Concert recording 2019-11-12

[Track 1]. Epitaph VI: Phoenix rising / Martin Ellerby -- [Track 2]. Now hear this / Ray Dempsey -- [Track 3]. Air on the G string / J.S. Bach arranged by Goble -- [Track 4]. Four pieces. I. Andante tranquillo [Track 5]. II. Allegro vivace [Track 6]. III. Larghetto [Track 7]. IV. Allegro / Gordon Jacob -- [Track 8]. Bottoms up rag / Keith Mehlan -- [Track 9]. When tubas waltz / Alfred H. Bartles -- [Track 10]. Requiem for a dead little cat / Ernst-Thilo Kalke -- [Track 11]. Inertia / Kenyon Wilson -- [Track 12]. Tubasonatina. I. Sea chanty [Track 13]. II. Meditation [Track 14]. III. Dance / Thom Ritter George -- [Track 15]. Pavane, op. 50 / Gabriel Faure arranged by Wilson -- [Track 16]. Quartet for tubas. I. Allegro [Track 17]. II. Andante [Track 18]. III. Vivo / Frank Lynn Payne

Concert recording 2017-11-27

[Track 1]. Concert prelude / Derek Bourgeois -- [Track 2]. Tuba concerto / Edward Gregson -- [Track 3]. Cyberspace / Peter Graham -- [Track 4]. Concert piece no. 1 / Rodger Vaughan -- [Track 5]. Rhapsody for euphonium / Jerry Brubaker -- [Track 6]. Concerto, K. 191. I. Allegro / W.A. Mozart -- [Track 7]. The green hill / Bert Appermont -- [Track 8]. Suite / Vaclav Nelhybel -- [Track 9]. Brides of the waves / Herbert L. Clarke -- [Track 10]. Fantasy / Philip Sparke -- [Track 11]. Concerto for euphonium. I. Allegro moderato / Philip Wilby

Concert recording 2018-04-29a

[Track 1]. Toccata / Girolamo Frescobaldi arranged by Joseph Skillen -- [Track 2]. Winds. I. Khamsin [Track 3]. II. Zephyrs [Track 4]. III. Bora [Track 5]. IV. Doldrums [Track 6]. V. Sirocco / Rodger Vaughan -- [Track 7]. David and Goliath / Michael Forbes -- [Track 8]. Down in the river / traditional arranged by David Gluck -- [Track 9]. Ball of fire / Steven Smalley -- [Track 10]. Ludus / Vaclav Nelhybel -- [Track 11]. Let love be heard / Jake Runestad arranged by Cody Hutchison -- [Track 12]. Meltdown / Jonathan Sass

Concert recording 2018-04-24b

[Track 1]. Six studies in English folksong. I. Adagio [Track 2]. II. Andante sostenuto [Track 3]. III. Andante tranquillo [Track 4]. IV. Allegro vivace / Ralph Vaughan Williams -- [Track 5]. Sonata in F minor. I. Andante [Track 6]. II. Allegro / G.F. Teleman -- [Track 7]. Allerseelen / Richard Strauss arranged by Stuckemeyer/Bottorf -- [Track 8]. Bride of the waves / Herbert L. Clarke -- [Track 9]. Suite. I. Allegor marcato [Track 10]. III. Allegretto [Track 11]. IV. Slow / Vaclav Nelhybel -- [Track 12]. A walk in the woods / Jiro Censhu -- [Track 13]. Concerto in one movement / Alexy Lebedev -- [Track 14]. By gaslight / Tadeusz Kassatti -- [Track 15]. Child\u27s play. I. ♩=132 / Barbara York

Concert recording 2018-02-19

[Track 1]. The barber of Seville overture / Gioachino Rossini arranged by Hutchison -- [Track 2]. Capriccio for tuba and marimba / William Penn -- [Track 3]. Galgenlieder, op. 129. I. Das Geburtslied [Track 4]. II. Das Hemmed [Track 5]. III. Die zwei Wurzeln IV. Die Luft [Track 6]. V. Fisches Nachtgesang (tuba solo) [Track 7]. VI. Igel und Agel [Track 8]. VII. Die beiden Esel [Track 9]. VIII. Das Gebet / Jan Koetsier -- [Track 10]. Concerto per tuba e 4 corni. I. Introduction - allegro [Track 11]. II. Adagio [Track 12]. III. Allegro con spirito / Corrado Maria Saglietti -- [Track 13]. David and Goliath / Mike Forbes

Concert recording 2017-03-06

[Track 1]. Triumph of the demon gods / John Stevens -- [Track 2]. Sonata in F minor. Andante cantabile / Georg Philipp Telemann -- [Track 3]. Sonata in F minor. Allegro / Georg Philipp Telemann -- [Track 4]. Sketches. Spirited / Michael McFarland -- [Track 5]. Sketches. Slow and expressive / Michael McFarland -- [Track 6]. Sonata for unaccompanied euphonium. Introduction and allegro / Fred Clinard -- [Track 7]. Sonata for unaccompanied euphonium. Song / Fred Clinard -- [Track 8]. Tuba concerto. Allegro moderato / Edward Gregson -- [Track 9]. Sonata 1 in F major. Largo Allegro / Benedetto Marcello -- [Track 10]. Suite for cello no. 4, BWV 1010. Bourree 1 Bourree II / Johann Sebastian Bach -- [Track 11]. Summer isles / Philip Sparke -- [Track 12]. Tuba suite. Prelude Hornpipe Sarabande Bourree Mazurka / Gordon Jacob -- [Track 13]. Soliloquy IX / Christopher Wiggins -- [Track 14]. Suite for unaccompanied tuba / Walter Hartley

