September 11, 1978

•Joy of Sax •Student & Student-Faculty Committee Vacancies •Clinical Program in International Law •LSSS Notes •From the Night Manager •Residents •Part Time Position Available •Food Service Jobs Available •Commentaries •Flow Sports •Docket •National Lawyer Guild Meetin

September 11, 1978

•Joy of Sax •Student & Student-Faculty Committee Vacancies •Clinical Program in International Law •LSSS Notes •From the Night Manager •Residents •Part Time Position Available •Food Service Jobs Available •Commentaries •Flow Sports •Docket •National Lawyer Guild Meetin

Boston University Concert Band and Boston University Big Band, October 15, 2004

This is the concert program of the Boston University Concert Band and Boston University Big Band performance on Friday, October 15, 2004 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Sun Dance by Frank Ticheli, O Magnum Mysterium by Morten Lauridsen, English Folk Song Suite by Ralph Vaughan Williams, Blues in Flat E by Bob Ojeda, Boogie Express by Sammy Nestico, and A Warm Breeze by Sammy Nestico. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

Il Furioso, April 11, 2013

This is the concert program of the Il Furioso performance on Thursday, April 11, 2013 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Sonata Seconda, La Cesta by Giovanni Pandolfi Antonio Mealli, Preludio Decimo and Aria di Florenza by Girolamo Giovanni Kapsberger, Ricercata Ottava by Giovanni Bassano, Sonata Terza, La Melana by Giovanni Pandolfi Antonio Mealli, Corrente Seconda by Girolamo Giovanni Kapsberger, Ciaccona by Alessandro Piccinini, Sonata Quinta, La Clemente by Giovanni Pandolfi Antonio Mealli, Canzon Quinta detta Bellerofonte by Girolamo Frescobaldi, Ballo del Granduca by Jan Pieterszoon Sweelinck, Sonata No. 3 in G Minor by Francesco Barsanti, and Chaconne in G Minor by Tomaso Vitali. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

The Boston University Concert Band and the All University Orchestra

This is the concert program of the Boston University Concert Band and the All University Orchestra performance on Monday, December 9, 1996 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Shepherds Hey and Irish Tune from County Derry by Percy Aldridge Grainger, Rocky Point Holiday by Ron Nelson, Mannin Veen, "Dear Island of Mann," a Manx tone poem by Haydn Wood, Fugue in g minor (arr. Cailliet) by Johann Sebastian Bach, Intermezzo from Kerlia Suite by Jean Sibelius, Dance No. 1 from Symphonic Dances (Op. 64) by Edvard Grieg, and movement IV. Allegro ma non troppo from Symphony No. 8 in G Major by Antonin Dvorak. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Interrogation of Employees Concerning Union Matters as an Unfair Labor Practice

The problemof estimating parameters of amultivariate normal p-dimensional random vector is considered for a banded covariance structure reflecting mdependence. A simple non-iterative estimation procedure is suggested which gives an explicit, unbiased and consistent estimator of the mean and an explicit and consistent estimator of the covariance matrix for arbitrary p and m.Preliminary version published as Research Report 2008:3 at the Centre of Biostochastics Swedish University of Agricultural Sciences.The original publication is available at www.springerlink.com:Martin Ohlson, Zhanna Andrushchenko and Dietrich von Rosen, Explicit Estimators under m-Dependence for a Multivariate Normal Distribution, 2011, Annals of the Institute of Statistical Mathematics, (63), 1, 29-42.http://dx.doi.org/10.1007/s10463-008-0213-1Copyright: Springer Science Business Mediahttp://www.springerlink.com

Melted honey: sax and sex

[Abstract]: This paper deals with multisensory processes of engaging and disengaging with a musical world through the body. It is based on ethnographic research with an Australian Police band. Band members make a strict distinction between rehearsal and performance. For band members, rehearsals are characterised by a multi-sensual disengagement with instrument. During rehearsals, which entail a close multi-sensory focussing in on the points at which instrument body and musician body met, the senses of touch, sight and hearing are engaged in the process of surveillance. Such surveillance is undertaken in order that the musicians can identify faulted touches to instruments that result in faulted sounds. Touch to the instrument body is ‘watched’, not only with the eye, but in and through touch and hearing senses. These sensual combinations serve to separate person and instrument. In contrast, performances are characterised by a multisensual embodiment of the instrument, to the point that band members understand themselves to be constructed of instruments, and that instruments are constructed of them. In performances, instruments and performers come to phenomenologically complete one another’s bodies. Band members discuss the sensually experienced distinction between rehearsal and performance by means of a distinction between fucking (which they understood as similar to rehearsal) and making love (which they understood to be similar to performance experience). Band members also drew on food/music metaphors, including the difference between constructing a musical dish from a recipe (the written music) and tasting the melted honey of performed sax sounds. They used this metaphor to describe the sensual difference between making sound in rehearsal, and the corporeally penetrative act of inviting a sax into the body in musical performance. Using the distinction between rehearsal and performance, and the penetrative metaphors that band members used to describe it, I draw on and extend the critiques that Michel Serres made of Merleau-Pontian phenomenology to analyse rehearsal and performance moments as, respectively, multisensory processes of surveillance and anti-surveillance

Theodore Antoniou: Celebration and Tribute, March 25, 2008

This is the concert program of the Theodore Antoniou: Celebration and Tribute performance on Tuesday, March 25, 2008 at 4:00 p.m., at the Concert Hall, 855 Commonwealthe Avenue. Works performed were KOMMOS B for orchestra by Theodore Antoniou, Cantilena (2nd mvt. of Concertino for Contrabass and Orchestra, piano reduction) by Theodore Antoniou, I Yria Zoi by Manolis Kalomiris, Fengaraki by Manos Hadzidakis, and Variations for Theodore by Julian Wachner, James Smith, Naftali Schindler, Apostolos Paraskevas, Reiko Yamada, Ivana Lisak, Pedro Malpica, Altin Volaj, and Alex Kalogeras. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund