Waltz User Manual

This Document describes relevant information to understand and control the Waltz Visualization System. Waltz is a tool to visualize three dimensional data and reads special reference files containing details of the data file, path name, dimensions and aspect ratios of the data. Waltz (as the name suggests) contains three parts: Generalization, Specialization and Abstraction. The Generalization Process splits the data into spatially connected groups. A specialization is formed from a subset (selection) of these groups. The results are displayed in multiple abstract views of the same data. These abstractions are formed by losing or augmenting the data to facilitate in the understanding of the data

Woodwind Pops: Alan Weiss, flute, Phillip Oliver, piano, and Ann Rosandich, oboe/English horn, November 14, 1987

This is the concert program of the Woodwind Pops: Alan Weiss, flute, Phillip Oliver, piano, and Ann Rosandich, oboe/English horn performance on Saturday, November 14, 1987 at 8:00 p.m., at the Marshall Room, 855 Commonwealth Avenue. Works peformed were Trio Sonata in F major, Op. 1 No. 4 by Jean Baptiste Loeillet, Sonatina for oboe and piano by Gordon Jacob, Nocturne in Eb, Op. 9, No. 2 by Frederick Chopin, Minute Waltz, Op. 64, No. 1 by F. Chopin, Waltz of the Flowers (transcribed by Mark Miller) by Peter Ilyich Tchaikovsky, and Duo Brillant - Guillaume Tell by Jules Demersseman. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Autism = Death: The social and medical impact of a catastrophic medical model of autistic spectrum disorders

This discussion interrogates the continuing impact of the pervasive and persistent usage of debilitating metaphors perpetuating ‘historical’ superstitions, myths and beliefs surrounding disability. This article examines the real-life consequences of the power exercised through the deployment of derogatory metaphors and their very real effects on care and treatment decisions. The article illuminates how diagnostic categories and their associative metaphors work to situate boundaries of normality with pathologising difference. It concludes by demonstrating the catastrophic effect of the metaphoric dehumanisation of autistics that has recently culminated in murder being euphemistically referred to and condoned as ‘mercy killing’

Field Recognition of Adult \u3ci\u3eAcentrella\u3c/i\u3e and \u3ci\u3eHeterocloeon\u3c/i\u3e (Ephemeroptera: Baetidae)

The highly developed anterior process of the mesothorax, is described as a useful field character for identifying adults of Acentrella and Heterocloeon in the Nearctic. This presumed adult synapomorphy suggests a sister relation- ship of the two genera

Franz Liszt Bicentennial Celebration, October 26, 2011

This is the concert program of the Franz Liszt Bicentennial Celebration performance on Wednesday, October 26, 2011 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Prelude and Fugue in A minor, S. 462, Grand Etude de Concert no. 2 in F minor, La Leggierezza, S. 144, Spostalizio, S. 161, Aux Cyprès de la Villa d'Este I: Thrènodie, S. 163, Valse oubliée no. 1, S. 215, Pastorale, S. 160, Grand Etude de Paganini no. 3, La Campanella, S. 141, Symphony no. 5, first movement: Allegro con Brio, S. 464, Waltz from Faust, S. 407, Transcendental Etude no. 12 in B flat minor, Chasse Neige, S. 139, Transcendental Etude no. 10 in F minor, Allegro agitato molto, S. 139, Hungarian Rhapsody no. 12, S. 244, Réminiscences de Norma, S. 394, and Mephisto Waltz no. 1, S. 514 by Franz Liszt. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Concert waltzes for solo piano

The waltz is a dance in three-four time for couples. The origin of the waltz is obscure, but it may come from the influence of the Landler. In the nineteenth century, the waltz was the most popular ballroom dance in Europe, but as dance music the waltz developed into a stylized and refined form in the hands of the major composers.;The purpose of this study is: (1) To examine the development of the waltz as composed for solo piano, in order to understand the characteristic styles of one composer as compared to another and, (2) To survey the various formal structures as they evolved over time during the nineteenth and twentieth centuries. This research will examine not only the development of the waltz, but will also focus on major composers\u27 styles of writing for solo piano.;The origins of the waltz. (A) The appearance of the waltz in the late eighteenth century; (B) Early examples of piano waltzes and their composers; (C) The contribution of Johann Strauss Jr. and Joseph Lanner in Vienna.;The nineteenth century. (A) Schubert; (B) Waltzes by four major composers, (Weber, Chopin, Brahms and Liszt), with brief mention of Schumann, Grieg and other nationalistic composers of the nineteenth century; (C) Analysis of Styles: What are the styles and formal structures of these major composer\u27s works? (D) Comparison and Contrast: What can be learned by comparing and contrasting compositional styles in these nineteenth-century works?;The twentieth century. (A) Waltzes by Ravel, Bartok, Morton Gould, and other composers, with brief discussion of those by Schonberg and Prokofiev; (B) Analysis of Styles: What styles and formal structures do these composers employ? (C) Comparison and Contrast: What can be learned through a comparison and contrast of the waltzes by these composers?;Summary. (A) What are the major influences on the composers of the nineteenth century and those of the twentieth century? (B) Contributions of the major composers, as well as comparison and contrast between the nineteenth and the twentieth centuries

Lucy

Lucy ! contemporary jazz waltz. The structure of this piece is fairly expansive (A,A,B.A,C,D,A,A,B,A). and after an opening theme in F major which is melodically pretty, the piece segues into a fairly straight ahead Jazz waltz which then leads to the solo section before a return of the initial them

"Patrzył na wszystko jakby przez wizjer" - fotografia w "Walcu z Baszirem" Ariego Folmana

“He looked at everything as if through an imaginary camera” – Photography in Ari Folman’s Waltz with Bashir The article analyzes the theme of photography in Ari Folman’s Waltz with Bashir (2008). It shows the relation between photography and narration as well as similarities between the way the photographic medium functions and the mechanisms of trauma. The author points out that Folman’s documentary film uses the theme of photography as a metaphor for the characters’ emotional distance to what they experience.“He looked at everything as if through an imaginary camera” – Photography in Ari Folman’s Waltz with Bashir The article analyzes the theme of photography in Ari Folman’s Waltz with Bashir (2008). It shows the relation between photography and narration as well as similarities between the way the photographic medium functions and the mechanisms of trauma. The author points out that Folman’s documentary film uses the theme of photography as a metaphor for the characters’ emotional distance to what they experience

Qiongman Fan, piano, May 4, 2018

This is the concert program of the Qiongman Fan, piano performance on Friday, May 4, 2018 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Suite bergamasque by Claude Debussy, Piano Sonate in G major, K. 283 by Wolfgang Amadeus Mozart, and Waltz from "Faust" by Franz Liszt. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund