text:
ProjectsGracia Louise June 19, 2017 garden, commission, collaboration, Meow, A Genetic Concert for Cats, Siamese cat, Paris, Jardin des Plantes, DNA, Kerry J Fowler
Parisian cats
Artists' books and cover illustrations
Two recent commissions
March – June, 2017
Recently, a special commission to create an artists' book landed upon our working table, and we accepted, with glee, the chance to cut and glue with such handsome source material as French seed packets and a bushy-tailed Hormiguero from an 1852 edition derived from Buffon's Historie Naturalle.
And now that this special one-of-a-kind Parisian memory folded as a concertina has been delivered to its new home, we can show you the richly coloured source material the honeybee scissors have been negotiating of late.
With a petal for a hat, a leaf for an umbrella, and a shell for a bed, from the paper sleeve of Grandville's Les Fleurs Animées, a cover was fashioned. A cover replete with a platypus, whose edges were softened with a 2B pencil, as our cat, Olive, looked on. To create a collaged Ménagerie du Jardin des Plantes upon the page, an original plate from Roemer's Genera Insectorum, a Swiss publication on entomology, was called upon. To the hand-coloured plate, drawn and engraved by artist and entomologist J .R. Schellenberg, a penguin now (forever) glides. To a colour chart of nectar, a butterfly was added, and to Ravel, a Giant anteater now saunters, scrambling, for book's lifespan, the musical notes with their long claws. To collectible scenes, red and blue tail feathers were placed to follow the lines in the wallpaper's design, and luminous radishes grow from beds of sheet music, which also provide a budgerigar with a perch.
The delicious delicacy of the original pieces was both terrifically daunting and an honour to work with. An artists' book as an echo of a trip, six-pages in length and composed from a collection of such bright treasure, this truly was a wonderful and unique commission.
(Thank-you R. A. and G.B..)
In our haste to deliver A Souvenir of Paris, these are the only image we have of the work, but you get the idea.
From the Jardin des Plantes to chromosomes, genes, and alleles, we have recently also had the pleasure of working on the cover illustration for Kerry J. Fowler's book, Meow: A Genetic Concert for Cats, which looks at the DNA responsible for the diversity and appearance of cat breeds.
In a clowder of cats, and to purrs of delight, the book was successfully, suitably launched at the 45th ACF National Cat Show, held in Diamond Creek. For the cover, Louise drew a Siamese cat, in the spirit of Omar, and in reference to Lenni, too, "whose pattern was one of the first feline genes to be decoded."
Tickled, Spotted, and Mackerel tabby to Gold glitter and bi-metal, by way of Ghost tabby markings, Chapter 4 covers coat pattern, length and composition, and it reads not unlike a fantastical palette. Indeed, the book is for "those of us who are curious about the genetic makeup of cats," and what splendid cats there were to learn about at the launch and to see at the show. On the page and before satin backcloth, thanks to Peterbald No. 196 (Black Spotted Tabby female), Snowshoe No. 352 (Seal bi-colour female), Tonkinese No. 359 (Seal Mink male), and all of the clever, clever cats, it was wonderful to play a small part in this whiskered publication.
(Congratulations Kerry, and thank-you. Here's to printing the second edition, and all that follows.)
(Related: In the garden with you, collage commission for edition #538 of The Big Issue, 2017)
Image credit: La Panthere, Jardin des Plantes, Carte Postale Paris, no. 215, 14th July, 1915
Gracia Louise
ProjectsGracia Louise June 04, 2017 The Big Issue, garden, commission, collaboration, macadamia, Helen Steiner Rice, Suvi Mahonen, Rollo Meyers Park, poincianas, fig tree, native hibiscus
In the garden with you
ProjectsGracia Louise July 31, 2017 The Big Issue, commission, collaboration, Hamish and Andy, hope
ProjectsGracia Louise December 29, 2017 The Big Issue, commission, in review, studio, work in progress, RSPCA, Fjord Review, Chris Kennett, Australia, foster care
Frīgedæg
Travel, ProjectsGracia Louise June 17, 2018 Gracia Haby, Louise Jennison, Australian Print Workshop, French Connections, Paris, exhibition, gallery, explore, Martin Bell, Megan Cope, André Kertész, Anne Virgo, Merce Cunningham, Jean Fautrier, Musée d'art moderne de Paris, Henri Matisse, dance, Pierre Bonnard, Édouard Vuillard, Sonia Delaunay, Elaine Haby, pasadena mansions, instagram, Robert Swinston, Delibes, Nijinsky, Edgar Degas, Elspeth Pitt, Des Cowley, State Library Victoria, Brook Andrew, NGA, printmaking, voyage, natural history
French Connections
Travel, ProjectsGracia Louise June 18, 2018 Malmaison, Josephine and Napoleon, French Connections, Anne Virgo, Australian Print Workshop, Martin Bell, Megan Cope, Louise Jennison, Gracia Haby, black swans, voyage, Paris, travel, artists' books, collage, study tour, Louvre, Eugène Delacroix, cats, platypus, Natural History Museum, Jardin des Plantes, library, collection, Pompidou, Kasimir Malévitch, Muséum national d'Histoire naturelle, painting, instagram, history, Elspeth Pitt, Craft Victoria, Angelo Garbizza
In Josephine's garden, in search of black swans
"Unfortunately on this occasion"
ProcessGracia Louise July 10, 2017 Melbourne Festival, Gracia Haby, gracialouise, Louise Jennison, Victorian Collections, collage, Orbost & District Historical Society, Clunes Museum, Flagstaff Hill Maritime Village, Weekly Times Wild Nature Book, Yarra River, Port Fairy Historical Society, CBD, tram, rejection, process, creative process, José Ortega y Gasset
The colour of nostalgia
DanceGracia Louise June 09, 2017 The Australian Ballet, Jake Mangakahia, Leanne Stojmenov, Robyn Hendricks, Ballet Russes, Fjord Review, Graeme Murphy, Janet Vernon, Kevin Jackson, Kristian Fredrickson., Nicolette Fraillon, Tchaikovsky, classical ballet, Nutcracker, Ai-Gul Gaisina, Jarryd Madden, Chrissa Keramidas, Andrew Wright, Dimity Azoury, Mariinsky, Diaghilev, Colonel de Basil, Frank Leo, Colin Peasley, nostalgia, memory, The Wave, Rohan Furnell, Richard House, Ziegfeld Follies, Fred Astaire, Ginger Rogers, snowflakes, sugar plum fairies, rats, Rose Mulready, Emilio Gómez Muriel, Marcel Proust, Fred Zinnemann


text:
Introducing the Greubel Forsey Hand Made 1
By Stephanie Ip
Watchmaking has existed even before the Industrial Revolution and the advent of mass production, making the craft even more mind-blowing when you think about the level of skill and imagination it took in older times, to build a timepiece with only by hand and hand-operated tools.
But with computer assistance and industrialisation today, few excel in hand craftsmanship. Even schools don't bother to teach the skills anymore, and many watchmakers, like Robert Greubel and Stephen Forsey, acquire these skills themselves through their own training in producing prototypes and replacement parts for restoration.
Both Greubel and Forsey have long recognised the importance of passing on their know-how to future generations, and have made long-lasting inroads through the establishment of the Time Aeon Foundation. The Foundation, spearheaded by Gruebel Forsey and Philippe Dufour more than 10 years ago, seeks to revive the classical way of watchmaking through projects like the Naissance d'une Montre.
And if you know anything about Greubel Forsey, you'll know that they aren't only huge proponents for traditional hand craftsmanship. They're also pushing watchmaking beyond what we know. Their approach is purist, their minds are on the future. Just look at all the tourbillons they have invented: the Tourbillon 24 Seconds, the Double Tourbillon 30°, and Quadruple Tourbillon that will forever be remembered in the history books.
"The things we appreciate are the values of traditional hand craftsmanship in watchmaking and, of course, to combine that with the thought that not everything had been invented in watchmaking. Perhaps we could bring something new and we could push the frontiers using the benefits and advantages of modern technology to understand some of the mechanics of mechanical watchmaking and innovate from there," Forsey told me on a previous occasion.
The Hand Made 1
Today, they unveil yet another impressive milestone. The Hand Made 1 is the fruit of their endeavour to truly revive traditional watchmaking. 95 per cent of the Hand Made 1, including the hairspring, is made using only hand-operated tools. One single timepiece requires a whopping 6,000 hours of work (that's about three years in man-hours), and exhibits an extremely high level of workmanship and precision.
To simply be able to create a watch completely by hand wasn't ambitious enough for the duo. The finished product had to, at the very least, rival the watches made with modern production equipment.
The Hand Made 1, featuring hours/minutes/seconds and a tourbillon, is not simply a recreation of an existing calibre by hand. The Hand Made 1 is a complete overhaul of the creative process as Gruebel Forsey knew it, and the watch is entirely created from scratch. From the movement construction, traditional machining to hand-finishing, to the case, the hands, dial and leather strap, each of the 272 movement components and 36 case parts take the hand-made approach as far as humanly possible.
Time truly was not of the essence in this case. It took almost 35 times longer to make the complete tourbillon cage than a standard high-end tourbillon. It took 12 individual operations up to eight hours to make a single screw. And finally, to hand make one wheel of the Hand Made 1 takes 600 times longer than that of a high-end industrial wheel.
The tourbillon carriage was one of the main challenges in this project, as it was not possible to replicate the same geometry of a CNC machine on a traditional jig borer and thus more parts had to be used to create the mechanism.
Gruebel Forsey is also surprisingly transparent about the parts that they didn't handcraft: the sapphire crystals, the case gaskets, the spring-bars, the jewels and the mainspring.
In 18K white gold, in a modest size of 43.5mm, only two or three timepieces of the Hand Made 1 will be created per year. And instead of Swiss Made, you'll find the inscription Hand Made on the dial at 6 o'clock.
Time Aeon Foundation
Stephanie Ip
Read More From Stephanie Ip

