which Should be Corrected by Etude Readers Making Tempo Rubato Understandable When Should Piano Study Be Commenced? A Question Asked by Thousands Roll of Honor Finger Independence as Applied to Bach\u27s Fugues How They Gave Early Concerts Publisher and Composer Marking Lessons Stimulates Interest in Practice Empty-the-Basket Game Strengthening the Finger Tipshttps://digitalcommons.gardner-webb.edu/etude/1847/thumbnail.jp

The poetics of hermeticism: Andre Breton's shift towards the occult in the War years

André Breton, leader of the Surrealist movement, which he had founded with others in 1924 in the wake of the First World War, left Nazi-occupied France in 1941. Sailing from Marseilles, with an enforced three week stop in Martinique while waiting for onward passage, he chose to carry the spirit of Surrealism into ‘exile’ in the United States until 1946, rather than risk its extinction by remaining in war-torn Europe. Following his journey into exile, this thesis traces the trajectory of Breton’s thought and poetic output of 1941–1948, studying the major works written during those years and following his ever deeper research into hermeticism, myth and the occult in his quest for “un mythe nouveau” for the post-war world. Having abandoned political action on leaving the Communist Party in 1935, he nonetheless remained preoccupied with political thought, searching to find a means of creating a better society for a shattered post-war world, while at the same time maintaining a close connection between art and life. Realizing that any political system would inflect Surrealism to its own ends, Breton sought to find a means of achieving his aim through a return to the role of the ‘poet-mage’ of Romanticism. We follow the poet on his quest during these years, revealing his in-depth exploration of the tenets of Romanticism in which he discovers the roots of Surrealism, demonstrating also how he was affected by his re-reading of Victor Hugo, with whom he identifies to a certain extent during his time in exile. We study his poetic output of these years, in which we follow from their earliest stages indications of the shift in direction, away from political action towards hermeticism and the occult. On his return to France in 1946, we see Breton come under sustained attack from his detractors for his journey into hermeticism. Undaunted, he holds to his course, apparently unaware of his misreading of the spirit of the time. Although Surrealism is far from dead, its leader seems from this time to lose his creative inspiration and while his writing continues, his poetic output dwindles to almost nothing. However, even some years after Breton’s death, Julien Gracq predicts that it is “no longer unreasonable to imagine […] that one day Surrealism will have an heir, a movement whose form we cannot predict”