Maude Abbott and the origin and mysterious disappearance of the Canadian Medical War Museum

From the mid-1960s a new breed of scientific instrument curators emerged in the United Kingdom. This small community of practice developed in parallel to but Context.—In the early 1900s, it was common practice to retain, prepare, and display instructive pathologic specimens to teach pathology to medical trainees and practitioners; these collections were called medical museums. Maude Abbott established her reputation by developing expertise in all aspects of medical museum work. She was afounder of the International Association of Medical Museums (later renamed the International Academy of Pathology) and became an internationally renowned expert on congenital heart disease. Her involvement in the Canadian Medical War Museum (CMWM) is less well known. Objective.—To explore Abbott’s role in the development of the CMWM during and after World War I and to trace its history. Design.—Available primary and secondary historical sources were reviewed. Results.—Instructive pathologic specimens derived from Canadian soldiers dying during World War I were shipped to the Royal College of Surgeons in London, which served as a clearinghouse for museum specimens from Dominion forces. The Canadian specimens were repatriated to Canada, prepared by Abbott, and displayed at several medical meetings. Abbott, because she was a woman, could not enlist and so she reported to a series of enlisted physicians with no expertise in museology. Plans for a permanent CMWM building in Ottawa eventually failed and Abbott maintained the collection at McGill (Montreal, Quebec, Canada) until her death in 1940. We trace the CMWM after her death. Conclusions.—Sadly, after Abbott had meticulously prepared these precious teaching specimens so that their previous owners’ ultimate sacrifice would continue to help their military brethren, the relics were bureaucratically lost

Concert recording 2017-11-28

[Track 1]. Bill Bailey / Hughie Cannon arranged by James Garrett -- [Track 2]. Second suite. I. March [Track 3]. II. Song without words, I\u27ll love my love / Gustav Holst arranged by Cody Hutchison -- [Track 4]. Deutschland uber alles / Franz Joseph Haydn arranged by Eugene Anderson -- [Track 5]. Geleit from Three pieces / Johannes Brahms translated by William R. Lee -- [Track 6]. Belle of Chicago march / John Philip Sousa arranged by Skip Gray -- [Track 7]. Three preludes from op. 34. No. 14 [Track 8]. No. 7 [Track 9]. No. 16 / Dmitri Shostakovich arranged by Rauch -- [Track 10]. Tuba Sunday / traditional arranged by Gerald Sloan -- [Track 11]. Quartet for tubas / Sy Brandon -- [Track 12.] Cherokee / John Schooley -- [Track 13]. Moondance / John Stevens -- [Track 14]. Amazing grace / traditional arranged by David Uber

Enabling long-term oceanographic research : changing data practices, information management strategies and informatics

Author Posting. © Elsevier B.V., 2008. This is the author's version of the work. It is posted here by permission of Elsevier B.V. for personal use, not for redistribution. The definitive version was published in Deep Sea Research Part II: Topical Studies in Oceanography 55 (2008): 2132-2142, doi:10.1016/j.dsr2.2008.05.009.Interdisciplinary global ocean science requires new ways of thinking about data and data management. With new data policies and growing technological capabilities, datasets of increasing variety and complexity are being made available digitally and data management is coming to be recognized as an integral part of scientific research. To meet the changing expectations of scientists collecting data and of data reuse by others, collaborative strategies involving diverse teams of information professionals are developing. These changes are stimulating the growth of information infrastructures that support multi-scale sampling, data repositories, and data integration. Two examples of oceanographic projects incorporating data management in partnership with science programs are discussed: the Palmer Station Long-Term Ecological Research program (Palmer LTER) and the United States Joint Global Ocean Flux Study (US JGOFS). Lessons learned from a decade of data management within these communities provide an experience base from which to develop information management strategies – short-term and long-term. Ocean Informatics provides one example of a conceptual framework for managing the complexities inherent to sharing oceanographic data. Elements are introduced that address the economies-of-scale and the complexities-of-scale pertinent to a broader vision of information management and scientific research.Support is provided by NSF OPP-0217282, OCE-0405069, HSD-0433369 and Scripps Institution of Oceanography (K.S.Baker) and by NSF OCE-8814310, OCE-0097291, OCE- 0510046 and OCE-0646353 (C.Chandler)

Enhancing industry association theory: a comparative business history contribution

Our comparative business historical examination of industry associations aims to enrich the under-theorized study of this distinctive type of meta-organization. We compare two New Zealand industry associations operating in the same supply chain but with differing degrees of associative capacity and types of external architecture. Our analysis of these associations builds on two strands of theory that rarely communicate with each other: New Institutional Economics (NIE) and Organizational–Institutional Theory (OIT). We demonstrate how NIE describes the structural potentialities for associational strength, while OIT addresses the relational context within associations. In turn, NIE’s examination of external influences reinforces OIT suggestions that associations which are rich in social capital can become developmental in orientation. Our historical analysis supplies fresh theoretical insights into industry associations, thereby addressing conceptual issues of interest to management scholars who study bridging-type organizations. On this basis, we argue that business history and organization studies complement each other