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text:
At the Sign of Triumph
A Novel in the Safehold Series (#9)
Safehold (Volume 9)
David Weber; read by Oliver Wyman
Macmillan Audio
Mass Market Paperbound
At the Sign of Triumph: David Weber's New York Times-bestselling Safehold series begun with Off Armageddon Reef, By Schism Rent Asunder, By Heresies Distressed, A Mighty Fortress and How Firm a Foundation.
The Church of God Awaiting's triumph over Charis was inevitable. Despite its prosperity, the Charis was a single, small island realm. It boasted less than two percent of the total population of Safehold. How could it possibly resist total destruction? The Church had every reason to be confident of a swift, crushing victory, an object lesson to other rebels.
But Charis had something far more powerful than simple numbers. It had a king, a crown prince, and a navy prepared to die where they stood in its defense. It had the Brethren of Saint Zherneau, who knew the truth about Safehold's founding. Who knew that the Church of God Awaiting was a monstrous lie. And it had Merlin Athrawes, last survivor of long-vanished Earth. Merlin, the cybernetic avatar of a woman dead over a thousand years, who was determined to break the Church's grip upon the human mind and soul.
So after eight years of war, it is not Charis but the Church that stands upon the brink of defeat. But the Church still commands immense resources, and — faced with the unthinkable — it's decided that it, too, must embrace the forbidden technology which has carried Charis so far.
In the end, it is simple, for only one can survive. The lines are drawn, the navies and armies have been raised, and all of Safehold is poised f… More…
In the end, it is simple, for only one can survive. The lines are drawn, the navies and armies have been raised, and all of Safehold is poised for the final battle between those who believe in freedom and those who would crush it forever.
"Oliver Wyman narrates the ninth and final installment of Weber's Safehold series with deft accents and passion." -AudioFile
.I.
The Earl of Thirsk's Townhouse,
City of Gorath,
Kingdom of Dohlar.
"Forgive me for intruding, My Lord, but you and I need to talk."
Praise for At the Sign of Triumph
"Oliver Wyman narrates the ninth and final installment of Weber's Safehold series with deft accents and passion...Wyman cheerfully and steadily reads this long audiobook, filled with battle scenes, political intrigue, and flashbacks to post-Civil War America." -AudioFile Magazine -
DAVID WEBER is the most popular living author of military science fiction. Aside from the Safehold series, he is also known for the New York Times bestselling Honor Harrington series, including A Rising Thunder (2012). He lives in South Carolina.
OLIVER WYMAN, a native New Yorker, has appeared on stage as well as in film, and television. He is one of the founders of New York City's Collective Unconscious theater, and his performances include the award-winning "reality play" Charlie Victor Romeo and A.R. McElhinney's cult classic film A Chronicle of Corpses. He also lent his voice to several episodes of the Teenage Mutant Ninja Turtles. Oliver's work as a narrator extends to over 150 audiobooks and has won many him awards, including Audie awards for his reading of Lance Armstrong's autobiography, It's Not About the Bike, and Thomas L. Friedman's The World is Flat.
Tweetsby @tordotcom
Tweetsby @MacmillanAudio


Expanded polystyrene foam, or EPS, is typically white and composed of expanded beads of polystyrene. Its most familiar uses are packing peanuts and moulded styrofoam-like pieces that come in boxes protecting and keeping your new television or computer in place securely.
To others, it's the material that is used for the insulating board component of Exterior Insulation Finishing Systems.
Expanded polystyrene foam differs from extruded polystyrene foam, or XPS, because XPS is far less dense and contains more spaces for air to circulate. EPS, on the other hand, is perfect for insulating and sound-proofing. XPS is also commonly known as Styrofoam.
EPS is not made using CFCs.
The manufacturing of EPS uses less resources and energy than alternative materials, such as paper-based ones.
EPS is completely recyclable and is also safe to use in landfills as a stabilizing material.
XPS is manufactured with CFCs or HCFCs, hydrofluorocarbons, which are still detrimental to the ozone layer.
Many fast-food restaurants caught a lot of flack for using the non-environmentally friendly and wasteful XPS-based containers for their food, and have since switched over to paper and cardboard.
XPS is rarely, if ever, recycled.
One of the key manufacturing differences between the two foams is that gas is added to XPS when it's manufactured, whereas EPS is manufactured by expanding beads already containing the gas. Both foams are available for EIFS applications, but EPS is the most environmentally-sound choice.
EPS is lightweight, being the lightest packing material available, and therefore the fuel used in transportation is significantly reduced. EPS is also used in making sports safety equipment like ski and bicycling helmets due to its high shock-absorption capabilities, as well as having a closed-cell structure that makes it optimal for insulation purposes. It also is resistant to humidity and has a low water absorption rate, and it is also of no nutritional value to moulds, fungi, parasites or insects and is no interest of them with regards to infestation potential like organic materials, such as wood, would be.
An American-based company recently did an Eco-Efficiency Analysis with regards to the environmental impact of different kinds of wall cladding systems, including brick, stucco and EIFS. Among the criteria analyzed for each were the amount of resources used up in the manufacturing process, the risk of illness of injury to those who work with them, whether they are toxic or give off any toxic emissions, and their energy consumption in manufacturing. EIFS came out on top, having the smallest environmental impact in every category.
The insulating foam is what gives EIFS its energy-efficient properties and its recommendation as a "green" insulation. This is why EIFS qualifies for the Government of Canada's and the Government of Ontario's eco-friendly renovation programs, where homeowners can receive grants and rebates for making improvements to their homes that increase their home's energy efficiency. Installing EIFS is on the list of eligible improvements.
EIFS is also leading the way for LEED certification for Canadian buildings. LEED, or Leadership in Energy and Environmental Design Certification, is given to buildings that are energy-efficient and use environmentally friendly and sustainable materials, among other criteria. The LEED program exists to provide recognition for green building efforts, allow for a building's qualification for government incentives and contribute to green building knowledge. The Canadian LEED certification was adapted from the one in the United States, but altered to compensate for Canadian climates and laws by the Canadian Green Building Council.
A tight and insulating building envelope is necessary for an energy-efficient building, and it's not costly to have installed. Any money spent will quickly be realized as a returnable investment when heating and cooling bills are noticeably lower.


CIK stories: "The Special Game" which teaches how to handle rejection and "Simmy's Problem" with a focus on expanding one's circle of friends.
The wedge is the simple machine that is the focus of our science groups.
The solar system is our current astronomy topic.
We're making gingerbread this week and beginning a new sewing project, a winter banner.
Collage work and the seasonal tracing at the light table are quite popular works this month.


What: "The Sicilian" Square Pie.
Where: Prime Pizza (446 N. Fairfax Avenue, LA).
Why: I know what you're going through. I feel the same: in the time of Trump, every night feels like a Pizza Night. Every goddamn day I get home and immediately want to put on my athleisures, fire up the AppleTV to a "House Hunters" I somehow haven't seen and just EAT. Really, really eat.
Prime's Sicilian is perfect for these times. It's HUGE, thick and filling (seriously one slice probably can do the trick). The crushed tomato sauce oozes freshness, while the pesto pops both in appearance and taste. I don't know for a fact, but my guess is they make it fresh daily (after all this is the pizza joint that actually smokes the chicken on their BBQ Chicken 'za). There's also not one, but two cheeses in a stretchy mozz and a ballpark of ricotta. And then there's that crunch. Oh, man, that crunch! Like all good square pies, almost every bite of the Sicilian begins and ends with the crispness that comes via a magical chemistry experiment between the cheese, the dough, the oil and the pan that results in a beautiful, delicious caramelization.
During a dark period in our country where you almost can't take anything at face value, Prime Pizza's Sicilian is as good as it looks. It is the Anti-Trump.
Available via slice or whole pie.


Dot Net developer required to create an interactive promotional event page for our website. This project must be completed in 3 days. The successful candidate will be in charge of creating the page, the Panxora technical team will provide a test environment to build the page, all graphical elements, the Stored Procedures required to run the page. We require someone with both graphic design skills and dot net ability to transform this concept into a skillfully executed webpage. Attached you will find a document in two [login to view URL] 1 is the Advent project specification, This part of the document refers to the graphic design elements within the spec table. The graphic elements and (limited) animations are described in the second part of the document. You must read the entire specification and provide a meaningful response to be considered. Sellers will only be considered if they have received 4 **** or better and highly favourable reviews. The decision will be made 65% on the quality of the response and the seller's credentials, 15% on the quality of communication and English skills, 20% on price. THERE IS A STRICT DEADLINE OF 3 DAYS ON THIS PROJECT.


text:
Цзися, или Цзи-ся () «Академия (учёный двор) у [западных ворот] Цзи» (Цзи ся сюэ гун) — самая известная академия Древнего Китая. Основана в 318 г. до н. э. в Линьцзы, столице царства Ци. Действовала более столетия (возможно, до 150 лет). Название академии связано с её местоположением в городе. В деятельности Цзися принимали участие сотни и даже тысячи представителей всех основных философских школ (за исключением чистых моистов) — конфуцианства, даосизма, легизма, мин цзя, инь ян цзя (Мэн-цзы и Сюнь-цзы, Тянь Пянь и Хуань Юань, Шэнь Дао, Сун Цзянь, Инь Вэнь, Тянь Ба и Эр Шо, Цзоу Янь и Цзоу Ши). По сообщению Сыма Цяня (Ши цзи, гл. 46), 76 виднейших из них правитель Сюань-ван (342—324 гг. до н. э.) назначил старшими сановниками (шан-дафу). Обсуждавшаяся в Цзися проблематика отражена главным образом в энциклопедическом трактате Гуань-цзы (IV—III вв. до н. э.), а также Янь-цзы чуньцю (Весны и осени Янь-цзы, III—II вв. до н. э.), Сыма фа (Законы Сыма, IV в. до н. э.) и других. В условиях официально поощряемой дискуссии в Цзися уточнялись теоретические позиции и рождались первые формы синтеза основных идейных направлений китайской философии. В итоге сложилось и собственно «учение Цзися», отмеченное общей даосской ориентацией.

Академики Цзися пользовались покровительством ванов Ци, получая почести в виде званий, стипендий и льгот. Наиболее почитаемые преподаватели носили титул сяньшэн (), который закрепился в китайском языке в значении «учитель», «почтенный», «господин» (в VIII—IX вв. это понятие, сэнсэй, появляется в японском языке).

