David Binney Essay

Howard E. Wasdin was an American hero who overcame obstacles from childhood to become part of the elite SEAL Team Six where he served his country honorably. He wrote a book about his experiences with co-author Stephen Templin. He served in the Navy for twelve years. During this time he fought in Operation: Desert Storm and was part of the mission in Mogadishu, Somalia, which inspired the movie Black Hawk Down. After being medically discharged from the U.S. Navy, he became a chiropractor.

From the creation of harmonies to singing to instruments, music has been an abstract form of human expression. Although an auditory collection of pitches and volumes, musicians can manipulate the same notes and bring them alive for their audiences. The true emotion and energy that’s felt in music really comes from the player as feelings are transferred to and through the listener. This interaction between performer and the house is catharsis, the complete release of strong repressed emotions. Thanks to the musician, music has the ability to grasp people and cause them to sense emotions and feelings without lyrics or images even being necessary. Although it’s believed we can only hear with our ears, something about music makes it emotionally if not physically tangible. In James Baldwin’s short story “Sonny’s Blues,” a narrator certainly unaware of the impact of music invites himself to experience jazz for the first time. Baldwin uses the final scene of his story to argue that music has an effect on those who are able to experience it. Baldwin does this in one single moment by letting the fixed, practical minded, “well-intentioned” narrator experience catharsis from jazz as his growing, free-spirited brother communicates with him through jazz.

This review is about the Studio Big Band and their performance in the Casa Loma Room at the University of Redlands on Thursday, February 23rd at eight in the evening, under the direction of Prof. David Scott. The concert was made up of the following tunes: “High Maintenance” by Gordon Goodwin, “Four” by Miles Davis (arr. Dave Bardhun), “Nica’s Dream” by Horace Silver (arr. Frank Mantooth), “Witchcraft” by Cy Coleman (arr. Sammy Nestico), “Footprints” by Wayne Shorter (arr. Mat Harris), “Category 4” by Jeff Jarvis, and “Giant Steps” by John Coltrane (arr. Mark Taylor). The music on this program was very relevant for the eras we are covering or will be covering soon in the class, and to this end, the piece I will be focusing on

This orchestra grows rambunctious, rears on its hind legs and attacks the tonal veil with primitive fury, rendering it, clawing it until it breaks through to the jungle beyond. I follow those heathen - follow them exultantly. I dance wildly inside myself; yell within, I whoop... My pulse is throbbing like a war drum. I want to slaughter something--give pain, give death to what, I do not know.

W.H. Auden and Bruce Dawe, in their respective poems ‘Stop All The Clocks’ and ‘Suburban Lovers’, depict two different reactions to love. Auden’s use of an A, A, B, B, rhyme scheme creates rhythm through each of his 4 stanaz. Contrastingly, Dawe uses syllabic rhythm such as “on the fleet diesel that interprets them, like music on a roller-piano as they move, over the rhythmic rails”. Dawe also uses alliteration to create this similar pattern such as “breeze blowing”, “cliff of kissing” and “sandstone sustaining”. Both of these techniques create tone within each poem allowing the reader to reflect the mood of each poem. Auden’s rhyme scheme portrays a tone of sadness and grief in its simple structure and Dawe reflecting a tone of joy and longing

Bethan Gray is an award winning Welsh designer that has an unusual but impressive family origin. Her ancestors originate from an ancient Rajasthani clan that spent many hundreds of years journeying across Arabia and Persia before choosing to remain in the Celtic region of Wales. This very heritage wove its way into being some of Bethan Grays’s main influences and inspirations, which pull ideas shown within craft traditions of both the East and West. These influences are reflected in Gray’s style, showing a clear passion of detail, tactile textures, and extravagant materials such as rare stones, wood, marble and hand-tooled leather. Complex but complementary patterns of dark and light, texture and clear attention shown to the detail that defines her highly unique style. Even while using blacks and whites, Gray is also not afraid

Nicholas Biddle was a wealthy, well educated, influential president of the powerful Second Bank of the United States. Jackson hated him and the bank due to its supposed corruption.

The luxurious tone of Daisy’s voice snatches the attention of all who are nearby, urging them to listen to her siren-like cry. While at Nick’s house for tea, “ the exhilarating ripple of [Daisy’s] voice was a wild tonic in the rain” takes Nick on a journey, causing him to “follow the sound of it for a moment, up and down, with [his] ear alone, before any words came through” (85). Making Nick stop and listen to the bobbing rhythm of her voice, Daisy captures Nick’s ear and guides it on a riveting expedition. The voice leads Nick’s ear in a consistent pattern of up and down coercing him to listen to every beat. Daisy’s voice is unique in the sense that “it was the kind of voice that the ear follows up and down as if each speech is an arrangement of notes that will never be played again” (9). With the use of a metaphor, Daisy’s voice becomes an arrangement of notes resembling a song, arranged in a specific lyrical pattern. Fresh in the mind of those

Then, it comes out of nowhere. The biggest climax, suddenly brought on like a wave crashing against a cliff’s edge. The oboe melody recurs again, this time less sorrowful than inviting. Come back, it sings. And the flute comes skipping over the sound, the sun rising from behind black clouds. But the melody it plays sounds out of place, lower than and not as bright as what it could be. My fingers twitch, following the flute countermelody as if I were up there playing with them—as I should be.

“Dr. William Stewart Halsted was the first chief of surgery at the JHH” (Cameron, 2001). He played a huge role in its success in the beginning. He was an innovative and prestigious surgeon in the United States. He introduced the “local and regional anesthesia, the development of the intestinal suture; an operation for advanced breast cancer, an operation for the cure of an inguinal hernia, and the first successful resection of a periampullary tumor; and contributions to thyroid and parathyroid surgery, vascular surgery, and orthopedic surgery” Cameron, 2001). The two elements of his contributions were the launch of “the philosophy of safe surgery” and a system for teaching surgical residents in the United States. He assisted in the construction

This piece unfolds with the main theme dramatized at a very loud and boisterous fashion. However, the music quickly turns considerable quieter and continues

Ben Fletcher is a seventeen year old boy who seems to get into some trouble. He has trouble relating with his family. He really likes a girl named Megan, but she doesn’t ever talk to him. He and his friends decide they want to steal alcohol from a local store. Megan is a cashier there, so they pretend to be talking to her. Ben and her start talking about a party that is going on tonight. As they are making their great escape, a crossing guard and Ben collide and he gets caught by authorities. To avoid going to a juvenile detention center, he is told to take up a journal, take a hobby course at a college, and to help the the crossing guard that he hit. He had three classes to choose from, so he chose knitting. He is actually a pretty good knitter to his surprise. He eventually goes to a tournament of knitters.

The title track opens doors for a relevant modern music that is both fulfilling and evolutionary in the way jazz is heading these days. This piece can be dark and feathery at the same time, bringing Andrew Hill’s cryptic universe to my mind. A crystalline trumpet that evokes Kenny Wheeler

special needs children). They wanted to devise a test to measure a variety of psychological abilities, which included imagery, attention, comprehension, imagination, judgments of visual space, and memory for various stimuli. Binet did not believe that simple sensory testing was a true and accurate way to determine a person’s intelligence. Binet never intended for his test to measure ones intelligence but to measure ones intelligence in regards to their behaviors.

simple harmonies (Fig. I) of the tonic and dominant seventh, reassuring the listeners the sense of finally returning home.