Слава академии стала мотивом для проекта Люй Бувэя по созданию Люй-ши чуньцю, в котором по преданию участвовали 3 000 приглашенных учёных.

Свидетельства

Сюань-ван с радостью принимал при дворе мужей, знающих литературу, и странствующих ученых. Их было семьдесят шесть — таких, как Цзоу Янь, Чуньюй Кунь, Тянь Пянь, Цзе Юй (Цзе-цзы), Шэнь Дао, Хуань Юань. Все их он поставил шандафу (старшими сановниками), но они не управляли делами, а занимались обсуждениями и толкованиями. Поэтому циская школа ученых Цзися вновь расцвела, насчитывая от нескольких сот до тысячи человек.

Литература
 История Китая. Под ред. А. В. Меликсетова. М., 2007
 Древнекитайская философия, т. 1. М., 1972
 Бамбуковые страницы. Антология древнекитайской литературы. М., 1994
 Ян Хиншун. Материалистическая мысль в древнем Китае. М., 1994
 Китайская философия. Энциклопедический словарь. М., 1994. С.417-418.
 Быков Ф. С. Философская школа Цзися // Проблемы Дальнего Востока. 1977.№ 2.
 Сыма Цянь. Исторические записки (Ши цзи), т. 7. М., 1996

Ссылки
Онлайн Энциклопедия Кругосвет. Статья «Цзи-ся»

Академия Цзися
Академии по алфавиту
Цзися

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text:
About the Intelligencer
Many of us today rue the general decline in musical culture and literacy. In a small way we believe we are reversing that trend with this online virtual journal and blog. Probably fewer than 10 percent of the area's concerts are reviewed and probably fewer than one half are listed.
Our aim with The Boston Musical Intelligencer is to list every classical music concert in greater Boston (within Route 128) for the regular season, and in summer to expand coverage to include venues throughout New England. We also review as many concerts as possible, especially those our editors deem most unjustly neglected by the print media. Our reviewers are drawn from Boston's most distinguished musicians, composers, music academics and musically literate listeners. Reviews and articles are professionally edited before publication. We invite participation from readers in our moderated but un-edited comment area.
Our modest undertaking began with initial support from the Harvard Musical Association. HMA for many years also subsidized the most learned and influential periodical on classical music in the history of the U.S.—Dwight's Journal of Music, which ran from 1852 to 1881. Nothing quite like it has been in print since then.
F. Lee Eiseman, publisher and sole proprietor
Our email: info [at] classical-scene.com
Advisor, Editors, Publisher and Contributors
F. Lee Eiseman is a past-President of the Harvard Musical Association. He has been presenting chamber music concerts and historical reenactments in Boston since 1975.
Robert D. Levin, a world-wide acclaimed classical performer, composer, and musicologist, is professor of music at Harvard University, from which he received his A.B. magna cum laude with highest honors in 1968. In 1994, he was named Dwight P. Robinson, Jr. Professor of the Humanities. Levin's academic career combines teaching and tutoring, especially on keyboard instruments; conducting; and music theory, with an emphasis on the classical period. He has completed and reconstructed a number of classical works, especially unfinished compositions by Mozart and Johann Sebastian Bach. His Mozart completions, including the Requiem in D minor and the Mass in C minor, are considered his most important achievements. Levin is also President of the International Johann Sebastian Bach Competition in Leipzig and Artistic Director of the Sarasota Music Festival.
David Moran, BMInt's assisting editor, has been an editor and writer for decades, on staff for technology and other companies and freelance in a range of subject areas including music and audio. He has a BA from Brandeis and an MA from Columbia, both in English, and was awarded two NEA fellowships in music criticism. An amateur pianist, Moran has written about music and other arts for the Boston Globe, Phoenix (where through the 1970s he was managing editor as well), Herald, Stereo Review, and the Boston Audio Society Speaker. He also has annotated and co-produced CDs, notably the Heiller at Harvard organ set, and most recently helped edit Ted Libbey's NPR Listeners' Encyclopedia of Classical Music.
Emerita editor Bettina A. Norton is a retired museum professional. She has published widely in her field, American historical prints, and in later years, was editor and publisher of The Beacon Hill Chronicle. She lives in the house in which she grew up, in Boston, and has been attending classical music concerts "since the waning years of World War II." She is author of Edwin Whitefield: Nineteenth-Century North American Scenery , History of the Boston Naval Shipyard, Trinity Church: Story of an Episcopal Parish in the City of Boston, 'To Create and Foster Architecture: History of the Boston Architectural Center, Prints at the Essex Institute, and over 60 articles. She also founded Hill House, the community center on Beacon Hill.
Sudeep Agarwala is a graduate student at the Massachusetts Institute of Technology. He performs with various choral groups throughout Boston and Cambridge.
Trevor Bača is a composer of contemporary music. His concerns as a composer include lost and secret texts; broken and dismembered systems; sorcery, divination and magic; and the effects, action and beauty of light. Bača's music has been played throughout the US, Europe and Japan and has been anthologized as part of the volume Notations 21. Bača's scores have been exhibited as art at the Chelsea Gallery in New York City and at the Hutchins Gallery on Long Island. Bača is currently finishing a PhD at Harvard University.
Adam Baratz is a composer and pianist living in Cambridge. He grew up near Boston and received a BA in Music from the University of Rochester in 2007. He doesn't think art is a substitute for life, but it should at least point people in the general direction. His website is www.adambaratz.com
Jeffrey S. Berman is Professor of Medicine at Boston University. He is also a clarinetist in the Longwood Symphony Orchestra and a member of several music boards in the Boston area.
Julie Ingelfinger, a classically-trained pianist, enjoyed collaborating with her flutist sister and many friends over the years. She has day jobs as Professor of Pediatrics at Harvard Medical School, Senior Consultant in Pediatric Nephrology and Pediatrician at Mass General Hospital for Children at Massachusetts General Hospital, and Deputy Editor of the New England Journal of Medicine. In recent years she has amplified her musical interests, which include writing reviews, playing a bit, and exploring how stringed instruments are made.
Laurence E. Berman, retired professor of music, is also an active pianist. A graduate of Harvard College, from which he also received his PhD., he studied with Nadia Boulanger.
Elisa Birdseye, executive director of the Boston Chamber Ensemble, is an active freelance violist and principal violist of the New Bedford Symphony. Additionally, she has worked as the general manager of the New England Philharmonic and Boston Musica Viva.
Seth Botos is a freelance drummer and percussionist. A Berklee graduate, he currently works in a number of musical endeavors. He can be seen playing locally with a number of local bands including undersea, Juan Bond, and Here We Just Dream. In addition, he has extensive experience working in musical pit orchestras with companies such as Speakeasy Stage Company, Turtle Lane Playhouse, and Moonbox Productions. He is also available for private instruction and session work of all kinds.
Fred Bouchard writes about music for Downbeat Magazine (Chicago) and New York City Jazz Record, and about wine for Beverage Business (Boston); he teaches journalism and literature at Berklee College of Music, and occasionally lectures on jazz history at Boston University.
Basil Considine studied music and drama at Boston University and the University of San Diego. A composer-librettist, scholar, and playwright, he was the Artistic Director of the Reduced Spice Opera Company of Brookline from 2006-2012.
Dorothy Crawford, musicologist, is author of Evenings on and off the Roof: Pioneering Concerts in Los Angeles, 1939-1971 and Expressionism in Twentieth-Century Music (with her husband, John C. Crawford). Her latest book is A Windfall of Musicians.
Liane Curtis (Ph.D. Musicology) is President of The Rebecca Clarke Society, Inc., and Women's Philharmonic Advocacy; and Resident Scholar at the Women's Studies Research Center, Brandeis University. The collection she edited, A Rebecca Clarke Reader (2004), is the first book on this increasingly recognized composer. She has taught at institutions including Wellesley College, Harvard, Ohio State University, and Brandeis. As a music critic she wrote for Bay Windows (the leading New England newspaper of the GBLT community) from 1998-2004, and has also written for the San Francisco Examiner, Curve Magazine, Women's Enews, and many other publications. With the Boston Women's Heritage Trail (on whose Board she serves), she worked to have Amy Beach's name added to the 87 names of male composers that decorate Boston's Hatch Shell on the Charles River Esplanade. It was unveiled in 2000. Liane's blog, Feminist in the Concert Hall, is at http://www.wophil.org/blog/
Lyle Davidson, composer, studied at New England Conservatory and Brandeis. He is on the faculty of the New England Conservatory where he teaches Solfege, 16th-century Counterpoint, and Music in Education courses.
The late Mary Wallace Davidson directed the music libraries at Radcliffe, Wellesley, Eastman School of Music, and Indiana University. She wrote 68 reviews for this site.
Tom Delbanco is the Koplow-Tullis Professor of General Medicine and Primary Care at Harvard Medical School and Beth Israel Deaconess Medical Center. His research has focused on learning from patients and working with them to improve care. Currently, he is leading a national effort encouraging doctors and other clinicians to invite patients to read and contribute to their visit notes online. An avid violinist since age nine, Tom studied with Wolfe Wolfinsohn, Robert Koff, Emanuel Borok, Will Fedkenheuer, and Bernard Greenhouse.
Musicologist and composer Mark DeVoto is an expert in early 20th-century music. A graduate of Harvard College (1961) and Princeton University (Ph.D., 1967), he is professor emeritus of music at Tufts University. He wrote the revised fourth (1978) and fifth (1987) editions of Harmony by his teacher Walter Piston, and in 1997 edited the Altenberg Lieder, op. 4, for the new edition Alban Berg's complete works. In 2004 he published Debussy and the Veil of Tonality: Essays on his Music, and in 2011 Schubert's Great C Major: Biography of a Symphony, both with Pendragon Press.
David Dominique is a composer living in Somerville, Massachusetts. He is currently pursuing a Ph.D in Music Composition and Theory at Brandeis University.
John W. Ehrlich, founder and Music Director of The Spectrum Singers, has been active as a singer and conductor in the Boston and Cambridge areas for more than 40 years. Son of a concert pianist and a microbiologist, Mr. Ehrlich was born in Grosse Pointe Park, Michigan, and prepared for higher education at Grosse Pointe University School and the New Hampton School. He studied music and conducting while attending the Hartt School of Music, Trinity College, and both Harvard and Boston Universities. His teachers were Robert Shaw, Gregg Smith, G. Wallace Woodworth, Nathan Gottschalk, and Vytautous Marijousius. Also a singer, Mr. Ehrlich has sung with Hartford Chamber Choir, Tanglewood Festival Chorus, Cambridge Society for Early Music, John Oliver Chorale, Boston Baroque, Cantata Singers, and Boston's Emmanuel Church choir. For eight seasons he was Music Director of the Master Singers of Worcester. This is Mr. Ehrlich's 40th season as Music Director of The Spectrum Singers.
Virginia Eskin, a California native and long-time Boston resident, is a solo pianist, chamber player and lecturer known for both standard classical repertoire and ragtime, and a long-time champion of the works of American and European women composers.
Constantine Finehouse has performed extensively in the US and abroad, including in Trieste, London, St. Petersburg and Odessa and has been praised by Rhein Main Presse Allgemeine Zeitung for his "interpretations of depth and maturity. His latest CD, "Backwards Glance," features music of Brahms and Richard Beaudoin. "The Bolcom Project" made in collaboration with with his American Double partner, violinist Philip Ficsor, included an Albany Records CD and a national tour with concerts in Boston, New York, Denver, Santa Barbara, Spokane and at Yale University. Fanfare praised the recording as "indispensable to any serious collector with an interest in later 20th-century duo repertoire for violin and piano." Finehouse is currently recording William Bolcom's piano solo works for Naxos Records. His upcoming CD with Sebastian Baverstam will feature works by Brahms and Tony Schemmer. During the 2010-2011 season he will perform at Merkin Hall, Weill Recital Hall and Emory and Elmira colleges, among many others, as soloist and duo partner.
Alessandra Kingsford is a bank teller and musician who has played for Lowell House Opera and Mercury Orchestra.
Sandra Fallon-Ludwig holds a Ph.D. in musicology from Brandeis University. She currently teaches at Boston College and is a member of the New Philharmonia Orchestra.
Jeffrey Gantz has a BA in English from Amherst College and a PhD in Celtic Languages and Literatures from Harvard University. He worked at the Boston Phoenix for 33 years, 20 of them as arts editor. He is the translator of two volumes for Penguin Classics, The Mabinogion and Early Irish Myths and Sagas. His writing has appeared in Poetry, Dickens Studies Newsletter, Medium Ævum, Literature/Film Quarterly, Boston Review, Ballet Review, Dance Magazine, and Stagebill. He resides in Cambridge with his wife, Ann.
Leslie Gerber was born in Brooklyn in 1943 and graduated from Brooklyn College with a useless degree in Creative Writing. In 1970 he started Parnassus Records, which publishes classical recordings and formerly sold used and rare recordings. He has written for The American Record Guide, Fanfare, and "Performance Today," and reviewed well over 1500 classical CDs for Amazon. Currently he writes for Classic Record Collector and for the Woodstock Times. He was "Classical Music Director" of WDST-FM, in Woodstock, New York, from 1980 until 1991. He produced the series "The Grand Piano" for WMHT-FM. He has written program notes for CBS Classics, RCA, for his own Parnassus label, and for the Hudson Valley Philharmonic. He also writes and performs poetry; as part of the Goat Hill Poets, he performs every summer at the Woodstock Fringe. His writing website is here. He lives in Woodstock, New York, with his companion of 26 years, Tara McCarthy, herself a successful and prolific writer of educational materials.
Leon Golub is an astrophysicist at the Center for Astrophysics in Cambridge and has been a lover of classical music for over 50 years.
Tamar Hestrin-Grader, harpsichordist, divides her time between performing and completing her A.B. in musicology at Harvard College. Her solo repertoire ranges through the Renaissance and Baroque periods. She is an avid continuo player in both chamber groups and orchestra, and has a particular interest in Baroque techniques of improvisation. Since coming to Boston, Tamar has been studying piano with Ya-Fei Chuang, and harpsichord with Peter Sykes. She has participated in masterclasses with John Kitchen, Arthur Haas, Jesper Christensen, Francis Fitch, Sarah Freiburg, Robert Levin, Gonzalo Ruiz, Judy Tarling, Paul Simmonds, Alison Crum, and Jane Hershey, and has attended the Amherst Baroque Academy, the Sommerakademie at the Universität Mozarteum in Salzburg, and the Piccola Accademia di Montisi. She is also President of the Harvard Organ Society and Co-General Manager of the Harvard Baroque Chamber Orchestra. In her free time, Tamar enjoys playing clavichord, organ, fortepiano, and viola da gamba.
Christopher Greenleaf is a veteran recording engineer who collaborates with chamber, early, and keyboard musicians in natural acoustic venues on both sides of the Atlantic. He is active as a writer, translator, photographer, and acoustic consultant
David Griesinger is a physicist who works in the field of sound and music. At Harvard, he worked as a recording engineer, learning the tremendous importance of room acoustics in recording technique. After finishing his PhD in Physics (the Mösbauer Effect in Zinc 67) he developed one of the first digital reverberation devices, which eventually became the Lexicon 224 reverberator. He also is the designer of the LARES reverberation enhancement system. His website is http://www.davidgriesinger.com/
Brian Jones is Emeritus Director of Music and Organist at Trinity Church, Copley Square, Boston, where he directed an acclaimed program from 1984-2004. He is active as an organ solo artist and guest conductor, and has performed widely in the United States, Canada, England, Mexico, and Bermuda. He is Director of the Copley Singers, a Boston-based chorus, and his work with the Trinity Choir may be heard on the London-Polygram, Dorian and Gothic labels.
Michael Johnson is a music writer and critic with special interest in piano. He spent nine years on the board of the London International Piano Competition and has written extensively on music for leading publications, including the International Herald Tribune, Clavier Companion, The Washington Times, American Spectator and the website Facts & Arts. He spent four years in Moscow as a correspondent and also worked as a journalist in Paris, London and New York.
A native of Davis, California, violist Zoe Kemmerling is a recent graduate of the Boston Conservatory and holds degrees in music and creative writing from UC Davis. Her principal teachers have been Ellen Ruth Rose, Patricia McCarty, and Lenny Matczynski.Her musical travels have taken her from the Adriatic coast of Italy to the pacific coast of British Columbia and from Fontainebleau, France, to Apple Hill, New Hampshire.Recent collaborations to which her eclectic tastes have led her include a puppet show based on the music of Louis "Moondog" Hardin, a Roy Orbison cover band, and frequent premiers of her colleagues' compositions.She has also studied baroque violin for several years and performs regularly with period ensembles.She is an active orchestral and chamber musician in the Boston area and teaches a string class at Choice Thru Education, a non-profit program devoted to college-bound inner-city students.
Victor Khatutsky grew up in Moscow where he graduated from a university with an Applied Math degree. After moving to the US, he pursued a career in enterprise software development. He had written music reviews as a US based freelancer for the Kommersant Daily of Moscow, the leading business publication which emerged in the days when Russia increased its appetite for both business and cultural trends around the world.
Robert Kirzinger, annotator and lecturer for the Boston Symphony Orchestra for the past 10 years, is also a composer.
Vance R. Koven studied music at Queens College and New England Conservatory, and law at Harvard. He is a composer and practicing attorney, and was for many years the chairman of Dinosaur Annex Music Ensemble.
Mark Kroll's distinguished career as a harpsichordist, pianist, scholar and educator spans over four decades. Professor Emeritus at Boston University and harpsichordist for the Boston Symphony, Kroll has taught and performed throughout the world, recorded a wide range of repertoire, and published numerous books, articles and editions. He is currently preparing an edition Geminiani's Sonatas for Violin and Concerti Grossi, opus 4 for the complete edition of the composer's works, and an edition of Johann Nepomuk Hummel's Sonata for Cello in Piano, op. 104 for Bärenreiter. His website is www.markkroll.com
Seth Lachterman lives in Hillside, New York. While dividing his past academic career between music (composition and musicology) and mathematics, he has been a principal at Encore Systems, LLC. He regularly writes for Berkshire Review of the Arts and writes for BMInt in a collaborative venture.
Peter Van Zandt Lane is Associate Professor of Composition and Director of the Dancz Center for New Music, Hugh Hodgson School of Music, University of Georgia. www.petervanzandtlane..
Donna La Rue researches, writes and presents on the medieval liturgical arts, focusing on the town of Sens. She has published critical reviews for the Boston Phoenix and has taught integrated arts and art history courses for local universities.
Steven Ledbetter was musicologist and program annotator for the Boston Symphony Orchestra from 1979 to 1998, and previously at NYU (where he received his doctorate in musicology) and Dartmouth. In 1991 his BSO program notes received an ASCAP/Deems Taylor award, given for "distinguished print and media coverage of music." He created his own program note service in 1998 and has written notes for many musical institutions throughout the United States Europe, and Asia, and some 300 recordings. He also gives frequent preconcert lectures in the greater Boston area. His scholarly specialties include the 16th-century Italian madrigal, American music, and musical theater (particularly the operettas of Gilbert and Sullivan and of Victor Herbert).
James C.S. Liu is a physician by day and a baritone and music enthusiast by night. He lives with his wife and daughters in Cambridge, Massachusetts.
Alex Ludwig holds a Ph. D. in Musicology from Brandeis University and is the Secretary of the Haydn Society of North America.
Rebecca Marchand is a native Californian with a New England soul and enjoys wearing many musical hats as a musicologist, music history professor, mezzo-soprano, occasional blogger, and avid concert-goer. She is on the faculty at Boston Conservatory and Longy School of Music.
Jason McCool comes from a long line of Irish men who have been asked, "Is that your real last name?" Originally from Brockton, MA, McCool completed his doctoral work in musicology at Boston University in 2020, writing a dissertation on Hamilton: An American Musical, and has been an Adjunct Professor of Music at Boston College since 2018. In October 2018, he was a Fellow at the Rubin Institute for Music Criticism at the San Francisco Conservatory of Music. He founded, curated, and produced the pindrop sessions classical(-ish) event series as a collaboration with WGBH and WCRB, and a local brewery, which ran from 2018-2020. Holding degrees from the Eastman School of Music in jazz trumpet performance and the University of Maryland in historical musicology, Jason also remains a proud member of Actors' Equity, even if he only gets to act out on the page these days.
David McMullin is a Boston-based composer whose works have been performed by major ensembles in the United States, Europe and Asia. With degrees from Yale (BA) and NYU (PhD), he teaches music theory at New England Conservatory, directs the New England chapter of the American Composers Forum, and serves on the executive board of the International Society for Contemporary Music.
Steven P. Marrone is a Professor of History at Tufts University. Once trained in voice, he sometimes still yearns for the life of a musician. His scholarly specialization lies in medieval and early modern Europe.
Susan Miron, a harpist, has been a book critic and essayist for the past two decades for The N.Y. Times Book Review, The Wall St. Journal. The American Scholar, Partisan Review, and many other newspapers and literary magazines. While she wrote on a wide range of subjects, including music, her specialty was East and Central European literature. She holds Masters degrees in both harp performance and Judaic Studies. Susan has recorded two CDs of harp and voice music, and two recent CDs devoted to her transcriptions of the keyboard music of Domenico Scarlatti. She has performed for thirty-two years with her favorite chamber music partner, her husband, violist Burton Fine.
Michael Miller, a writer and photographer based in Williamstown, MA, is editor and publisher of the Berkshire Review for the Arts, an online magazine which covers classical music, opera, theater, cinema, art, photography, architecture, travel, and food and drink, wherever they may be found.
An amateur pianist with special interest in the keyboard, David Moran has been a music reviewer for many years. He has annotated and produced CDs and written about music for the Boston Globe, Phoenix, and Herald, and for Stereo Review; received two National Endowment for the Arts fellowships for classical criticism; and recently helped edit the NPR Listeners' Encyclopedia of Classical Music. He currently works as a freelance editor and writer. He studied literature and music criticism at the University of Rochester and at Brandeis University, and has an MA in literature from Columbia University.
Joseph E. Morgan is a husband, a father and a musicologist. He received his Ph.D. from Brandeis University (2009) and has served on the music faculties at Brandeis University, The Walnut Hill School for the Arts and Montgomery College. His primary research focuses on the dramatic music, theory and aesthetics of Germany in the early 19th century. He has written and presented papers on E. T. A. Hoffmann, Robert Schumann, and Carl Maria von Weber. His article on the latent thematic organization of dramatic works by Weber and Schumann will appear in the next issue of the Indiana Theory Review (Volume 28, 2010) and is currently preparing a monograph on Weber and early German Romanticism.
Elizabeth Morse, principal harpist of the Berkshire Symphony Orchestra and formally principal harpist of Rhode Island Philharmonic, is on the faculty of Williams College.
Joshua Hawkins Nannestad is Assistant Professor of Choral Music Education at Southeastern Oklahoma State University, where he conducts choirs, teachers choral methods and literature, and supervises student teachers. Previously he was a Boston-based music educator and church musician, working for Milford Public Schools and Gordon College among others. He holds degrees from Saint Olaf College, Gordon College, and the DMA in Choral Conducting from Boston University.
Eli Newberger studied music theory and reviewed classical music for the Yale Daily News. Performing music, he wrote in "Medicine of the Tuba" in Doctors Afield (Yale University Press, 1999), helps him to care. That chapter and other writings on music and medicine may be found on his website, here.
Virginia Newes lives in Cambridge, and was Associate Professor of Music History and Musicology at the Eastman School of Music.
Elizabeth Oka is in the process of acquiring as many impractical degrees as she can. She holds a B.A. from Tufts University where she double majored in English and music and is pursuing a master's degree at the New England Conservatory in viola performance.
Anthony J. Palmer, currently a Visiting Scholar at Boston University, has a BA in vocal/choral studies and MA in composition from California State University, Los Angeles, and a Ph.D. from UCLA. He retired from college teaching in 1998.
David Patterson, Professor of Music and Chairman of the Department at U. Mass Boston for the past 15 years, was recipient of a Fulbright Scholar Award in Teaching and the Chancellor's Distinction in Teaching Award. Also a composer, he lives in Watertown.
Elizabeth Perten is graduated from Barnard College, Columbia University, with a BA in Music. Elizabeth's research interests include 19th century piano music, music criticism, women in music, historiography and the 19th century composer's role as music critic and its subsequent effect on music history. She is now Assistant Director, Office of Undergraduate Research and Fellowships, Harvard College.
Larry Phillips studied music at Harvard, the Montreal Conservatory, and at New England Conservatory. In 1974 he was a prizewinner at the International Harpsichord Competition in Bruges, Belgium.
Richard Pittman, founder of Boston Music Viva, is also conductor of the New England Philharmonic and the Concord Orchestra. He is a recipient of an ASCAP Adventurous Programming Award.
Alejandro Enrique Planchart is Emeritus Professor of Music at the University of California. Born in Caracas in 1935, he studied there philosophy and literature as well as piano. Later he studied composition, piano, and harpsichord at Yale and music history at Harvard. He taught at Yale, the University of Victoria, Brandeis, Harvard, and the University of California, where he taught music history and occasionally composition in the music department and Latin paleography in the history department. In addition he conducted the early music ensembles and was a performer and conductor in concerts of the Ensemble for Contemporary Music. He has lectured and concertized in the United States, Europe, and Latin America and published over a hundred works including symphonies, songs, solo and chamber music, as well as articles and books on plainsong, Guillaume Du Fay and other Renaissance topics, Latin American music, and 20th century music. He has received a Yale Morse Fellowship, the Howard Brown award from Early Music America, the Arion Award from the Cambridge Early Music Society, and a Guggenheim fellowship, and the medal of the city of Tours (Loire). His study of Guillaume du Fay will appear in 2017 through Cambridge University Press.
Howard Pollack is John and Rebecca Moores Professor of Music at the University of Houston, where he has taught since 1987. He is the author of five books, including Aaron Copland: The Life and Work of an Uncommon Man (1999), which received the Irving Lowens Award from the Society for American Music and a Deems Taylor Award from ASCAP, and which the New York Times deemed "the definitive study of Aaron Copland's life and work;" and George Gershwin: His Life and Work (2006), which also received a Deems Taylor Award as well as an Award from the Association for Recorded Sound Collections, and which has been called "endlessly fascinating" (New York Times) and "a gripping read" (Charleston News and Courier), with "some of the best musical analysis you're likely to find anywhere" (Toronto Globe and Mail). His biography of Marc Blitzstein is due out in 2012.
Laura Stanfield Prichard currently teaches private lessons in voice, piano, conducting, and woodwinds for Keys for Kids Music Studio (Lexington) and Bunker Hill Community College (Charleston and Chelsea campuses), where she is in a founding Music Department faculty member and the Founding Conductor of the College Choir. She sings in the San Francisco Symphony Chorus, the New World Chorale, and the choruses of the BSO. By Zoom (and formerly, at live concerts) she is the principal pre-concert speaker for Boston Baroque, Berkshire Choral International, and the Masterworks Chorale, and a regular lecturer for the San Francisco Opera and San Francisco and Chicago Symphonies. She writes award-winning editorial prefaces for music scores published by Musikproduktion-Höflich in Munich, Germany and has presented recent scholarly papers for the American Musicological Society, the Music Library Association, and the 2011 Diaghilev P.S. Festival in St. Petersburg, Russia. She is the former Director of Fine Arts (K-12) for the Arlington Public Schools and led the music program at First Parish, Arlington from 2003-2013.
She holds degrees music/dance history, choral conducting, music librarianship, and education from Yale, Illinois, Emory, and FSU. She is a founding member of the new music department at BHCC (Charleston Campus), supervises PhD dissertations in the arts at Harvard University, and serves as the Music Director of the Winchester Cooperative Theater for Children (since 2009, 3 fully staged musicals per year). She was an Assistant Conductor for the San Francisco Symphony Chorus under Vance George for ten years and led the local choirs Sharing a New Song and Sängerchor Boston.
She holds Mass. K-12 teaching certifications for all four arts and all four social sciences: she was the last districtwide Director of Fine & Performing Arts (K-12) for the Arlington Public Schools and directed the music program at First Parish, Arlington from 2003-2013. BMInt sent her to Cuba as a foreign correspondent, and she was a finalist for the 2015 Pauline Alderman Award for outstanding writing on women and music and the 2019 Kurt Weill Award for writing on contemporary musical theater.
Cashman Kerr Prince is trained in Classics and Comparative Literature and is now a Visiting Scholar in the Department of Classical Studies at Wellesley College. He is also a cellist of some accomplishment, currently playing with the Brookline Symphony Orchestra.
Michael Rocha is a self-described "long-ago" music teacher, a long-time music enthusiast and pianist, and short-time Web designer: http://www.cobaltocumulus.com. He graduated first in his class of 2,800 from UCLA, and with an MA in Meteorology from MIT.
John Robinson is the organist and Director of Music at St. Paul's Church, Harvard Square. He directs one of very few boys Choir Schools in the USA, having worked in English Choir Schools including St. John's Cambridge and Canterbury Cathedral.
Seda Röder is a young concert pianist from Istanbul who performs in the United States and in Europe. She is currently a piano instructor at the Massachusetts Institute of Technology and a teaching assistant and Fellow at Harvard University, where she is conducting research on "Piano Music in Vienna in the context of Alban Berg and Arnold Schönberg.
Gillian Rogell, a violist, is chair of the Chamber Music Department of the New England Conservatory School of Continuing Education, and also teaches at NEC Preparatory School, the Rivers School Conservatory, and Walnut Hill School. She is the creator of the award-winning DVD, "At the Heart of Chamber Music" which was aired on WGBH TV and won two "Telly" awards. She maintains a private chamber music studio in Brookline. (www.MusicAlchemy.net)
Andrew J. Sammut studied philosophy as an undergraduate at Boston University, and music during every free moment of his life. When all of his friends were tuning into the local KISS station and turning up their amps, he was shopping for 78's and leading a Dixieland sextet. Andrew is especially interested in late Baroque, Galant and early Classical periods, and historically informed performance that doesn't forget its existence on the modern stage. As a devotee of the pop of yester-century, Andrew also writes for Early Music America, All About Jazz (where you can find his column "Jazz That Scratches, Swings and Pops") and on his blog at clefpalette.wordpress.com. He also plays clarinet. Originally from Brooklyn, NY, Andrew now resides in Cambridge, MA.
David Schulenberg is author of The Keyboard Music of J. S. Bach and of books on the Bach sons, as well as the textbook Music of the Baroque. His newest book, The Music of Carl Philipp Emanuel Bach, was published in 2014 by the University of Rochester Press. He also has edited organ works by J. S. Bach and keyboard sonatas and concertos by C. P. E. Bach. A performer on harpsichord and other historical keyboard instruments, he has recorded chamber music by C. P. E. Bach, Quantz, and King Frederick the Great. Professor and chair of the music department at Wagner College in New York City, he also teaches in the Historical Performance program at The Juilliard School. He lives in Somerville and is vice president of the Boston Clavichord Society. His website contains recordings and editions of music by members of the Bach family and others, as well as many further things of interest to musically inclined readers.
Tom Schnauber is a Boston-based composer and is currently serving as Chair of the Performing Arts Department at Emmanuel College. He holds a Ph.D. in composition and Theory from the University of Michigan. He is also co-founder and co-Director of the arts organization WordSong.
Joel Schwindt is currently pursuing a Ph.D. in musicology at Brandeis University. In addition to performances as a vocalist and conductor, his writings have been published by the Baerenreiter-Verlag publishing house and the Choral Journal.
David Shengold A Philadelphia-based arts critic, David Shengold has written for Opera News, Opera (UK), Opéra Magazine (France), Musical America Online, Playbill and Time Out New York among many other venues. He has contributed program essays to the Metropolitan, New York City Opera, Lyric Opera of Chicago, Covent Garden and Wexford Festival programs and lectured for the Glimmerglass Festival and Philadelphia's Wilma Theatre. Educated at Amherst and Berkeley, he has taught courses on opera, literature and cultural history at Oberlin, Mount Holyoke and Williams Colleges. He trained and performed with Shakespeare and Company in Lenox, MA and has been a Guest Critic at the Chautauqua Festival.
Keane Southard (b. 1987) writes music that is an amalgamation of his many musical influences, from medieval chant to 70's rock, Bach to the Blues, and German romanticism to Latin dance forms. His compositions have been performed by ensembles such as the Cleveland Chamber Symphony, Longfellow Chorus and Orchestra, Juventas New Music Ensemble, Tesla Quartet, Playground Ensemble, Encore Wind Ensemble, and Ars Nova Singers. He has been a recipient of many awards including the Lee Goldstein Composition Award from Baldwin-Wallace College, the Cecil Effinger Composition Award and George Lynn Prize from The University of Colorado-Boulder, and First Prize in the Longfellow Chorus International Composers Cantata Competition. Keane earned his M.M. in composition at the University of Colorado-Boulder, and his composition teachers include Kenneth Girard, Loris Chobanian, Daniel Kellogg, Carter Pann, and Richard Toensing. As a pianist, Keane is dedicated to the performance of unknown/under-performed piano works.
Jacob Street is an organist and harpsichordist who received his Master's from Oberlin Conservatory in 2012, and currently studies at the Institute of Sacred Music at Yale. While at Oberlin, Jacob was awarded the inaugural Rubin Prize for Music Criticism.
Kate Stringer received her MM in musicology from Boston University in 2013, with a thesis entitled Subverted Modernism: Korngold's "Die tote Stadt." Her research centers on issues of politics and identity in Austro-Germanic music of the early 20th-century. In addition to her scholarly activities, Kate is a veteran actress, lyricist, playwright and stage director who completed her undergraduate training in music and theatre performance at Oklahoma City University. A versatile mezzo-soprano who actively pursues interests across genres, Kate is a recitalist and cabaret artist, performing in venues across Boston and elsewhere in the US. Her international credits include singing as an ensemble member in a performance of Verdi's Requiem at the former concentration camp in Terezìn, Czech Republic, a concert that formed the basis of the documentary film Defiant Requiem. She currently holds the position of Research and Public Information Administrator at the Howard Gotlieb Archival Research Center at Boston University.
The late Donald Teeters was for 44 years the music director of The Boston Cecilia. With Cecilia he conducted uncut and, since the early 1980s, period instrument performances of virtually the complete repertoire of Handel's large scale English language works. He was a member of the music history faculty at New England Conservatory and organist-music director at All Saints Parish in Brookline.
Janine Wanée holds a B.Mus. degree from University of Southern California, a M.Mus. from Boston University, and professional certificates from the Boston University Opera Institute and summer Acting Shakespeare course at the Royal Academy of Dramatic Art in London. She is currently a member of Copley Singers under Brian Jones.
Marvin J. Ward holds a Ph.D. French/English in Medieval Studies (UNC-CH), A former editor of professional newsletters and former officer/board member in various professional and cultural organizations, he is also a singer in choruses, former announcer for a classical music radio station, former board member of presenter and performer organizations, former classical CD store buyer and salesperson. He co-founded Classical Voice of New England, serving as its President and Founding Executive editor.
Janice Weber is a member of the piano faculty at Boston Conservatory. Her latest CD, "A Cascade of Roses: Piano Bouquet" will be out on Valentine's Day.
Ian Wiese is a graduate student in music composition at the New England Conservatory, where he studies with Kati Agocs, after having studied at Ithaca College in Ithaca, New York, under composers Dana Wilson and Jorge Grossmann. He is in his first year of study in the Masters of Music Composition program, where he writes music with emphases on microtonality and serial techniques being applied to twenty-first century sensibilities of the craft. When he is not composing, he is playing the tuba, which is his primary instrument. Otherwise, he can be found researching the music of Charles Ives, Christopher Rouse, or composers specializing in video game music. He has been performed internationally, reaching as far as Norway, where he has had success at the Barrat Due Musikkinstitut in the capital city of Oslo.
Geoffrey Wieting holds Bachelor's degrees in organ and Latin from Oberlin College and a Master's degree in collaborative piano from New England Conservatory. Currently, he sings in the choir of Trinity Church and accompanies the Boston Choral Ensemble under Miguel Felipe.
Reba Wissner is in the Doctoral Program in Musicology at Brandeis University.
Christoph Wolff is Adams University Professor at Harvard University. Born and educated in Germany, he studied organ and historical keyboard instruments, musicology and art history at the Universities of Berlin, Erlangen, and Freiburg. His website is here.


At Felixstowe Academy our rewards and behavioural policy is underpinned with the beliefs and values underpinned by Discipline with Dignity.
Discipline with Dignity seeks to empower students with the skills and motivation needed to take responsibility for their own actions and in so doing equip them with invaluable interpersonal skills needed in the wider community.
Whilst sanctions and rewards can be used to reinforce certain behaviours, it is the Academy's capacity to adapt curriculum pathways, develop positive stakeholder relationships and provide outstanding pastoral support that will ensure students within our care follow the pathway to success.
In order to create an environment that will not only support, but positively encourage Discipline with Dignity, the Academy must first seek to build connections with all stakeholders.
Teachers and students at the Academy should work together to establish and maintain a learning and social environment which emphasises positive behaviour, and where care and concern for others are valued. Behaviour management is an integral part of the whole academy curriculum, which teaches appropriate and relevant social skills to all students. This enables students to participate fully in the home, academy and local community and prepares them for the responsibilities of adult life in an ethnically diverse society.
Bullying of any form is not tolerated by the Academy, and all staff and students are expected to be committed to this policy. All staff and students should respect each individual and aim to make everyone feel comfortable, both on their way to and from the Academy and within the Academy. There must not be any fear of, or intimidation from, other people, either physical or psychological. Bullying is the aggressive behaviour of one person, or group of people towards another.


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JMU CAPS 3-GAME SWEEP OF TRIBE
James Madison's baseball team finished a three-game sweep of William and Mary with an 8-2 victory Sunday afternoon at Plumeri Park.
Former Woodside High standout Travis Ebaugh beat out a throw on a fielder's choice in the second inning, avoiding a potential double play while driving in a run to give the Dukes a 2-1 lead. Ebaugh walked during an eighth inning that was highlighted by a three-run homer by JMU's Kurt Isenberg of Virginia Beach.
The Dukes (26-7, 4-1) are a half-game behind Virginia Commonwealth in the CAA.
Trey Wakefield's sacrifice fly in the first inning and Michael Brown's single in the fifth drove in runs for the Tribe (15-19, 1-5), which has lost nine of its last 10 games. ...
Virginia Commonwealth scored four runs in the seventh and one in the eighth to beat Old Dominion 6-5 in Norfolk. VCU freshman Jeff Parrish from Poquoson tied the game at 3 with an RBI single in the seventh and eventually scored on a sacrifice fly to give the Rams (22-12, 5-1 CAA) a 6-5 lead.
Ryan Harvey homered for the Monarchs (14-15, 1-4). ...
Richmond, ranked No. 22 in the nation, improved to 28-3 by completing a three-game sweep of Atlantic 10 rival St. Joseph's with a 12-3 victory near Philadelphia. The Spiders scored eight runs in the seventh, and David Reaver scored four runs on the day. ...
Virginia (18-15, 7-5 ACC) scored three unearned runs en route to an 8-7 victory at Maryland. The Terrapins (20- 11, 1-8) stranded 12 runners. ...
Host Ferrum completed a three-game sweep of Christopher Newport, beating the Captains 4-2 to tie them for first place in the Dixie Conference.
The Panthers' Wes Marin belted a three-run home run in the bottom of the third inning and teammate Mickey Russell homered in the eighth for Ferrum (21-5, 8-2). Jon Hurd drove in both runs for CNU (19-10, 8-2), but Captains starter Cliff Wester took the loss despite 11 strikeouts in eight innings.
COLLEGE SOFTBALL. Two key singles by Hampton's Sharri Mapp led the Lady Pirates (15-11, 5-4 MEAC) to a 6-5 home victory over South Carolina State.
COLLEGE LACROSSE. William and Mary's women surged for 13 first-half goals and went on to beat Drexel 18-3 in Philadelphia.
Colette Chaput had four goals for the Tribe (4-8, 3-4 CAA), and Meghan Schneider and Amie Duffy each had two goals and two assists.
COLLEGE WOMEN'S TENNIS. No. 12 Texas outlasted No. 14 William and Mary 4-3 in a four-hour match on the Tribe's new Busch courts.
Freshman Candice Fuchs won at No. 2 singles and at No. 1 doubles with Jessyca Arthur for the Tribe, but Texas No. 3 player Joanne Masongsong won several long games in the third set to subdue Delphine Troch 6-4, 4-6, 6-2 and break a 3-3 tie.
TREE FORMULA GIVES ESTIMATE OF OAK'S AGE
Lawrence Taylor pleads guilty to 2 sex-related misdemeanor charges


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Australian Tour. Live in the Park at Bonython Park. 11 Aug 2018
In his Modern Times song, Spirit over the Water, Bob Dylan wrote:
"You think I'm over the hill // You think I'm past my prime // Let me see what you got
We can have a whoppin' good time."
And so it came to pass on a wicked Adelaide winter's night that 6,000 people hunkered down beneath the domes of the most magnificent performance marquee imaginable and joined that old man for a whoppin' good time.
Well, "whoppin" may not have been the word for it.
As in every Dylan concert, it was an idiosyncratic affair. Haunting, in a strange way.
Everyone knew it would not be like any other Dylan concert because, for most audience members, it was not their first Dylan concert. And there had never been anything predicable or average in any of the previous concerts. Everyone was lured back full of curiosity as to who and what this touring incarnation of the modern god poet would deliver this time, this possibly and probably his last time, now he is going on 78.
Dylan was 24 when first he performed in Adelaide, already worshipped as a genius poet and a powerful symbol of the 60s protest movements. Barefooted, he attended a press conference, showing a contempt bordering on ennui. "Impertinent…boorish" said the media.
When he performed with his "greasy-haired band" at the packed-out Palais Royal, he gazed distractedly offstage as he dutifully pleased the avid folkies fans with his familiar hit songs. They loved every word. It was all about the words.
But in the second part of that performance, he threw traditional folk music to the wind, amped up the volume and introduced his latest style, "folk rock".
I was there, reviewing for the Adelaide University newspaper, On Dit, under my undergraduate sobriquet, Justine.
"Clutching his electric guitar, he shouted his poetry over the thunderous rock band, bounding around the stage to the beat of the music," I wrote.
"He was like a child with a new toy. He didn't quite know what to do next. He harmonised with another guitarist, danced a little, tried another number on the piano, danced a little more."
Older audience members walked out. "Bring on the go-go girls," some jeered as they stomped up the aisle.
The true believers stayed entranced - just as they stay entranced today.
He has toned it down these days. Jazzy and percussive and rocking but not so raucous. Perhaps wise to the aural damage of the industry, his 8-piece band, most of them rather elegant in loose silvery suits and black fedoras, had the volume beautifully balanced.
The stage in that magnificent tent of tents had the effect of a towering backdrop of verticals, which towards the end delivered a magnificent effect of rustic wooden pales. Most significantly, it was all about lights and more lights. Lamps around the stage illuminated band members. Giant old-style theatre floodlights dangled down lighting as part of the backdrop. Spot lights shone from the back across the stage and out to the audience. Dylan, seated or standing behind a grand piano, was shaded, his huge Harpo Marx mop of fuzzy curls glowing amber in the back lights.
Occasionally, when he stood to hammer closing notes on numbers, one glimpsed a little more of his face. Familiar, wrinkled, still handsome. But he seemed nestled among his family of musicians on the stage, not one to stand out, let alone have his image projected onto video screens. For some in the audience, this was an issue. Dylan tours incessantly and has rules which travel with him. No big screens. No cameras. There is a strange need for privacy from this very public figure. It is all part of the mystique which has kept us all in his thrall these many long years.
He has not lost the magic.
His wonderful raspy voice remains strong and clear, that unmistakable timbre, that edge, that whining sound we know and love. The band pumped out the tempos and the voice carried the tunes, if not the words. Most of the famous Nobel Prize-winning poetry was indecipherable, just Dylanesque sounds. Sometimes a familiar phrase would emerge and the crowd would cheer. It was hard to find the old songs because Dylan reworks them and reimagines them and, like an eternal Chinese whisper, they grow further from the original until they are something else.
But oh, how he surprised us with such a sweet and loving rendition of today's version of Don't Think Twice Babe, It's All Right. Tenderness itself.
Among the songs were Blowin in the Wind, Ballad of a Thin man, and It ain't me Babe.
They came and came for almost two hours, a little bit of harmonica, a lot of piano, a lot of voice and stamina. Dylan spoke occasionally to other musicians but he neither touched a guitar nor addressed the audience.
It didn't matter.
The people were just glad to be there, in the same place and breathing the same air as that extraordinary man of our times.
When: 11 Aug
Where: Bonython Park
Bookings: Closed
Photo Supplied by Samela Harris - 1966, On Dit magazine


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IT Security report which covers information security, cryptography and network security fundamentals.
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I am organising a recycling event for the community and require someone to help with the design of the banner.
All-Terminal reliability and K-Terminal Reliability via simulation using Python. Write code in python 1. accept the user specified number of vertices and number of edges. 2. find graph is connected or not connected. 3. calculate All-Terminal reliability and K-Terminal Reliability with graphical representation.
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text:
FAWN®
FAWNOGRAPHY
Jack The Ripper Comes to Life This Halloween in New
NEWS...MORE OF WHAT'S HAPPENING
JOIN MAILING LIST HERE
HHaeading 1
Jack The Ripper Comes to Life This Halloween in New Music Video by Hit Recording Artist Fawn
LOS ANGELES - Oct. 5, 2017 - PRLog --
On Thursday, October 5, 2017, Stonedef Records, announced Billboard hit recording artist and songstress Fawn® (also known as 'Songirl') will release 'Jack The Ripper,' the second Halloween music video from her Halloween EP, "Ghoulish Ghosts - Halloween Party Songs Vol. II", which came out on Monday, October 2, 2017.
Fawn hit the top of the Billboard Dance charts alongside Lady Gaga and Maria Carey, with her song "Wish U Love," Produced by Chad Jack and Tim Letteer. Since the huge success of "Wish U Love," Fawn has been nominated for several music awards, including nine nominations for the 2017 JPF Music Awards, which will hold its award ceremony in Hollywood, California Spring 2018. Fawn won a songwriting award from VH-1 Song of The Year for her song, "Christmas Time". In 2016, Fawn had two top ten hit songs she wrote and performed, "Where Has Your Love Gone" and "Solitude," and also won the EOTM award for "Best Female Recording Artist." Her songs and music have been featured in multiple films and TV shows such as The Natalee Holloway Story, Nickelodeon's Hollywood Heights, Spike Lee films and the CBS soap, The Young and The Restless and others. Fawn can also be found on over 50 compilation albums.
When asked why Fawn chose to write a song about Jack The Ripper she explained, "Once I decided to do a second Halloween album, I thought of things that might be scary in today's world, so what jumped out to me was Jack The Ripper and the fact no one knows his identity or his motivations. Then I thought to myself, 'Well that isn't scary today because it was so long ago, he isn't a threat anymore…BUT what IF his ghost was still killing people?' This gave me the idea to resurrect Jack as a ghost in the song, something which might still terrify people today."
The music video features Austin Rhode, Cher Rue and Christine Jace, all actors Fawn has worked with before. Cher Rue (Mary Anne) said, "I loved playing her. It was eerie to bring her persona back to life. I felt like I was a part of history. I am always inspired by projects Fawn does, she puts her heart into every song."
Christine Jace said, "Playing Mary Jane was very different from what I've done before I've never done a death scene so it was challenging, yet surprisingly fun! It was exciting dressing up in elaborate costumes, which brought her back to life and felt so real. When I get to work with Fawn I jump at the chance. Anything she creates will be excellent. She always makes the process exciting and fun, so I'm thankful to be a part of her projects."
Austin Rhode (Jack The Ripper) said, "Working with Fawn is always a great pleasure. I'd taken a previous role in one of Fawn's works playing Ichabod Crane for her Headless Horseman music video, so when she thought I'd be perfect as Jack The Ripper, I jumped at the opportunity."Austin continued, "Taking the role of the titular Ripper, I felt very at home in his shoes. One of the fun, yet creepy experiences while filming on set was the unexpected surprise of stabbing my mother to death." He laughed, "I considered that a positive experience"
Megan Rhode, Austin's mother commented, "I played a modern-day lady of the night. Having my son attack me, pull a knife on me and repeatedly stab me was both funny and creepy. I was terrified and loved it! I'm a friend and admirer of Fawn, as well as a horror fan, so getting a part in this Jack The Ripper video was a lot of fun. Also, being that my son played Ripper himself, it made being a victim even more interesting. Fawn's a lot of fun to be around. We laughed and joked a lot and it was interesting to watch her mind work as she directs."
Fawn said, "This song itself is epic in its history and sound. Music producer Malcolm Smith did an excellent job capturing an old feel with a current sound. I adore working with him and have so much admiration and respect for his talent. He makes writing singing songs so easy because I always know his intuition of how a song should sound is going to be spot on every time."
Fawn continued, "What made this music video different was the wardrobe and setting. I've always been a Victorian era type of girl, even the furnishings in my home are from that time period. My friends tease me, saying I have a 'Liberace' touch, which makes me laugh, but it's true. I love that time period and style, so shooting this was a natural progression for me. One of the aspects that makes this music video so scary are the elements from AtmosFx®. They granted me permission to use some of their footage and it made this video come together in the scariest way. If you aren't familiar with AtmosFx® they are a digital decorating company that helps people customize their homes for holidays and celebrations with fun and entertaining animated characters and stories, and in this case, scary and dark stories." Fawn concluded, "Michael Gills from the AtmosFX® company says it best: "From a crafty, yet clumsy witch to Santa himself, zombies, a winter wonderland, and more, AtmosFx® offers a variety of beautifully animated, amusement-park-quality scenes and characters that can be viewed on any TV or monitor, and projected on flat surfaces-even windows."
Jack The Ripper arrives October 6, 2017, 9am PST.
www.youtube.com/FawnTV
Fawn's Music:
https://itunes.apple.com/us/album/ghoulish-ghosts-ep/id1274725043
AtmosFX® www.atmosfx.com
Fawn® www.Facebook.com/Fawnmusic
Billboard Hit Songstress Fawn® Debuts "Ghoulish Ghosts" Music Video Featuring AtmosFx®
Billboard Hit Songstress Fawn® Debuts "Ghoulish Ghosts" Music Video Featuring AtmosFx® on Sunday, October 1, 2017, 7p.m. PST
LOS ANGELES - Oct. 1, 2017 - PRLog -- On Sunday, October 1, 2017, Stonedef Records, Inc., announced that hit recording artist and singer-songwriter Fawn (also known as "Songirl') will release 'Ghoulish Ghosts', the first Halloween music video from her Halloween EP, "Ghoulish Ghosts - Halloween Party Songs Vol. II", which comes out on Monday, October 2, 2017. Pre-orders for the album began on August 30, 2017.
Fawn hit the top of the Billboard Dance charts alongside Lady Gaga and Maria Carey, with her song "Wish U Love," Produced by Chad Jack and Tim Letteer. Since the massive success of "Wish U Love," Fawn has been nominated for numerous music awards, including two albums and seven song nominations this year for the JPF Music Awards, which will hold it's 2017 award ceremony in Hollywood, California later this year. This year Fawn won a songwriting award from VH-1 Song of The Year for her holiday song, "Christmas Time". In 2016, Fawn had two top 10 hit songs she wrote and performed, "Where Has Your Love Gone" and "Solitude," produced by Digital Sixable.
In 2013 Fawn was nominated for 3 EOTM awards and won the EOTM award for "Best Female Recording Artist". Her songs and music have been featured on multiple films and TV shows such as The Natalee Holloway Story, Nickelodeon's Hollywood Heights, Spike Lee's The Girl Is In Trouble and the CBS soap opera, The Young and The Restless, to name a few. In addition, Fawn can be found on over 50 compilation albums.
In discussing the "Ghoulish Ghosts" music video from her second Halloween EP Fawn said, "This song is a lot of scary fun. What makes this music video so special is it's all about the ghosts, and the ghosts are spooktacular!" Fawn continued, "The incredible digital decorating company AtmosFx® gave me permission to use some of their footage and it truly made this video come to life! It is unique and scary." Fawn explained, "if you aren't familiar with AtmosFx® They are a digital decorating company that helps people customize their homes for holidays and celebrations with fun and entertaining animated characters and stories, and in this case, scary stories!" Fawn concluded, "The AtmosFX® company says it best: "From a crafty, yet clumsy witch to Santa himself, zombies, a winter wonderland, and more, AtmosFx® offers a variety of beautifully animated, amusement-park-quality scenes and characters that can be viewed on any tv or monitor, and projected on flat surfaces-even windows.
"When asked if anything supernatural happened while on set shooting the music video, actress Cher Rue who plays the role of the housewife said, "I felt scared on the set just knowing the ghosts were flying around me!" Cher laughed, "But I had an amazing time working with Fawn and her staff. She is so professional and such a great talent! It made the spookiness worth it."
Actress Christine Jace who plays the mom role in the video said, "I adore Fawn and absolutely loved working with her on Ghoulish Ghosts. She is so creative, fun and brilliant in expressing her vision, I am proud to be part of it." Christine continued, "I also had a blast shooting with my 'son,' the adorable Leo Palisano. Together we had a ton of scary fun!"Iconic "Young and The Restless" actress Kate Linder appeared in Fawn's music video 'Monster House' last year and commented, "Fawn's songs are so well written and well done, they sound like Disney Halloween songs–very memorable."
Award-winning Bram Stoker author Lisa Morton who wrote "Trick Or Treat: A History Of Halloween" said, "Fawn's Halloween songs and music videos get you in the holiday spirit faster than a jolt of electricity! These are the best tunes since Bobby 'Boris' Pickett Mashed some monsters.
"Fawn explained, "Later this week on Friday, October 6, 2017, Stonedef Records, Inc. will be releasing the music video "Jack The Ripper," a reminder that you never can be too careful in this world with all the crazy people out there!" Fawn continued, "These original songs are in the same style as last years "Monster House," "FrankEnstein," and "The Headless Horseman" music videos. They are frightening, Halloween fun like classics such as "Monster Mash", "Ghostbusters", "Purple People Eater" and "Thriller." Fawn concluded, "I believe that there just needs to be more mysterious, haunting and fun songs out there in the world for Halloween, so I decided to write and record some more."
See Fawn's other music videos and watch for three new music videos from the album coming out beginning October 1, 2017, 4pm PST.
You can pre-order "Ghoulish Ghosts" wherever good music is sold.
To hear Fawn's Halloween EP and other songs, go to:
https://itunes.apple.com/us/album/ghoulish-ghosts-ep/id12...
For more information about AtmosFX®, visit www.atmosfx.com
For more information on Fawn® visit www.Facebook.com/Fawnmusic
Icons Judy Tenuta and Kate Linder in Monster House by Hit Songstress Fawn
Diversity News Magazine
Billboard hit recording artist and singer-songwriter Fawn released her first Halloween EP "Monster House" on Friday, September 23, 2016. Pre-orders began September 10, 2016.
LOS ANGELES - Sept. 26, 2016
On Monday, September 26, 2016, Stonedef Records, Inc., announced that hit recording artist and singer-songwriter Fawn (also known as "Songirl') released her first Halloween EP, 'Monster House.'
In 2010 Fawn hit the top of the Billboard Dance charts alongside Lady Gaga and Maria Carey, with Fawn's song 'Wish U Love,' Produced by Chad Jack and Tim Letteer. Since the massive success of 'Wish U Love,' Fawn has won the 2013 EOTM award for "Best Female Recording Artist" and had two 2016 top 20 hit songs she wrote and performed, "Where Has Your Love Gone" and "Solitude," both produced by Digital Sixable. She has also been featured on multiple Film and TV shows such as The Natalee Holloway Story, Nickelodeon's Hollywood Heights and the CBS soap opera, The Young and The Restless, to name a few, and is currently found on around 45 compilation albums.
Fawn said, The working relationship I have with the 3 music producers on this project is effortless. They are all wonderful. stellar talents and are all artists in their own right." Fawn continued, "3 of the tracks on this EP are produced by Malcolm Smith who worked on music for the new Disney movie, Moana. He is so talented and absolutely brilliant. I've worked with him for the past 10 years doing commercials and a variety of songs for TV." Fawn continued, "I have such a great time working with him, he always knows exactly what to add to a track to make the message come across more powerful and his instincts are always spot on." Fawn said, "You will also hear a track produced by another incredible talent and favorite or mine, Chad Jack." Fawn continued, "Chad and I have been working together now for 7 years and he is meticulous at what he does. It's always a joy doing projects with him." Fawn said, "Another accomplished music producer I've been working with for around 8 years is Nick Wax, who produced the track "Spooky," which I co-wrote with singer/songwriter Vincent Covello."
When asked why a Halloween album, Fawn stated, "I wrote and recorded a Christmas and Chanukah album in 2014, and since Halloween is another one of my favorite holiday's, I decided to do an album of Halloween songs!" Fawn continued, "These songs are in the vein of the classics such as "Monster Mash", "Purple People Eater" and "Thriller." Fawn concluded, "There just need to be more spooky, fun songs out there for Halloween, so I decided to write some!" Iconic actress Kate Linder said, "Monster House sounds like Disney Halloween songs - so well done and memorable." When asked what made her get involved with Monster House, Linder explained, "Let me tell you something, when Fawn asks you to do something, the only answer you want to give is Yes." When groundbreaking comedian Judy Tenuta was asked what brought her to Monster House, she said in her beloved comedic style, "Fawn told me to do it!"With Fawn's Halloween EP there will be 3 Halloween music videos, which will be released with in the next few days. October 1, 2016, you can get a behind the scenes look at the making of her music video, "Monster House" at Diversity News TV. Special celebrity cameos by Judy Tenuta, Kate Linder, Grae Drake, Brooke Lewis and Johnny Venokur. Other artists in the music video include Sham Ibrahim, Cher Rue, Christine Jace, Mr. Outrageous (Al Burke), TheTru Story, Leo Palisano and John Palisano with several different scary looks adorned by Fawn.
To hear Fawn's Halloween EP and other songs, go tohttps://itunes.apple.com/us/album/monster-house-ep/id1148...
Barry Manilow Finally Comes Out...April 5, 2017 1
"With every single one of my personal encounters with Barry over the years, he was and has always been thoughtful, gracious, welcoming and kind. He treated me with compassion, gentleness, tenderness, respect and love. He was always easy to talk to, understanding, and made me feel important, valued, beautiful and cared about. He is a true gentleman who is fascinating, witty, captivating, brilliant, charming, deep, intuitive, talented and wise. His encouraging words, opinion and view of me had a positive and powerful impact on my life. So did his talent and music. I wouldn't be the musician, composer, recording artist, songwriter and entertainer I am today, had he not been so inspiring and touched my life in such a personal and profound way. I have the utmost respect and love for him and I always will. All you have to do is look into his eyes to see who he is. His generosity has touched millions around the world and so has his music. He is a blessing. The world would be a better place if there were more people like him."
www.Fawn.rocks
www.fawnmusic.com
www.facebook.com/Fawnmusic
Twitter: @songirl
Nine Music Nominations For Recording Artist Fawn
For The 2017 JPF Music Awards
Nine Music Nominations For Recording Artist Fawn For The 2017 JPF Music Awards
The JPF 2017 Nominations
Nine Music Nominations
Best Alternative Song
Best Dance/Electronic Song
Into Me
Best Holiday Song
Ho Ho Ho It's A Holiday
Best Dance/Electronic Album
Best Holiday Album
Angels We Have Heard On High